T H E DIAPASON APRIL 2019

American Organ Institute University of Oklahoma Norman, Oklahoma Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS

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

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

DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART

ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 4, 20 Under 30 Whole No. 1313 We thank all those who submitted nominations for our Class APRIL 2019 of 2019. We are impressed by the number of f ne nominations Established in 1909 for the brightest and most promising our young leaders in the Stephen Schnurr ISSN 0012-2378 f eld of the organ, church music, harpsichord, and carillon. 847/954-7989; [email protected] To see the 20 Under 30 Class of 2019, visit The Diapason www.TheDiapason.com An International Monthly Devoted to the Organ, website (www.thediapason.com, click on “20 Under 30”). Next the Harpsichord, Carillon, and Church Music month’s issue will include in-depth entries and photographs of In “Harpsichord Notes,” Larry Palmer reprises various front- each member of the class. cover features of the harpsichord in the history of The Diapa- CONTENTS son. All of the issues mentioned are presently available at our Summer events FEATURES website (www.thediapason.com), enabling you to learn more Twelfth International Organ and Early Don’t forget to send me information about summer organ about how informative The Diapason has been through the Music Festival, Oaxaca, Mexico, and carillon recitals and choral events at your church, univer- decades. John Bishop, in “In the Wind . . .,” writes about early February 14–21, 2018 by Cicely Winter 16 sity, or other venue. We have a number of events to share with electro-pneumatic action organs and their elaborate switching you, beginning with our May issue. systems. In “On Teaching,” Gavin Black begins a discussion of William Albright, Whistler (1834–1903): Three Nocturnes listening to music. We present our annual list of summer con- by Sarah Mahler Kraaz 20 In this issue ventions, conferences, seminars, and workshops, as well. The f rst International Late Medieval and We are pleased to present a report on the Twelfth Inter- Our cover feature is a f rst for The Diapason—instead of Renaissance Music Course, San Marino, national Organ and Early Music Festival at Oaxaca, Mexico, showcasing an organ, we learn about the program of organ August 27–September 2, 2018 by Cecily Winter. This biennial festival is always a fascinating studies at the American Organ Institute of the University of by Eva Moreda 21 event with excellent music, historic organs, and colorful local Oklahoma at Norman. This not your usual organ department, NEWS & DEPARTMENTS experiences. Eva Moreda reports on the f rst International as the program of studies has unique aspects such as the study Editor’s Notebook 3 Late Medieval and Renaissance Music Course, held in San of theatre organ playing and of organbuilding and maintenance. Here & There 3 Marino. And Sarah Mahler Kraaz reviews a new score of Wil- In “Organ Projects,” we learn about a Wicks organ that has a Appointments 6 liam Albright’s Whistler (1834–1903): Three Nocturnes. new life in a church in Ohio. Nunc Dimittis 8 Carillon Prof le by Kimberly Shafer 8 On Teaching by Gavin Black 10 Here & There Harpsichord Notes by Larry Palmer 12 In the wind . . . by John Bishop 14 People churches and cathedrals around the The University of Michigan REVIEWS world and in academic institutions. Women of Color in the Academy New Recordings 13 Among her former students are the Project presented its eighth annual founding conductors of Grammy-nom- Shirley Verrett Award to Tiffany Ng ORGAN PROJECTS 24 inated choirs Conspirare, Roomful of on February 21. Ng is assistant professor SUMMER CONFERENCES 24 Teeth, and Seraphic Fire. of carillon and university carillonist at CALENDAR 26 Brooks has also been an active clinician, the University of Michigan, Ann Arbor. RECITAL PROGRAMS 29 guest conductor, master-teacher, and jurist She holds a doctorate in musicology and CLASSIFIED ADVERTISING 30 in North and South America, Europe, new media studies from the University and Asia. The Connecticut chapter of the of California, Berkeley, and earned a American Choral Directors Association master’s degree in organ performance Marguerite Brooks (photo credit: Robert A. has honored her with its 2016 Lifetime from Eastman School of Music and an T H E Lisak) DIAPASON Achievement Award. She was also hon- artist diploma from the Royal Belgian APRIL 2019 ored recently as a Woman in History by Carillon School, Mechelen, Belgium. The Yale Institute of Sacred Music, the Barnard School, and in 2015 Dean Her concert career has taken her to festi- New Haven, Connecticut, announces Robert Blocker awarded her the Cultural vals in f fteen countries in Europe, Asia, the retirement of Professor Marguerite Leadership Citation from the Yale School Australia, and North America, where she L. Brooks at the end of the 2019–2020 of Music for distinguished service to music. has premiered over forty acoustic and academic year. Brooks has led both the For information: https://ism.yale.edu. electro-acoustic works. She also serves program in choral conducting and the on the faculty of the North American Yale Camerata since 1985. Carillon School. As founding conductor of the Yale The award was created in 2011 by the Camerata, one of Yale’s f rst campus/city Off ce of the Senior Vice Provost in honor

American Organ Institute arts collaborations, Brooks has led nearly of the late Shirley Verrett, who was a University of Oklahoma Norman, Oklahoma Cover feature on pages 22–23 200 musical performances featuring James Earl Jones Distinguished Univer- wide-ranging programming. The Cam- sity Professor of Voice at the University COVER erata and its associated chamber choir of Michigan School of Music, Theatre & American Organ Institute, have performed music from the Middle Dance. The award recognizes a faculty University of Oklahoma; Ages to the present day. member whose teaching, performance, Norman, Oklahoma 22 For over thirty years, the Yale Cam- scholarship, or service supports the suc- erata and Chamber Chorus have brought cess of female students or faculty in the together students, faculty, and staff from arts who come from diverse cultural and Editorial Director STEPHEN SCHNURR and Publisher [email protected] virtually every department and school at racial backgrounds. For information: 847/954-7989 Yale as well as hundreds of Connecticut www.umich.edu. residents to collaborate as part of the Gregory Zielke and Jeannine Jordan President RICK SCHWER [email protected] ensemble and with the Yale Glee Club, 847/391-1048 Yale Schola Cantorum, Yale Philharmo- Jeannine Jordan, organist and nar- Competitions nia, Yale Symphony Orchestra, Hartford rator, and David Jordan, media artist, Longwood Gardens, Kennett Editor-at-Large ANDREW SCHAEFFER [email protected] Symphony Orchestra, Yale Concert Band, presented their organ and multimedia Square, Pennsylvania, announces com- New Haven Chorale, and other groups. program, From Sea to Shining Sea, as petitors for its 2019 International Organ Sales Director JEROME BUTERA They have been featured on National part of the Performing Arts Series at Competition: Rashaan Allwood, [email protected] Public Radio’s Performance Today and Tabor College, Hillsboro, Kansas, on Bryan Anderson, Tyler Boehmer, 608/634-6253 Circulation/ on local Connecticut Public Radio. Veterans’ Day, November 11, 2018. Thomas Gaynor, A. Nathaniel Subscriptions ROSE GERITANO Brooks has long been a champion of Gregory Zielke, arts director and Gumbs, Sebastian Heindl, Chase [email protected] new music, often emphasizing women professor of music, was the host for the Loomer, Colin MacKnight, Justin 847/391-1030 composers. In 2020, a new major cho- college. Jordan was also invited by Jes- Maxey, and Grant Wareham. All Designer KIMBERLY PELLIKAN ral work by Pulitzer Prize winner Julia sica Klanderud, chair of the history competitors will participate in the pre- [email protected] Wolfe celebrating the centenary of department, to present a lecture on liminary rounds June 18–19, with the 847/391-1024 women’s suffrage in the United States the historical research methods used to top f ve competitors competing in the Contributing Editors LARRY PALMER will be premiered in New Haven. discover the anecdotes that make the f nal round on June 22, in the ballroom Harpsichord Many of Brooks’s students have occu- storyline of From Sea to Shining Sea. For of Longwood Gardens. Anderson and pied positions of musical leadership at information: www.promotionmusic.org. page 4 BRIAN SWAGER Carillon

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of JOHN BISHOP Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles In the wind . . . 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Subscriptions: 1 yr. $43; 2 yr. $77; 3 yr. $106 (United States and U.S. Possessions). Copyright ©2019. Printed in the U.S.A. GAVIN BLACK Canada and Mexico: 1 yr. $43 + $10 shipping; 2 yr. $77 + $15 shipping; 3 yr. $106 + $18 No portion of the contents of this issue may be reproduced in any form without the On Teaching shipping. Other foreign subscriptions: 1 yr. $43 + $30 shipping; 2 yr. $77 + $40 shipping; specif c written permission of the Editor, except that libraries are authorized to make 3 yr. $106 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading Reviewers John L. Speller only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every f fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON APRIL 2019 3 Here & There

page 3 Cambridge, UK, in autumn. Hyde was Gumbs are members of The Dia- born in the UK and schooled as a choris- pason’s 20 Under 30 Class of 2017; ter at Durham Cathedral. At age 17, he Gaynor is a member of the Class of was made a Fellow of the Royal College 2016. For information: of Organists and won the organ scholar- www.longwoodgardens.org. ship to King’s College, Cambridge, later taking the position of director of music for Jesus College, Cambridge. In 2009, Grants and scholarships he became Informator Choristarum at The Ruth and Clarence Mader Magdalen College, Oxford, where he Memorial Scholarship Fund is pleased was also an associate professor. In 2016, to announce the recipients of its 2018 he moved to the United States to take up Research Grant Competition and to work at St. Thomas Church. For infor- invite proposals for the 2019 competition. mation: www.hazardchase.co.uk. Left, performers at recital honoring William Eifrig and Philip Gehring, Valparaiso Four research grants were awarded in University, Valparaiso, Indiana: John Bernthal, Larry Long, Louise Mudinger, Bar- bara Raedeke, and Paul Grime; right, William Eifrig and Philip Gehring (photos cour- 2018. Jane Shatwin Hettrick received tesy: Valparaiso University) a grant for her project, “A Newly Dis- Festivals covered Organist Contract from 1824 The British Institute of Organ in the Vienna Lutheran Church,” and Studies, the Incorporated Association The Valparaiso University department of music, Valparaiso, Indiana, hosted a Alexander Meszler received funding of Organists, and the Royal College recital of alumni organists honoring retired faculty William Eifrig (class of 1955, fac- for his project, “The Organ and Secular- of Organists announce OrganFest, ulty member 1960–1998) and Philip Gehring (faculty member 1958–1988), Janu- ized Churches: Church Brewpubs of a biennial event to take place Septem- ary 29, in the Chapel of the Resurrection. Performers included Barbara Raedeke the Rust Belt Region.” Christopher ber 6–8 in Cardiff, Wales. Recitalists (class of 1972), Louise Mudinger (class of 1978), Paul Grime (class of 1981), John Holman was awarded a grant to sup- include David Briggs, Robert Court, Bernthal (class of 1970 and associate professor of music, 1984–2012), Larry Long port a recording of Swiss Renaissance and Gerard Brooks. Organs featured (class of 1978), and Sunghee Kim (visiting assistant professor of music and interim organ music. Finally, Damin Spritzer include an 1887 Willis, 1894 Willis, 1982 director of chapel music). For information: www.valpo.edu. received support for her recording, Peter Collins, and 2010 Nicholson & Co. Rhapsodies & Elegies: English Romantic For further information: Organ Music. www.organfest.org.uk. For the 2019 competition, the Mader Scholarship Fund welcomes proposals for grants to support research on topics Publishers related to organs, organists, and organ Bärenreiter announces new choral repertoire. Individual grants of up to publications: St. John Passion, BWV $1,000 will be awarded. Preference will 245 (BA 5037-02, €69), by J. S. Bach, be given to research that will lead to the an urtext in a new soft-cover full score, publication of articles or books, though edited by Arthur Mendel; Mass in B-f at research projects involving the creation Major, “Creation Mass,” Hob. XXII:13 of recordings, digital resources, or other (BA 4656-02, €49), by Franz Joseph methods of knowledge dissemination Haydn, full score edited by Irmgard will also be considered. Becker-Glauch; and Mass in D Major, The deadline for applications is April op. 86 (BA 10434, €19.95), by Antonin 16. For information: Dvorák, full score edited by Haig Uti- www.maderscholarshipfund.org. djian. For information: Participants in the treble choir festival at St. James Episcopal Cathedral, Chicago, www.baerenreiter.com. Illinois, February 16–17 (photo credit: Noel Morris)

Concert management Dunstan House announces publica- St. James Episcopal Cathedral, Chicago, Illinois, hosted a treble choir festival tion of a new Advent cantata by Daniel February 16–17, with Bruce Neswick as guest conductor. Forty-two young choris- E. Gawthrop, Hope of Israel (DH 1901, ters gathered from St. James Cathedral; St. Paul’s Episcopal Church, Indianapolis, $16.95). Scored for soprano and baritone Indiana; Mt. Olive Lutheran Church, Milwaukee, Wisconsin; St. Luke’s Episcopal soloists, mixed choir, and orchestra, the Church, Evanston, Illinois; and the Chapel of St. John the Divine, Champaign, work is approximately 48 minutes in Illinois. They had a day of rehearsing and fellowship on February 16, combining duration with ten movements. Texts are with the Cathedral Choir (altos, tenors, and basses) for Evensong on February 17. by Jane Griner and from scripture. For Repertoire included works by Leo Sowerby, Balfour Gardiner, and David Hogan. For information: www.dunstanhouse.com. information: www.saintjamescathedral.org.

GIA Publications announces new books. Sacred Choral Music Reper- The Melodic Voice: Conversations Serenade, by Gordon Balch Nevin, has Daniel Hyde (photo credit: Ian Douglas) toire: Insights for Conductors (G-9615, with Alice Parker (G-9660, $29.95), a melody for Oboe and is not diff cult; $54.95), is by Tim Sharp, executive direc- by Cameron LaBarr and John Wykoff, Toccata on St. Theodulph, by Roland Hazard Chase, Ltd., concert man- tor of the American Choral Directors presents a series of interviews with Diggle, is a postlude for Palm Sunday, agement based in Cambridge and Lon- Association. The book surveys a broad composer, conductor, and teacher Alice featuring the hymntune prominently; don, UK, announces the addition to its diversity of sacred choral music reper- Parker, providing a view of her life and Suite Ancienne, by F. W. Holloway, is the roster of Daniel Hyde. Hyde will leave toire, its history, nuance, performance music. Subjects include Parker’s phi- last work for organ by this composer. For his position as organist and director of insights, and discussions on repertoire losophies on melody, arranging, sing- information: music for St. Thomas Church, Fifth Ave- throughout the ages. The author and ing, music teaching, conducting, and www.michaelsmusicservice.com. nue, New York, New York, to become contributors supply over 175 resource other topics. director of music for King’s College, guides for repertoire. Emotion in Choral Singing: Reading Oxford University Press announces Between the Notes (G-9607, $24.95), a new choral anthology, Sacred Cho- by Jameson Marvin, explores the tran- ruses (978-0-19-351887-7, $25.50, scendent power of choral music and the edited by John Rutter. The soft cover emotional connection between com- book contains 28 oratorio choruses poser, performer, and listener. Insights and choral works from the 17th to the for effective rehearsal techniques, score 20th centuries, in 384 pages. The cho- study, and repertoire selection are pro- ral rehearsal volume includes a piano vided. For information: accompaniment reduction, and a sepa- www.giamusic.com. rate book with three staves for organ accompaniment is available (978-0-19- Michael’s Music Service announces 351883-4, $25.50). (Orchestral scores new sheet music restorations: April, by for most items are available for rental.) Harvey Gaul, is a work that will require For further information: some practicing, but is appropriate for www.oup.com/sheetmusic. use in the spring season; A Moonlight page 6

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4 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM Colin Andrews R. Monty Bennett Elisa Bickers Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Charlotte, North Carolina Prairie Village, Kansas Ann Arbor, Michigan Austin, Texas Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Justin Hartz Sarah Hawbecker Organist Organ/Carillon Professor of Organ Organist/Recording Artist Pipe/Reed Organist Organist/Presenter Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Philadelphia, PA Atlanta, GA

James D. Hicks Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Organist Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Lecturer Califon, NJ Brooklyn, New York San Francisco, CA Clarksville, Indiana Wilkes-Barre, Pennsylvania Dallas/Fort Worth, TX

Wynford S. Lyddane Colin Lynch Philip Manwell Katherine Meloan Scott Montgomery Shelly Moorman-Stahlman Pianist/Instructor Organist/Conductor Organist Organist/Faculty Organist/Presenter Organist/Pianist Washington, D.C. Boston, Massachusetts University of Nevada, Reno Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Jason A. Wright Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Conductor/Clinician Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK Hilton Head, South Carolina

Beth Zucchino Clarion Duo Rodland Duo Christine Westhoff Organist/Harpsichordist/Pianist Keith Benjamin, trumpet Viola and Organ & Timothy Allen Sebastopol, California University of Missouri-Kansas City The Juilliard School/ Soprano and Organ Melody Steed, Elementary Music St. Olaf College Little Rock, Arkansas Specialist, Waterloo, Iowa www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 31st- year of operation Here & There

page 4 features the choir of Lincoln Cathedral, UK, directed by Aric Prentice with Appointments Paraclete Press announces new Jeffrey Makinson, organist. The disc Richard Coffey is appointed organist and choral publications: The Wonders of Thy includes works by William Byrd, Edward choir director for Union Church, Pocantico Grace (PPM01902M, $2.90), by Scott Elgar, John Taverner, Judith Bingham, Hills, New York. Coffey retired in 2017 after Perkins, for SATB and organ; The 23rd and Patrick Hawes. 45 years as minister of music and organist Psalm (PPM01922M, $3.10), by Bruce for South Church, New Britain, Connecticut. Saylor, for SATB and organ; Holy, Holy, Since 2005 he has been music director of the Holy, by Mark Reagan (PPM01917M, Hartford Chorale. He holds music degrees $2.20), for Trinity Sunday, for SATB from the University of North Carolina at and organ; Alleluia, by David Maxwell, Greensboro and Union Theological Seminary, for Easter or general use, for SATB a Richard Coffey New York, New York. cappella; and Let All the World in Every Corner Sing (PPM01907M, $2.90), by Carol Williams is appointed organist for Bonnie Duckworth, for SATB, brass, and Randolph College, Lynchburg, Virginia, where organ. For information: she will teach organ students. Randolph Col- https://paracletepress.com. lege was founded in 1891. The organ in the college’s Frances Hundley Houston Memorial Chapel was built by Holtkamp, a three-manual, Recordings 40-rank instrument completed in 1969. For Carol Williams information: www.melcot.com.

Christmas at St. George’s of the f ues was retained by request. Wheaton College, Wheaton, Illinois. Christmas at St. George’s Nancy Dunn is director of music and The organ will be ready for installation in (REGCD533) features the choir of St. organist for the church. For information: approximately two years. Edward Zim- George’s Cathedral, Southwark, UK, www.hochhalter.com. merman is professor of organ at Whea- directed by Norman Harper with ton. The new concert hall is designed by Frederick Stocken, organist. This CD FGM Architects, Oak Brook, Illinois, includes works by the conductor, Philip in consultation with Dawn Schuette of Ledger, John Taverner, and James Mac- Threshold Acoustics in Chicago. Millan. For information: Wheaton College, a liberal arts www.regentrecords.com. Christian college, was founded in 1860. In 2017, the Wheaton Conservatory of Nordic Journey, Volume VIII Music embarked on construction of the Organbuilders Armerding Center for Music and the Pro Organo announces a new Arts to consolidate all the music activities recording, Nordic Journey, Volume VIII on campus, which were previously in six (CD 7287, $24.98), a double disc set locations. The initial phase of the project featuring James D. Hicks and recorded provided for teaching studios, practice in November 2018 at the Hallgrímskirkja rooms, choral rehearsal space, academic in Reykjavík, Iceland. Music of Nordic classrooms, and a recital hall seating 100. composers such as Niels Gade, Fredrik A second phase, now under construc- Sixten, and Knut Nystedt is featured on tion, is a 650-seat concert hall designed the church’s four-manual Klais organ with a resonant acoustic for orchestral, from 1992. MP3 downloads are also Noack Opus 164, to be built for the choral, and organ music. The new organ available. For information: Cathedral of St. Paul, Birmingham, will be located on a gallery above the www.proorgano.com. Alabama stage, a position for performance and accompaniment. A Rückpositiv division Noack Organ Company, Inc., will be placed on the railing just above Georgetown, Massachusetts, has been the stage. chosen to build a new three-manual, Wheaton already has a 50-stop Casa- Episcopal Church of the Good Samari- 58-stop, mechanical-action instrument vant organ, installed in 2001 in Edman tan, Corvallis, Oregon for the Cathedral of Saint Paul, Birming- Memorial Chapel, a 2,400-seat concert ham, Alabama. The cathedral was com- hall. It is a French-inspired, eclectic Hochhalter, Inc., Salem, Oregon, has pleted in 1893 to the designs of Chicago, instrument that can perform a wide completed a renovation of 1962 Casavant Illinois, architect Adolphus Druiding, range of organ literature. The Taylor and Frères, Limitée, Opus 2860 for the Epis- who successfully combined Neo-Gothic Boody, by contrast, is planned to speak in copal Church of the Good Samaritan, Victorian lines with eclectic detailing, a distinctly Germanic voice. The instru- Corvallis, Oregon. Work included new leading to a sense of grandeur through ment will have 31 stops on two manuals façade pipes, all new reeds, including a the proportion of the sanctuary and its and pedal with suspended mechanical full-length Pedal 16′ Trombone, console intricate decoration. key and stop action. The organ case will solid-state conversion and switching Noack Opus #164 will be housed on be based on Werkprinzip concepts with system, selective revoicing, tonal regula- the west end gallery in a new solid oak Hauptwerk 8′ Principal, Rückpositiv A Year at Lincoln tion, and a new Swell 8′ Diapason. The case that will frame the exterior window. 4′ Praestant, and Pedal Principal in façade was moved forward 12 inches to Delivery is expected in 2021. Fr. Bryan façade. Hand pumping will be possible Regent Records announces new allow space for the 16′ Trombone and W. Jerabek, J.C.L., is cathedral rec- with three wedge bellows and pumping CDs: A Year at Lincoln (REGCD532), Great 8′ Trumpet. The general character tor; Bruce Ludwick, Jr., is director of levers. Unusual in the specif cation is music and organist; and Mark W. Hayes the inclusion of two Westerwaldvogel- is assistant organist. For information: gesangs. This harks to Zimmerman’s www.noackorgan.com. family who were immigrants from the MANDER ORGANS Westerwald area of Germany. The new Taylor and Boody Organbuilders, organ will be used for solo and ensemble Staunton, Virginia announces a con- performance, teaching, and practice. New Mechanical Action Organs tract for a new organ, its Opus 81, for For information: a concert hall currently being built for www.taylorandboody.com. The Sound of Pipe Organs

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6 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM ST. JOSEPH ROMAN CATHOLIC CHURCH, MASSILLON, OHIO

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Carillon Prof le Nunc Dimittis Naperville Millennium Carillon, Naperville, Illinois Dominick Argento, 91, died February 20. Born October 27, 1927, he grew Royal Eijsbouts Bell Foundry, Asten, Netherlands up in York, Pennsylvania. After high school graduation, he was drafted into the United States Army and served as a cryptographer. Following World War II, he entered the Peabody Conservatory, Baltimore, Maryland, to study piano, but switched to composition, earning a bachelor’s degree in 1951 and a master’s degree in 1953. He would eventually earn a doctoral degree from Eastman School of Music, Rochester, New York. The recipient of Fulbright and Gug- genheim fellowships, Argento studied in Italy with Luigi Dallapiccola. In 1958, he and his wife, Carolyn Bailey, moved to Minneapolis, where he began teaching composition and theory at the University of Minnesota. He soon began receiving numerous commissions, particularly for opera. Among his organ works was Prelude for Easter Dawning. In the 1970s, Argento began composing choral works, particularly for the choir of Plymouth Congregational Church of Minneapolis. He would be the recipi- ent of commissions for choral music by Plymouth Church, the Cathedral of St. Mark, Minneapolis, the Buffalo Schola Cantorum, Harvard and Yale glee clubs, and other organizations. After retirement from the University of Minnesota in 1997, he was named professor emeritus, and continued to live in Minneapolis.

David Gifford, 97, of Northampton, Massachusetts, died January 26. He was born in Cambridge, Massachusetts, on October 16, 1921, and spent his childhood in Bedford and Cambridge. He attended the Longy School of Music, Cambridge, where he studied organ with E. Power Biggs. After serving in World Naperville Millennium Carillon, Na- Naperville carillon clavier (photo credit: War II as a Military Police Escort Guide, United States Army, Gifford attended perville, Illinois (photo credit: Tim Sleep) Tim Sleep) Harvard University where he earned a Bachelor of Arts degree in music. In 1949 he married Irene Davidson, and they moved to the Oberlin, Ohio, where The Naperville Millennium Caril- he studied at Oberlin Conservatory of Music, earning a Master of Music degree. lon is housed in a striking freestand- After graduation, the Giffords returned to Massachusetts and settled in Hingham. ing tower on the Riverwalk at Rotary He became organist and music director at the Old Ship Church, Hingham, and Hill in downtown Naperville, Illinois, worked as a pipe maker and voicer at Aeolian-Skinner Organ Company, Boston. a suburb of Chicago. The Moser He eventually studied for an education degree at Lesley College and taught Tower and Millennium Carillon at Walter F. Dearborn School, Cambridge, and at the Gifford School, founded project was a true community effort, by his mother, Margaret Gifford, in Weston, Massachusetts. Upon leaving having drawn support from many teaching, he returned to organbuilding and became a pipe maker and reed local donors, whose names decorate voicer for C. B. Fisk, Inc., Gloucester, Massachusetts, and served as organist the bells, as well as businesses, the at Newburyport Presbyterian Church. After retirement, the Giffords moved to Naperville Park District, the Mil- Charlemont, Massachusetts, and David Gifford became organist for St. John’s lennium Carillon Foundation, and Episcopal Church in Ashf eld, Massachusetts. After his wife’s death in 1999, he the City of Naperville. Begun as a moved to Cummington, Massachusetts, and was organist at the Village Con- celebration of the new millennium, Some bells in the Naperville carillon gregational Church. Eventually Gifford retired from active organ playing and the entire project, including adjacent (photo credit: Tim Sleep) moved to Williamsburg and then to Northampton, Massachusetts. visitor center, was completed in 2007. David Gifford is survived by his son Ralph Gifford and wife Amy of The grand carillon, so called because it spans down to G2, has 72 bells, mak- Westwood, New Jersey, and daughter Anne Dodge and husband Edward of ing it the fourth largest in North America by the number of bells. The Royal Barkhamsted, Connecticut. A memorial service was held February 16 at St. Eijsbouts Bell Foundry cast them in 2000. The bells can also be played with John’s Episcopal Church, Ashf eld. Memorial contributions may be made to external hammers via computer control. The Gifford School, 177 Boston Post Rd., Weston, MA 02493. In 2017, the concrete and steel Moser Tower was discovered to be severely damaged by the weather. The city of Naperville is investigating ways to repair Robert “Robbie” Anthony Giroir, Jr., 59, of Baton Rouge, Louisiana, the tower to maintain its visual and acoustic icon, although the precise work died December 23, 2018, after a brief illness. He earned a Bachelor of Music plan has not been decided at this time. degree in music education from Louisiana State University and in 1985 became The Millennium Carillon is performed on by city carillonneur, Tim Sleep, organist and director of music at St. Joseph Catholic Cathedral, Baton Rouge, assistant city carillonneurs Sue Bergren, James Brown, Wylie Crawford, Jim as well as director of choral studies at Baton Rouge Magnet High School. Fackenthal, and Christine Power, as well as other regular performers. The park During Giroir’s tenure, the choirs at the school consistently earned superior district also runs an instruction program for new and experienced carillonneurs. ratings at district and state choral assessments. In the last 15 years, choirs under Live performances on the Millennium Carillon can be heard Saturdays at his direction performed in England, Italy, Spain, Ireland, Czech Republic, Aus- noon and Sunday afternoons, April through December. June through August, tria, Germany, Belgium, Netherlands, France, and Vatican City. He was named the park district features guest carillon recitalists on Tuesday evenings and pops “Music Teacher of the Year” by the Baton Rouge Symphony League for 2010– carillon concerts by Tim Sleep on Saturday evenings. The carillon is also played 2011. As director of music and organist at St. Joseph Cathedral, he oversaw the for special events, including Memorial Day, Independence Day, Halloween, acquisition of the Reuter organ in 1993 as part of the parish’s bicentennial. Thanksgiving, the December holidays, and New Year’s Eve. His funeral Mass was celebrated at St. Joseph Cathedral on December 27 —Kimberly Schafer, PhD and was televised live throughout the Diocese of Baton Rouge. His best friend Founder and Partner, and protégé, Ryan Hebert of the University of Tampa, accompanied the funeral. Community Bell Advocates, LLC Members of the Baton Rouge Symphony Orchestra provided a chamber ensem- www.communitybelladvocates.com ble. The choirs of the cathedral and Baton Rouge Magnet High School sang, [email protected] assisted by alumni of both groups, comprising more than 130 choristers in all. Robert Anthony Giroir, Jr., is survived by his mother, Myrtis Leblanc Giroir; sister and brother-in-law, Danette and Ronald Legendre; and nephews with their wives and children, Ladd, Abby, and Landon Legendre, and Brant, Brittney, and Harper Jane Legendre.

Noel Rawsthorne, 89, died January 28. Born December 24, 1929, he stud- ied with Harold Dawber at Royal Manchester College of Music (now Royal Northern College of Music), after which he studied with Fernando Germani in Italy and Marcel Dupré in France. Rawsthorne was organist of Liverpool Cathedral, UK, from 1955 until 1980, when he was named organist emeritus. From 1980 until 1984 he was also organist of St. George’s Hall, Liverpool. As a recitalist, he performed through- out the UK, Europe, and the former Soviet Republic. In 1994, the University of Liverpool awarded him an honorary doctorate of music. A memorial service was held March 3 at the cathedral of Liverpool.

8 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM The Ecclesia VăLYZH ZVS\[PVUMVY L]LY`JO\YJO

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It is available in five different models, starting out with the Balanced audio system delivers a powerful sound two-manual T-170 and adding extensive extra options to The organ is based on a state-of-the-art audio system and culminate in the four-manual D-570, with eighty stops. features multiple amplifiers, subwoofers and loudspeakers. The D-570, for example, is equipped with an 18.3 audio system, The Ecclesia is an outstanding organ for the smallest church which channels the authentic pipe organ sound superbly. hall to the largest cathedral. The organist has all the tools This powerful sound - a feature of all five Ecclesia organs - necessary to take congregational singing to a higher level. makes the organ the ultimate instrument for accompanying both choral and congregational singing. Saturated with musical tradition One of the striking features of the Ecclesia is its magnificent The church organ that doesn’t compromise sound, saturated with a musical tradition spanning the The Ecclesia organ is so attractive because it can be adapted entire spectrum from Baroque, Romantic, and Symphonic to suit individual needs. For example, solo stops can be added, styles to classical organ literature. alternative side panels can be chosen, and wood fi nish colors can be selected. The only way Ecclesia compromises is by combining Johannus believes in the authenticity of each individual tone the ultimate quality of Johannus with the wish to create the produced by the pipe organ, which is why we record the sounds organ that best suits the needs of the church. In all other respects, tone by tone, to maintain that authentic pipe organ sound. the Ecclesia is the church organ that doesn’t compromise.

Johannus has dealers throughout the United States. Visit johannus.com to fi nd a dealer near you. If you have any questions, or would like more information about any of our organs, you can contact us at [email protected] On Teaching By Gavin Black

Students’ Listening I articles, I will systematically explore my just f t my schedule, or maybe I thought I am over-writing the performance with Through the f rst years of this column’s own current project as a player, namely that it would be easy. However, if some- my own imagined performance. This is existence, much of what I wrote about relearning and performing J. S. Bach’s one has come for organ lessons and paradoxically true with performances was practical, specif c material regarding The Art of the Fugue. Rather than being seems involved and committed to that that I think are really good by players teaching—what I often refer to as nitty- a detailed and systematic set of sugges- process, it is likely that they have fairly whom I admire and respect. gritty: an approach to teaching pedal tions about how to approach a particular strong ownership of their music listening playing, hand distribution, practice tech- piece, it will be an actual account of my habits. If we become aware that some- Whether to listen to other perfor- niques, registration, etc. I would often go own grappling with the work of learning one has focused somewhat narrowly— mances, that is the question. through pieces in great detail, suggesting a piece. Be sure to watch for it in the listening only to the music of one era, or To tie this in to our work with students: how to put these ideas into practice. May issue of The Diapason. perhaps listening only to organ music, or the question often arises of whether However, over the last year or so, I have only to vocal music, while ignoring ora- someone who is working on a particular found myself interested in writing in a Music listeners torios, or any electronic music—then we piece should listen to other performances more general vein, tossing out ideas and I was originally planning to call this should certainly consider nudging them of that piece. My own answer is almost questions about music, and admittedly, column “What should students listen in the direction of whatever has been always the same: either listen to no other the relationship this has to the day-to-day to?,” but I put that aside because of my lacking. Or, I should say, some of what performances or listen to at least half a teaching process is perhaps more distant aversion to the concept of “should,” and has been lacking, since there is always dozen. These are the two ways to avoid or indirect. I would argue that even if that title did not represent the scope of an inf nite amount out there, and we can being, consciously or subconsciously, more distant, that connection is crucial. what I want to think about. The question never f ll in all of it. It is possible to push over-inf uenced by what you hear. If the One of the reasons that I have moved in is, what is the role of listening to music too hard, and this is about a student’s (or listening process only reinforces a link this direction is that I feel more strongly in the life of someone who is studying anyone’s) psychology. I became aware between these notes on the page and that that everything is about learning and, music, studying an instrument, or, spe- in that teacher’s off ce that it would one particular sound, it is very diff cult to therefore, also about teaching. I increas- cif cally, studying organ? What has some behoove me to broaden my listening break that link. Not necessarily impos- ingly notice that some of the most impor- of my own experience with this been, habits. I embraced that and internalized sible, though sometimes nearly so, but tant things that I learned from my formal and what can we as teachers do to guide it as a concept. But nonetheless, I did not always a source of indirectness or ineff - music teachers came from things that they students in their lives as music listeners, and could not jump right into listening to ciency in working out interpretation. Half said or did that had nothing to do with f n- if we should do anything? music that I did not like or that bored or a dozen performances will, in this respect, gering, phrasing, or practice techniques, When I was a student in a second- annoyed me. I had to wait for the time to cancel one another out. even though all of those things were year music theory class in college, near be right, for my mind to be ready. There is a lot of pressure on students crucially important as well. And much of the beginning of the school year, the The listening that I did back then was (and on the rest of us) to look for objec- what I have learned about my own work teacher administered a listening test to limited though extensive. I was listen- tive reasons for doing what we are doing. as a musician and teacher has come from all students. He played twenty recorded ing to music that was associated pretty That is abundantly useful and good. It is outside formal or informal lessons. excerpts of classical pieces, and we directly with the music that I most always a part of the process of perform- I am also aware that there is some had to try as best we could to identify wanted to play. I listened to the compos- ing a piece that we have learned. The limit to how much there is to say about each piece. I remember the number of ers listed above along with many others notes and rhythms are (usually uncon- the purely practical. There might be a examples well, because my results made from the seventeenth and eighteenth troversially) part of the objective. So is limitless number of approaches to pedal it an intense and disturbing experience centuries. I listened to their organ and at least some of what we know about a pedagogy, but there is a limit to how for me. Even as a classical music junkie harpsichord music, to their chamber and composer’s particular intentions, often as much one person should go on saying and aspiring musician, I was able to rec- orchestral music, and to their (mostly to choice of instruments or registration, it! There are good reasons that method ognize and identify only one out of the sacred) vocal music. These were the sometimes as to tempo, articulation, etc. books are not as long as encyclopedias. twenty. I was mortif ed by how badly I years when I was off cially a student. But there is also always the less objective, At a certain point a teacher says what had done. But when the teacher went But I do not think that the reason this fundamentally personal part of interpre- needs to be said, and it is time for the over the results with me in private, he pattern developed was related to the tation and performance. Fully manifest- student to get on with it. Having started said something in a very kind, concerned study of the music. The reason was that ing performance decisions that are not in September 2007, my column as a way about how I really should start listen- I chose to play music I liked best, and I objective can be diff cult psychologically whole is approaching 400,000 words. ing more to music. I shifted from being chose to listen to music I liked best. Not and emotionally: this is really me, this is That is not to say that I do not expect mortif ed to being indignant. Prompted surprisingly, the two were related. It was what I really want to say to you, this is to write about the “nitty-gritty” again. by that comment, I belatedly became not a conscious choice; I did not say, “If I me trying my hardest to make you feel There are things in that area that I have aware of how narrow and biased the want to play Baroque keyboard music, I something. So I wonder whether a stu- not gotten to yet. (And if anyone reading examples were. All but one or two were should listen mostly to Baroque music.” dent’s identif cation of himself or herself this has suggestions for something that from the nineteenth or early twentieth I was just drawn to that repertoire as still in large part a listener might con- you would like me to address, I would centuries. There was probably one Bach whether I was functioning as a listener nect in various ways with the diff culties be overjoyed to read them.) There are selection, and that was probably the one or as a player. that leap into exposure. This connection also things that I have written about that that I got right, and maybe one from Nowadays, it is not just chance, a could be helpful or it could be limiting. I want to revisit someday. The distinction either Mozart or Beethoven that prob- change in my tastes, or an attempt to The limiting aspect of it is very likely to between the practical and the fruitfully ably sounded familiar to me, but which practice broadmindedness that has me arise with the practice of listening to or speculative is not absolutely clear-cut. I could not pin down. listening mostly to music from outside identifying with only one performance. When I started the column, and for a I would have been able to make up the realm of what I mostly play. I have (“I am not really doing this, I am just while thereafter, I was typically writing on the spot a similar test with Buxte- come to a different kind of relationship serving as a conduit for something that about things that I knew about before hude, Schütz, Frescobaldi, Froberger, with various sorts of music. When I someone else concocted.” I feel fairly the column ever started. My techni- Pachelbel, Scheidt, de Grigny, Westhoff, encounter new music by hearing about certain that I had a great deal of that cal approach to pedal learning, my way Mainerio—and, of course, Bach. I told it, or reading through it, happening to feeling when, in my high school and of conceptualizing the importance of him, rather annoyingly, that I listened notice the cover of a volume, or indeed early college years, I was a devotee of the relaxation, my concerns about memoriza- a lot, even maybe too much, and exclu- actually hearing it, any music that is playing of only a small number of favor- tion, or any number of other subjects for sively to classical music, but just not to the squarely at the center of what I most ite performers. If in those days I tried to writing and discussion were all there in repertoire he thought one should know. care about playing, my immediate rela- play a Bach piece, I was really trying to some fairly thoroughly worked-out form I remember being impressed by the fact tionship to that experience is framed by recreate Helmut Walcha’s performance prior to 2007. I may have rethought them that he immediately conceded the point. questions of performance. What would of that piece. I would not have owned in the course of writing them up, and I He not only expressed agreement, even I want to do with that theme? How up to that, but it is what was happening.) needed to subject them to organization. though that perspective had not occurred would I try to make those voices dance The helpfulness might be that of hiding But more recently, a lot of what I have to him, but he acknowledged that he around each other? How much would I the personal nature of performance from wanted to write about has been more in learned something from the exchange. I want to draw out that moment? Should oneself in a way that avoids a too fright- the category of things that are pending also learned something, although I was that bit be viscerally exciting or more ening feeling of exposure. in my mind—new ideas that I am in part entirely within my rights to consider that calm and considered? My thoughts about this are most working out by the very process of writing test unfair and to maintain that I was an When I was a student, my relationship certainly evolving, but I suspect that about them. For me this is an interesting, avid music listener, it was also true that to that repertoire as a listener was pure, helping students detach themselves, in exciting process. It exposes the very pro- I would benef t from expanding my own intense, and primary; now that relation- some ways and in part, from a primary cess of trying to evolve as a teacher and listening habits. There is great merit in ship has been somewhat eclipsed. It is identif cation as listeners could be a use- thinker about music and teaching. the ability to differentiate Brahms, Cho- replaced by my own attempts to play ful if non-obvious project for a teacher. In the next several months, I will write pin, or Stravinsky. One should always be the repertoire. I am not quite sure how This could apply even when imitating about issues that are either directly about open to listening to new music, but that to describe this fully and accurately. It is recordings is not a problem. specif cs of teaching or related to that; there is also no reason to assume that any not that I do not think that I would like Soon I will start with a discussion of and the following part of this column falls set of assumptions about what “should” or admire performances or performers, authority in recorded performances, into that latter category. In subsequent be listened to are any better than any nor is it a diminution of the intensity of YouTube (a surprisingly important issue other set. my involvement with that music or of my all by itself), listening to live performance, 0LOQDU2UJDQ It makes perfect sense for a college liking of it: quite the opposite. But one listening for instruments and acoustics, &RPSDQ\ music professor to believe that a student, could argue that I am not objectively lis- and circles of connectedness in music. otherwise unknown to him, might not be tening to the repertoire I am most inter- /DUJHVWVHOHFWLRQRIH[FHOOHQWXVHGSLSHV /LNHQHZ$XVWLQDFWLRQV an avid music listener and might need ested in playing. I suspect that if I listen Gavin Black is Director of the Prince- 6ROLG-VWDWHV\VWHPV some prodding to become one. After all, to a recording of Baroque organ music, ton Early Keyboard Center in Princeton, ([FHOOHQWXVHGVZHOOVKDGHV

--GHQQLV#PLOQDURUJDQFRP college students take classes for all sorts I am doing that recording a disservice. I New Jersey. He can be reached by email ZZZPLOQDURUJDQFRP of reasons. As far as he knew, maybe it am not being faithful to it as a listener. at [email protected].

10 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM

Harpsichord Notes By Larry Palmer

THE DIAPASON harpsichord front page sported a two-column-wide columns history facsimile of the f rst page from Armand- Part II: Front-page features Louis Couperin’s Simfonie de Clavecins. The magazine’s third editor Robert Fuller’s comprehensive traversal of this Schuneman made harpsichord history most interesting topic continued on when he placed my report on the Bruges pages 6 and 7, illustrated with a diagram [Belgium] International Harpsichord of knee levers, two further musical Competition and Festival on the front manuscript examples by C. P. E. Bach, page of the October 1971 issue. To my and a useful bibliography for further knowledge this was the f rst time a non- study of this topic. As an additional bit of organ-related item had appeared in that nostalgia, page 7 also had an advertise- prominent spot! There were two black- ment for Richard Kingston harpsichords; and-white photographs: at the top of the at this time Richard was still in his f rst page, the f rst prize winner, Scott Ross decade of building f ne instruments in from the United States playing a harp- his Dallas, Texas, shop. sichord by David Rubio, and at the bot- Front page #4: Editor Lawrence tom, a picture of the very distinguished chose my “Affectionate Remembrance” and very international jury: Kenneth of the late E. Power Biggs for the Gilbert, Raymond Schroyens, Colin cover feature of March 1979’s journal, Tilney, Charles Koenig, Robert Veyron- resplendent with a large photograph Lacroix, Isolde Ahlgrimm, and Gustav of the master organist and his pedal Leonhardt, plus the director of the harpsichord. I just happened to be at festival, Robrecht Dewitte, surrounding harpsichord maker John Challis’s home an instrument by Rainer Schuetze. The one afternoon during the 1960 American report continued on page 10, graced Guild of Organists national convention with one more illustration —the semi- in Detroit. I was playing some Bach on f nalists, a truly international group from Challis’s prototype pedal harpsichord the UK, Netherlands, France, Chile, when EPB arrived to try the instrument. Ceylon, Hong Kong, Italy, Canada, and Removing his shoes, he sat down to try two from the United States. it. The result, of course, became harpsi- Front page #2 : I returned to Bruges chord history: Biggs ordered one on the for the fourth competition in July 1974. spot and subsequently recorded several Again, Editor Schuneman placed the discs, ranging from popular musical report of that event on the front page of favorites such as Saint-Saens’ The Swan October’s magazine, and it was just as eye- to a full set of all six Bach trio sonatas on catching as the f rst feature, with three the newly acquired instrument. photographs. (A young Martin Pearlman Front page #5: In July 1979 there is the f rst f gure on the left of the middle was much international celebration of picture.) My lengthy article continued Wanda Landowska’s centenary. Edi- without illustrations, on pages 3 and 4. tor Arthur Lawrence agreed that we As had become usual for the Bruges should join that observance, and that we event by this time, the harpsichord solo needed to contact Landowska’s longtime competition was not graced with a f rst companion and current resident of the The front page of the October 1971 issue prize. The f ve f nalists garnered awards pioneering harpsichordist’s last home beginning with a second prize, continu- in Lakeville, Connecticut, to ascertain write a proper description of such an front covers, which in this case featured ing with two sharing the third spot, and if she might write a feature article for instrument, that she herself should write a montage of four Dowd harpsichords one each in fourth and f fth rankings. us. Denise Restout responded favorably, that short but necessary article as well (German, French, and Franco-Flemish I noted that none of the players had but informed us that she would need to (pages 16–17). doubles and a French single), with the reached the electrifying level of playing be reimbursed for such a task. Since no Other featured articles included builder’s King David and his harp logo in achieved by Scott Ross in 1971. The contributors to The Diapason were “Reminiscences of St. Leu” by Momo the middle of the very attractive layout most popular harpsichord chosen by the paid at that point in its history, Arthur Aldrich, Landowska’s f rst private secre- approved by Editor Jerome Butera. contestants was a harpsichord by Wil- and I each contributed her fee from our tary, whom I met and interviewed exten- The idea for the celebratory edition was liam Dowd, built in his Paris workshop. own funds, and the magazine was well sively during many annual winter trips suggested by Dowd’s wife Pegram (Peggy) Front page #3 : The Diapason served! Ms. Restout not only provided to visit her in Honolulu, where she had in conversation with me at a Southeastern published in July 1978 displayed David the feature article for the front page settled to be close to her daughter and Historical Keyboard Society (SEHKS) Fuller’s fascinating and erudite article (continued on pages 12–15), but she grandchildren (pages 3 and 8). I contrib- conference. She was a great help with “Harpsichord Registration” on page one, insisted, since she did not trust a young uted an extensive article about the two contacts to the contributors, and together courtesy of Editor Arthur Lawrence. The Pleyel harpsichord owner in Texas to Landowska-inspired harpsichord con- we assembled vignettes from fellow Coast certi by Falla and Poulenc (pages 9–11) Guard serviceman Fenner Douglass (who and the introduction on page 2 (“Happy after World War II service became a much Birthday, Wanda”). The result: Land- sought-after Oberlin Conservatory organ owska was celebrated on thirteen of the professor, and later, at Duke University), twenty-four pages in our July publication. Dowd owners Albert Fuller, Frederick Front page #6 : Well, half a front Hyde, David Fuller, Miles Morgan, page, actually. My report, “The Harp- Robin Anderson, Dowd shop foreman sichord at the Boston Early Music and distinguished jazz harpsichordist Festival and Exhibition,” shared the Donald Angle, soundboard painter Sheri- front page for August 1981 with Edi- dan Germann, John Fesperman of the tor Arthur Lawrence’s report on the Smithsonian Institution, William Christie Montreal Organ Conference, “L’Orgue (who, having moved to France to “restore à notre époque.” And he had an organ French Baroque opera to the French,” photo! My report managed to display provided me with my f rst fax experience), some harpsichord soundboard rosettes, Arthur Haas, Dirk Flentrop, Thomas and reprinted by permission from the fes- Barbara Wolf, Glenn Spring, and Gustav tival program book, as well as portraits Leonhardt. A specially made caricature of the two outstanding harpsichord was created by Jane Johnson. recitalists on page 3: John Gibbons and All these varied glimpses into Dowd’s Ralph Kirkpatrick. life and legacy are fascinating, and they Front page #7: A true festschrift comprise a major contribution to the to celebrate the seventieth birthday of modern history of the American (and master harpsichord builder William Parisian) development of harpsichords Dowd appeared in February 1992. By based on historic models. The last two, this time The Diapason sported actual however, provide unique offerings: from

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12 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM Reviews

New Recordings was previously associate conductor of the Stephen Paulus, Three Places of Minnesota Orchestra and director of the Enlightenment. Nashville Symphony Eugene Symphony Orchestra. Orchestra; Giancardo Guerrero, The organist on this recording, who director; Nathan Laube, organist. will probably be well known as a recit- Naxos Compact Disc 8.5597.40. alist to readers of The Diapason, is Available from www.naxos.com. Nathan Laube, who is assistant professor Concerto for String Quartet of organ at the Eastman School of Music and Orchestra (Three Places of at the University of Rochester and has Enlightenment)—i. From Within; ii. also recently been appointed as inter- From Afar; iii. From All Around and national consultant in organ studies in Radiating Ever Outward. Veil of Tears the Royal Birmingham Conservatoire at for String Orchestra (from To be Certain Birmingham City University in England. of the Dawn). Grand Concerto for Organ Concerto for String Quartet and and Orchestra—i. Vivacious and Spir- Orchestra frames a gentle second ited; ii. Austere, Foreboding; iii. Jubilant. movement featuring the melody of the Nashville, Tennessee, is a major center hymn, “Sweet hour of prayer,” between for the performance and publication of two exuberant outer movements. The music, but tends to be better known as the string quartet, consisting of Jun Iwaski home of the Country Music Hall of Fame (violin I), Carolyn Wann Bailey (violin than as a center for the performance of II), Daniel Reinker (viola), and Anthony classical music. Nevertheless Nashville is LaMarchina (violoncello), contrasts a major educational and cultural center effectively with the full orchestra. The and boasts in the Nashville Symphony, second work on the compact disc, Veil of an uncommonly f ne orchestra for a city Tears, is abstracted from To Be Certain of its size. The orchestra is based in the of the Dawn, an oratorio on the theme Schermerhorn Symphony Center, opened of the Holocaust. It is a movement full in 2006 and home of a three-manual, of pathos, combining a doleful melody 64-rank Schoenstein organ, Opus 154 of with a feeling of total dejection, though 2007. Readers may recall that a storm in nevertheless achieving a peaceful effect. 2010 in Nashville f ooded the Schermer- Grand Concerto for Organ and horn Symphony Center to a depth of 24 Orchestra is unusual for the ominous feet, necessitating $40,000,000 worth of effect of the “austere” and “foreboding” repairs. The organ as well as the hall sus- character of its middle movement. The tained signif cant damage, but all of this f nal movement features the seventeenth- has fortunately been made good. century Scottish folksong, O Waly, Waly. Stephen Paulus (1949–2014) wrote I have to say that, in recent performances in a style that is at once eclectic and I have attended featuring organ plus accessible. The works on this recording orchestra, the organist often seems to remind me in their mood of a number of consider the occasion an opportunity to compositions including Igor Stravinsky’s show off, by attempting to overpower the Rite of Spring, Ralph Vaughan Wil- orchestra, or by ignoring the conductor The February 1992 issue celebrating the seventieth birthday of William Dowd liams’s Sinfonia Antarctica, and some and going off in his own direction with of the work of other composers such as an excessive display of rubato. In contrast composer Glenn Spring, a complete edu or 10125 Cromwell Drive, Dallas, Béla Bartók and Benjamin Britten. This with this attitude Nathan Laube displays score of his winning Aliénor competi- Texas 75229. recording was made a few months before a commendable professionalism in his tion composition from 1990—William Stephen Paulus’s untimely death as a handling of the organ, and his organ part Dowd: His Bleu, the full score of which Editor’s note: all of the issues result of complications following a stroke. f ts with the orchestra as seamlessly as, is included (centerfold, full size, four mentioned in Dr. Palmer’s column Giancarlo Guerrera, the conductor on say, the woodwind or the strings. Indeed, pages), referencing Dowd and Angle’s are available at our website, www. this recording, was born in Costa Rica I commend this recording as an excellent improvisations in the Cambridge shop thediapason.com. Near the top left of and received his education in the United example of how a good organist can func- as well as the color of the new Dowd the home page, click on “Magazine.” States at Baylor and Northwestern uni- tion with an orchestra. I also commend it at Walla Walla College where the com- Under “Magazine Archive” on the next versities. He specializes in conducting as including f ne performances of some poser was teaching at the time. It was a page, type the year desired and click music by contemporary composers and very interesting works by an outstanding f rst for the harpsichord submissions to “Apply.” The available months of that is the recipient of multiple Grammy American composer of whom we have the magazine, but one that has been fol- year’s issues will then appear. Click on awards, including one for this compact sadly been robbed by death. lowed by at least one more harpsichord the desired issue, and on the following disc. He has been director of the Nash- —John L. Speller piece (Mulet’s Petite Lied). page, click on PDF. ville Symphony Orchestra since 2009 and Port Huron, Michigan All these tributes required ten pages, with another published a year later (February 1993) when the honoree con- tributed his one-page response, which the magazine graced with a second Jane Johnson caricature plus three photos of the honoree. Thousands of Songs To end on a very high note, here is a sample of Gustav Leonhardt’s tribute: ONE LICENSE ONE LICENSE is a premier licensing source that covers all Dowland and Purcell choosing of your congregational reprint needs. their texts with William Dowd in mind In the last year, we have added over 10,000 new titles. O how happy’s he, who from bus’ness free Our catalog now has nearly 75,000 songs from more than Music for a while (Yes, a very good while,— 160 Member Publishers and their divisions, including the since 1949) music of GIA, OCP, and WLP. While bolts and bars my days control[ed] (The last two letters added by the editor make comment superf uous) Our reporting process is fast, easy, and intuitive. There is no online licensing resource that is as user friendly as ONE LICENSE. From silent night (Only since acquiring a telephone answering machine) If my complaints could passions move (Deliver them at No. 100) . . . If music be the food of love (Eat on) . . . Flow my tears (For good humidif cation) Lachrimae (The same, for another kind of www.onelicense.net | 800.ONE.1501 customer) . . . . Annual Single-Use/Event Podcast/Streaming Practice-Track For the rest of the text, consult page License License License License 20, The Diapason, February 1992, available at www.thediapason.com.

Comments and questions are wel- come. Address them to lpalmer@smu.

WWW.THEDIAPASON.COM THE DIAPASON APRIL 2019 13 In the wind...

Connectivity It does not seem that long ago that packing a briefcase for a business trip meant gathering f le folders and note- books. Today, all my f les are digital, and my briefcase is full of chargers for iPhone and iPad and the power cord for my laptop. I admit to carrying an HDMI cord with adapters so I can plug into the television in a hotel room and watch movies or other good stuff using laptop, iPad, or phone, and I carry an exten- sion cord to be sure I can set up camp comfortably. I add to all that a Bluetooth speaker so I can listen to music and NPR programs with rich sound. There are a lot of wires in my wireless life. My desk at home similarly includes wires that make the essential connec- tions of my life, and I had to add one more yesterday. The printer in a drawer An artifact from Trinity Church, 1,486 under my desk, happily connected to conductors (plus positive and nega- Wi-Fi, suddenly went hermit on me and tive DC leads) (photo credit: John Bishop) refused to perform. I ascertained that the Wi-Fi connection had failed and at Madison Avenue and East 36th Street spent most of an hour mucking around in New York City was illuminated by with passwords, straightened paper clips, Thomas Edison in 1882. There was a f re and reset buttons . . . to no avail. If this that spoiled Mr. Morgan’s expensively had happened at our home in Maine, I appointed study that necessitated replac- would have jumped into the car (it was ing a lot of wiring, but he was very proud snowing) and driven forty-f ve minutes to be on the forefront of that revolution to Staples to buy a cord. Luckily, I was in and invited hundreds of people to parties New York, where Staples is immediately at his home, encouraging them to marvel across the street from us. The only door at the new equipment. I have to pass is an ATM. Even though Three years earlier, E. & G. G. Hook it was snowing, I did not bother with a & Hastings had completed a 101-rank jacket and ran across to get the cord. I masterpiece of an organ for the Cathe- f shed it through the hole I had made for dral of the Holy Cross in Boston, Mas- the printer’s power cord, and I was back sachusetts. I have not done the research, in business. but I feel safe guessing that it was the I suppose I will want to renew the largest organ in the United States at that Wi-Fi connection sooner or later, but as time. (https://pipeorgandatabase.org/ Skinner remote combination action for Great and Pedal divisions, Woolsey Hall, I only paid $125 for the printer, I may OrganDetails.php?OrganID=7254) Just Yale University, New Haven, Connecticut. Lots of wires from the console. just buy another one rather than spend- look at that Great Chorus! Though the ing more time trouble-shooting. Wendy’s organ now has electric action opening John the Divine in New York City. With § printer is working f ne, as is all of our the pallets, it was built without electric- four manuals and eighty-four ranks, Early electro-pneumatic organs other wireless gear, so I feel safe assum- ity, with mechanical key and stop action it was among the f rst really large fully relied on elaborate electro-pneumatic- ing that the printer is the culprit. It is not and a human-powered wind system. electro-pneumatic organs in the world, mechanical switching systems for their all that long ago that I put paper directly Within ten years of the completion of completed just twenty-four years after operation. Keyboard contacts operated into a typewriter, and there was no ques- the organ at Holy Cross, organbuilders the Holy Cross organ. (http://aeolian- matrix relays to control keyboard and tion about the need for connectivity. were experimenting with electric power skinner.organhistoricalsociety.net/Specs/ stop actions. Consoles were packed full § in pipe organs. Builders like George Op00150.html) And by the way, it had of coupling and combination machines, Hutchings and Ernest M. Skinner electric blowers. inspired along with the development Toward the end of the nineteenth were developing the electro-pneumatic That was quite a revolution. It took of the vast multiplication of switching century, scientists and engineers were actions with which we are familiar barely a generation to move from tracker systems that supported the spread of the racing against each other to perfect the today. In 1906, Mr. Skinner completed action, proven to be reliable for over f ve telephone. The wiring diagram of a Skin- harnessing and application of electricity his massive instrument (Opus 150) for hundred years, to electro-pneumatic ner organ is remarkably similar to the old for everyday life. J. P. Morgan’s mansion the newly unf nished Cathedral of St. action—that new-fangled, up-and- telephone switchboards where operators coming creation that provided organists inserted quarter-inch plugs into sockets with combination actions, comfortable to connect calls. ergonomic consoles (decades before the Along with “traditional” organs for invention of the word ergonomic), myriad churches and concert halls, the advance gadgets to aid registrations, and, perhaps of electric actions fostered the theatre

— 38 ranks most important, unlimited wind supplies. organ, a vehicle that allowed a musician Many organists were skeptical of the new to rollick through the countryside along actions, thinking that because they were with the antics and passions of the actors not direct they could not be musical. on the screen. The invention of double- , alabama tuscaloosa

opus 132 In spite of the skepticism, electro- touch keyboards expanded the scope of pneumatic organs sold like fried dough organ switching, as did the ubiquitous at the state fair. Before the end of 1915, “toy counters” that duplicated the the Ernest M. Skinner Company pro- sounds of cow bells, train whistles, sleigh duced more than 140 organs (more than bells, thunder and lightning, car horns, ten per year), forty-six of which had four and dozens of other sound effects that

Episcopal Chur c Chri ! Episcopal manuals. (Who would like to go on a tour might have a use during a movie. Those of forty-six pre-World War I four-manual novelty sounds were not synthesized, but Skinner organs? Raise your hand!) The produced by the actual instrument being negative side of this is the number of manipulated, struck, shaken, or stirred wonderful nineteenth-century tracker by an electro-pneumatic device. Push organs that were discarded in the name the button marked “Castanets,” and a follow of progress, but it is hard to judge half-dozen sets of castanets sound across us on facebook! whether the preservation of those instru- the Sea of Galilee. Ole! ments would have been advantageous The original switching system of a over the miracles of the innovation of big electro-pneumatic organ is a thing electro-pneumatic action. to behold—electric relays in rows of And a generation later, what went sixty-one, seventy-three, or eighty-f ve around came around when the new (depending on the number of octaves 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA interest in tracker-action organs surged, in a rank, a windchest, or a keyboard). t 800 625-7473 [email protected] and scores of distinguished electro- Each relay has a contact for each func- Visit our website at www.letourneauorgans.com pneumatic organs were discarded in tion a given key can perform. In a big favor of new organs with low wind pres- four-manual organ with sub, unison, sure and lots of stops of high pitch. and super couplers every which way,

14 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM By John Bishop

in my toolbox that are replacements for common organ controls that are each the size of my pinkie f ngernail. Huge! I have no idea how many circuits there are in my iPhone, but it must be millions. I f rst worked with solid-state organ actions in the late 1970s. One job was in a rickety Anglican church on East 55th Street in Cleveland where we were installing one of the earliest Peterson combination actions in an old Holtkamp organ. The church had a dirt crawl space instead of a basement, and as the appren- tice, it was my job to crawl on my belly with the rats (yup, lots of them), trailing cables from chamber to console. We fol- lowed the directions meticulously, made actions. In that time, we have seen the “Have I reached the party to whom I am speaking?” (Source: copyright-free webpage all the connections carefully, crossed our medium of connections go from regular of the Library of Congress) f ngers, and turned it on. Some smoke old organ cable to “Cat5” to optical f ber. came out. It took us a couple hours to I know that some of the f rms that supply multiple windchests for each division, moisture, and careless custodians toss sort out the problem, and we had to wait this equipment are experimenting with and unif ed stops around the edges, one detritus into mysterious dark rooms. a few days for replacement parts, but the wireless connections. I suppose I may be note of the Great keyboard might have Many is the time I have seen the like of second time it worked perfectly. I do not asked to install such a system someday, as many as twenty contacts in various signs from a 1963 rummage sale heaped believe we were very sure of what we but while I am committed to solid-state forms. Sometimes you see that many on top of delicate switching equipment. had done, but we sure were pleased. switching and all its benef ts, I am skepti- contacts physically mounted on each key, Oxidation is another enemy of organ In around 1987, I became curator of cal about wireless. with miniscule spacing, and tiny dots of contacts that are typically made of phos- the marvelous Aeolian-Skinner organ Forty years ago, I was organist at a solder holding the connections fast. Spill phorous bronze wire that reacts with (Opus 1202, 1951) at the First Church of church in Cleveland that had a small a cup of coffee into that keyboard, and oxygen to form a non-conductive coating, Christ, Scientist (The Mother Church) in and ancient electronic organ in the cha- your organ technician will spend scores inhibiting the operation of the contacts. Boston. With over 230 ranks and 13,000 pel. I was happy enough that I almost of billable hours cleaning up after you. Also, in a simple circuit that includes a pipes, the instrument had heaps of never had to play it, but there was one One organ I worked on for years power supply (organ rectif er), switch electro-pneumatic-mechanical relays. As I Thanksgiving Day when the pastor was in fact two. The organ(s) at Trinity (keyboard contact), and appliance (chest came onboard, wire contacts had started chose to lead an early morning worship Church in Boston included a three- magnet), a “f y-back” spark jumps across to break at a rapid rate, and as the switches service in the chapel. Halfway through manual instrument in the chancel and the space between contacts as a note is were mounted vertically, when a contact that service, human voices blared out of a four-manual job in the rear gallery. Of released. Each spark burns away a teeny broke, it would fall and lodge across its the organ, decidedly irreverent human course, both had pedal divisions. The bit of metal until after millions of repeti- neighbors causing cluster ciphers. Ronald voices. The organ was picking up console functioned as a remote-control tions the contact breaks causing a dead Paul of Salt Lake City, Utah, had been con- citizens band radio transmissions from device, its keyboards, stopknobs, pistons, note. You can see this sparking clearly tracted to install a new solid-state switch- Euclid Avenue in front of the church. and expression pedals operated a com- when you sit with a switch-stack with the ing system, and I was on hand to help him I dove for the power cord. “Roger that, plex relay in a basement room directly lights off while the organ is being played. with many details. I was assuming the care good buddy. Over and out!” below. The outputs for seven keyboards You can retro f t a switching system by of the organ from Jason McKown who had We have wireless remote controls and two pedalboards (491), 175 stop installing diodes in each circuit (which worked personally with Ernest Skinner at for televisions, receivers, radios, even knobs, 45 coupler tabs, 7 pistons, and means rows of sixty-one) that arrest the the Skinner Organ Company and cared electric fans, and it is often necessary 4 expression pedals (48 for shutters, 60 sparks. You can replace phosphorous for the Mother Church organ since it was to punch a button repeatedly to get the for crescendo) were in the cable going to bronze with silver wire that does not installed. Jason was in his eighties and still desired function to work. And there was the basement, a total of 826 conductors. oxidize, but you still have to keep the climbed the hundreds of rungs and steps that printer yesterday, choosing idly to But wait, there’s more. Since the combi- whole thing clean and protected from involved in reaching the far reaches of that skip the bounds of our Wi-Fi router and nation action was also in the basement, physical harm. massive organ. booster, requiring the introduction of a the conductors from the combination § Jason looked over all the shiny gear, new wire. action that operated the drawknobs bristling with rows of pins and f lled with When I think of a wireless connection and couplers were in the same conduit, Just as the telephone companies have those f berglass cards covered with mys- between the console and chambers of a bringing signals up from the basement. converted to solid-state switching, so terious bugs, shook his head, and said, large pipe organ, I imagine sweeping onto Drawknobs and couplers totaled 220, has the pipe organ industry. Solid-state “this is for you young fellows.” the bench, robes a-f utter, turning on the and each needed three wires (on coil, equipment is no longer new; in fact, it has organ, pushing a piston, and garage doors off coil, and sense contact)—660. All been around as long as electro-pneumatic Swing wide the gates. throughout the neighborhood randomly together, the console cable comprised organs were before the revival of tracker Over the past f fty years, most of us opening and closing. Swing wide the 1,486 conductors. organs. But perhaps some of you don’t have gotten used to solid-state pipe organ gates, I’m coming home. When my company was engaged to actually know what “solid-state” means. install the new solid-state switching and A solid-state device controls electricity combinations in that organ, we wired without any physical motion. Circuits are all the equipment to the existing relays built using semi-conductors. What is a in the basement and chambers, bought semi-conductor? A device that conducts an orphaned console for temporary use electricity under certain circumstances and equipped it with new stop jambs or in particular ways, less fully than a with knob layout identical to the origi- standard conductor. A piece of wire is a nal, and set everything up with plug-in conductor. Electricity travels freely over connectors. After the evening service a piece of wire in any direction. one Sunday, we cut the console cable, A great example of a semi-conductor dragged the original console out of the is the diode I mentioned earlier that way, placed the temporary console, and contains “f y-back” sparks when a circuit started plugging things in. With just a is broken. The diode can do this because little smoke escaping, we had the organ it conducts electricity in only one direc- up and running in time for the Friday tion. It has a wire on each end to connect noon recital. One glitch turned up. One to a circuit, and power can f ow from the of my employees consistently reversed switch through the diode to the magnet the violet/blue pair of conductors in our (if you have installed it facing the right new color-coded cable so throughout the way!). When the contact is released, the complex organ, #41 and #42 (soprano E power cannot come back through the and F) were mixed up! diode from the magnet to the switch. When something goes wrong like a Semi-conductor. dead note or a cipher, physical electric Some semi-conductors are in fact contacts are fairly easy to trouble-shoot. switches (transistors) with three legs. Once you have acclimated yourself to the Apply power to one leg, and power correct location, you are likely to be able f ows through the other two. Integrated to see the problem. It might be a bit of circuits are simply little gadgets that schmutz keeping contacts from moving contain many transistors. Resistors are or touching, it might be a contact wire gadgets that reduce the f ow of power by bent by a passing mouse. Organ relays are resisting it. The advance of electronics www.ruffatti.com often located in dirty basements where has been enabled by the reduction of size spiders catch prey, stonewalls weep with of these components. I have transistors

WWW.THEDIAPASON.COM THE DIAPASON APRIL 2019 15 Festival report

Twelfth International Organ and Early Jan Willem Jansen at San Matías Jalat- laco Church

Music Festival, February 16 (Friday) The day started with a bilingual presentation by Cicely Winter in the Oaxaca, Mexico Francisco de Burgoa Library within the Santo Domingo Cultural Center titled “The Historic Organs of Oaxaca and February 14–21, 2018 the Work of the IOHIO.” Although the title of the talk has not changed over the The organ at the Basilica de la Soledad years, the content is updated every year By Cicely Winter to publicize the advances of our vari- ous projects: protection, conservation, ach IOHIO (Instituto de Órganos project coordinator of the IOHIO, spoke restoration, concerts, archive and manu- EHistóricos de Oaxaca, A.C.) Festival about our teaching project and our suc- script discoveries, recordings, teaching, builds on the success of its predecessors, cess in having organs played at Mass and publications. This was followed by making this one the best ever. It was also every Sunday in f ve Oaxacan churches a tour of the splendid church of Santo the most extensive, since the restored by our students or by him. In addition, it Domingo de Guzmán, seat of the organ in Jalatlaco could be included in is most gratifying that people increasingly Dominican order in the Valley of Oaxaca the concert programming. request that their private Masses for bap- since the sixteenth century, and the • More than 120 people from eight tisms, Quinceañeras, weddings, etc., be Museum of the Cultures of Oaxaca in countries and seven Mexican states accompanied by the pipe organs rather the former convent, led by guides Pablo participated in all or part of the sched- than an electronic organ or keyboard. We Gonzalez and Gabriel Sanchez. uled activities. Of these, nearly a third were honored by the presence of Igna- Our next stop has always been San were returnees. cio Toscano, Secretary of Culture for Andrés Huayapam, located on the • Eighteen Oaxacan, Mexican, and the State of Oaxaca, and Omar Vásquez, outskirts of Oaxaca City. This year the foreign musicians collaborated in nine director of the Oaxaca Regional Center plan was complicated by the closing of concerts on nine restored organs over of the Instituto Nacional de Antropología the church after the tragic earthquakes the course of six days. e Historia (INAH), who commented on in September 2017. Luckily it was not • Six young Mexican organ students the shared goals of their respective insti- severely affected, but religious activities and one organbuilder received scholar- tutions and the IOHIO and offered their have been celebrated under a temporary ships to participate in the festival, and congratulations for the festival. Winter roof beside the church until the roof can our own f ve organists and students were also expressed special appreciation to be repaired. We did not know if the INAH The restored organ at San Matías Jalat- delighted to be their guides. Alfredo Harp Helú for his indispens- would grant us access, but fortunately the laco Church • The churches were always full for able support of seven organ restoration provisional permission came through just the concerts and hundreds of local projects in Oaxaca over the past twenty days before the visit. 1996, having suffered alterations over the people were able to hear the Oaxacan years, including most recently the organs We were received with a customary centuries that had completely erased its organs in all their glory. in Tlacolula and Jalatlaco. drink of tejate, traditionally served in col- eighteenth-century character. It retains After the welcoming reception, we orful painted half gourds. A local specialty its opulently carved and gilded upper February 14 (Wednesday) walked a few blocks to the church of San of pre-Hispanic origin, this delicious case, although its lower case has been Around twenty organists and organ Matías Jalatlaco. The second concert of foamy drink is made with ground cacao, rebuilt several times. Unfortunately no students met in the San Matías Jalatlaco the festival was presented by the Dutch corn meal, the seed of the mamey fruit, evidence remains of its original appear- church for the f rst event of the festival, organist Jan Willem Jansen. His pro- and the f ower of a tree (rosita de cacao), ance, but we know from the contract for a talk by Andres Cea Galán, president gram had a theme, “The apple doesn’t which grows only in or near Huayapam. its construction that it was once one of the of the “Instituto del Órgano Hispano,” fall far from the tree,” and included This charming church has one of the most lavishly decorated organs in Oaxaca. entitled “Spanish music: Organs and father and son pairs: Alessandro and most beautiful Baroque altarpieces in organists during the sixteenth to eigh- Domenico Scarlatti, and Johann Sebas- Oaxaca, whose intricately carved golden February 17 (Saturday) teenth centuries.” tian Bach and three of his sons. The columns are referred to as “gilded lace.” This year more than a hundred people That evening Cicely Winter and last piece “Ah, vous dirai-je Maman,” Also famous is the collection of antique ex- participated in the all-day excursion to Valentín Hernandez presented the f rst familiar to everyone as the theme of votos, petitions usually to the Virgin Mary the Mixteca Alta. We crossed a river to concert of the Festival of Oaxacan Folk “Twinkle, Twinkle, Little Star,” elicited that are painted on small tin plaques. The arrive at the little stone church in Santa Music with music transcribed for organ a chuckle of recognition from the audi- 4′ organ (1772), large for a table organ, María Tinú, and it seemed as though and percussion in the Basilica de la Sole- ence. The mainly eighteenth-century is nearly intact with its original keyboard the entire adult population of the town, dad. This program always serves as an repertoire was perfect for this organ and pipes. It is simply carved, a style now reduced to 152 people, was there introduction for the events to come, and built in 1866. we refer to as a “country organ,” and to greet us. The authorities welcomed people sang along exuberantly to some of This year marked the festival debut of was probably originally unpainted, then us with great ceremony at the entrance the best-known Oaxacan regional songs. the Jalatlaco organ as a playable instru- painted bright red, still seen backing the of the church, their canes (bastones) of Videos of this and all succeeding con- ment. One of our regular attendees keyboard, and eventually repainted sober off ce in hand. During our reconnais- certs were projected onto a screen in the commented on the evolution of this maroon in the twentieth century. In sance visit some weeks before, we had church, so that the audience could have organ during his last three visits: f rst as Huayapam we savored the f rst of many suggested that the local women display a better view of the artists and see the an unrestored instrument (2002–2014) local meals, this time mole amarillo, in their handicrafts, which in the Mixteca action in the choir loft, particularly how when we discussed our hopes for its res- the atrium of the church. region means palm weaving (hats, bas- pulling the stops changed the organ’s toration, then as a restoration in process During free time between the Huaya- kets, sleeping mats). But palm has given sound. The magnif cent decorated case by the Gerhard Grenzing f rm (2016), pam comida and the evening concert, way to colorful raff a, and what a sight of this monumental 8′ organ bears the and f nally as a concert instrument some went to see the famous tree in Santa greeted us! Multi-colored woven baskets earliest date of any Oaxacan organ: 1686. (2018). This elegantly proportioned 8′ María del Tule, while visiting organ- hung from the trees and lined up atop It was restored in 2000 and is played organ was built by the Oaxacan organ- ists and students had a chance to play the walls of the atrium, while the stone regularly at Mass. builder Pedro Nibra and has a 56-note a meantone tracker organ with divided cross in the atrium was decorated cucha- chromatic keyboard and “almost equal” registers in the Oaxaca Cathedral. rillas, the white base of maguey leaves. February 15 (Thursday) temperament, unlike the other organs That night we proceeded to the Oaxaca Nearly everyone bought something from Registration took place throughout heard during the festival with their Cathedral for the third concert of the the women as we sipped sweet atole. the day in the Oaxaca Philatelic Museum 45-note keyboards, short octaves, and festival, offered by the eminent Span- The Tinú church houses a dispro- (MUFI), giving us a chance to f nally meantone tuning. It was painted blue ish organist and musicologist Andrés portionately large organ. The date of meet the people we had been cor- around 1880 when Nibra oversaw vari- Cea Galán with the participation of construction, 1828, and the name of responding with and greet old friends ous modif cations to the organ. the Mexican baritone Felipe Espinosa. the organbuilder are written inside the from past festivals. The inauguration of Afterwards in the atrium of the church This is our only concert with a modest case—such luck! Perhaps the organ was the festival that afternoon began with a under a clear night sky, we enjoyed admission fee, and the proceeds helped originally commissioned for a larger presentation by Cicely Winter, direc- bread and chocolate offered by Choco- cover the expenses of the Mexican organ church, then sold to Tinú, or the commu- tor of the IOHIO, about the activities late Mayordomo and tamales de frijol students. This monumental instrument nity simply wanted something grand. The and goals of the festival. Joel Vásquez, prepared by Jalatlaco’s favorite tamalera. was built in 1712 and reconstructed in organ, which has not been fully playable

16 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM Andrés Cea Galán and baritone Felipe Espinosa at the Oaxaca Cathedral

the festival. This was the f rst of three collective concerts, whose goal has been to offer the opportunity to play the organs to as many organists and students as possible. Roberto Ramirez, André Lash, Andres Cea, Willem Jansen, Laura Carrasco, and Christoph Ham- mer presented wonderfully contrasting pieces to top off such a busy and exciting Visiting organists and students play a meantone organ with divided registers in the The table organ at San Andrés Huaya- day. We were honored to have with us Oaxaca Cathedral pam Church José Miguel Quintana from Mexico City whose association “Órganos Históri- in f fty years, is completely intact and still the atrium of the church by the local served in the municipal library across cos de México” f nanced the restoration grunts and wheezes when one of the bel- band with f reworks, plenty of mezcal, the street from the church. After din- of the Zautla organ in 1996. lows located in the loft above is pumped. necklaces of bugambilia, dancing, and ner, we crowded into the church where The case of this 4′ table organ (1726) Unfortunately because of the reduced f nally a delicious meal of estofado de many people from the community were is exquisitely carved, gilded, and painted population and remote location of the pollo (chicken stewed in almond sauce) already waiting for the f fth concert of with images of saints and angels. A town, a restoration would not be practical. Our next stop was in the lovely Baroque church of San Andrés Sinaxtla. The case of the organ built in 1791 combines both Baroque and neo-Classic DISCOVEDISCOVER R case design elements. The construction is idiosyncratic, since it is the only instru- ment of this size with direct suspended 21st CENTURY mechanical action, i.e., no rollerboard. 21st CENTURY Of particular interest is the inscription ORGAN BUILDING across the façade including the name of the donor, the date of construction, and ORGANIN NORTH BUILDI AMERICA NG the cost of the organ, but, as is typical, omitting the name of the organbuilder. Just down the road from Sinaxtla sit- ting on a promontory overlooking the IN NORTHORTH AAMERICAMER Yanhuitlán Valley is the church of San Mateo Yucucuí (population 142). This organ built in 1743 is the least altered of all the 8′ eighteenth-century Oaxacan organs and when last played (1930s?), it is said that its sound could be heard for miles around. The organ was never painted or gilded like its counterpart in Teotongo, probably not by choice dur- BUILDER MEMBERS: SUPPLIER MEMBERS: ing that opulent Baroque era, but rather because of the cost. It is richly carved Andover Organ Company Goulding & Wood, Inc. Integrated Organ Technologies, Inc. and largely intact, and it is tempting to Bedient Pipe Organ Company Holtkamp Organ Company OSI - Total Pipe Organ Resources imagine the pipes and mechanism of the Berghaus Pipe Organ Builders, Inc. Kegg Pipe Organ Builders Peterson Electro-Musical Products Yucucuí organ inserted into the stunning Bond Organ Builders, Inc. Létourneau Pipe Organs Solid State Organ Systems Teotongo case to make one amazing Buzard Pipe Organ Builders, LLC Muller Pipe Organ Company Syndyne Corporation organ! The f oor of the high balcony on Casavant Frères Patrick J. Murphy & Associates which the organ sits is much deteriorated Dobson Pipe Organ Builders Parsons Pipe Organ Builders and access to the façade is dangerous, so Randall Dyer & Associates, Inc. Pasi Organbuilders, Inc. our efforts to clean and document the C.B. Fisk, Inc. Quimby Pipe Organs, Inc. organ have been restricted. Foley-Baker, Inc. Schoenstein & Co. The fourth concert of the festival Paul Fritts & Co. Organ Taylor & Boody Organbuilders A. Thompson-Allen took place in Santo Domingo Yanhuit- Garland Pipe Organs, Inc. lán, the sixteenth-century Dominican stronghold in the Mixteca Alta region. With its soaring stone vault supported by lateral f ying buttresses and its mag- nif cent altarpieces, it is one of Mexico’s APOBA provides a simple way for you to take most majestic complexes of Baroque art. advantage of the expertise of the top people in Organist David Soteno and clarinetist Lorenzo Meza, both from near Mexico WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of City, thrilled the audience with a pro- several generations who have preceded them. gram that reverberated throughout the immense nave. This organ, located on Call today for APOBA’s Pipe Organ a side balcony, was built around 1690– 1700 and restored/rebuilt in France in 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV 1998. Its case is one of the most elabo- rately decorated of all Mexican organs, with Dominican symbols and fantastic 11804 Martin Rd. swirling imagery, similar to the Soledad Please watch and share CONTACT organ case, and f erce faces on the façade our short video at: :DWHUIRUG3$ pipes. Because of earthquake damage to US 800-473-5270 the main altarpiece (retablo), we could ZZZDSREDFRPYLGHR sit only in the front half of the church. DSREDFRP The day culminated with the tra- ditional pre-concert festivities in San Andrés Zautla. We were received in

WWW.THEDIAPASON.COM THE DIAPASON APRIL 2019 17 Festival report

Laura Carrasco at the organ of San An- The organ of Santa María, Tinú David Soteno and clarinetist Lorenzo drés Zautla Meza at Santo Domingo, Yanhuitlán The organ of San Mateo Yucucuí in Mitla, we ventured on to the small Baroque church with painted ceramic second September earthquake, which bowls embedded into the bell towers particularly affected the Mixteca region. in San Miguel del Valle at the foothills Ongoing negotiations with the priest and of the Sierra Juarez. The 4′ table organ the INAH allowed us access to the f rst is unfortunately in poor condition, half of the church and the organ balcony more typical than not of the unrestored where fortunately no plaster had fallen instruments and not such a bad thing from the ceiling. for our participants to see. The case is The 2′ table organ dating from painted blue with neo-Classic decora- approximately 1720–1730 is situated in tion; it has only four registers and no a high balcony overlooking the soaring accessory (toy) stops. It seems to date nave of the church and is exquisitely Andrés Cea Galán performs at Santa from around 1800, making it the last decorated with images of saints and María de la Asunción, Tlacolula of the Oaxacan table organs. An added angel musicians. The case and bellows attraction of this Zapotec-speaking are original, but the pipes, keyboard, and that they stood to play. Thanks to the community is the elaborately embroi- interior components were reconstructed ongoing support of the Federal Road dered aprons, and once again we were in 1996. The church has one of the most and Bridge Commission (CAPUFE), a able to support women’s handicrafts magnif cent Baroque altarpieces in all special entrance was opened from the with our purchases. Mexico and includes paintings by the superhighway, allowing us direct access Our friends from “Chocolate May- renowned sixteenth-century Spanish to and from Zautla. ordomo” received us with bread and painter Andrés de Concha. The second chocolate upon arrival in Santa María de organ in this church, an imposing 8′ February 18 (Sunday) la Asunción Tlacolula. We admired the instrument, faces the small organ from In San Jerónimo, Tlacochahuaya, little 2′ organ, which appears to date from the left balcony. Built in Oaxaca in 1840 The organ of San Jerónimo, Jan Willem Jansen presented the sixth around 1700 as indicated by the style of its by a member of the renowned Martinez Tlacochahuaya concert of the festival, “Four European remaining painted decoration. Originally Bonavides organbuilding family, it was Countries,” featuring repertoire from located in the choir loft of the Baroque once a magnif cent instrument and is blower was installed in 2017 by Oaxacan Italy, Holland, Germany, and Spain. In side chapel, it is the smallest Oaxacan largely intact except for the loss of nearly organbuilder David Antonio Reyes, February 2017 the organ was cleaned, organ and has only two registers. Those all its pipes; only the f ve largest remain and the organ was moved to the other tuned, and voiced by the Grenzing f rm who needed a break from churches could in the façade. side of the loft away from the stairway. and was in perfect condition until the roam around one of the most famous We then proceeded to the neighbor- No longer do we have to worry about September 7 earthquake jiggled the indigenous markets in Oaxaca and admire ing church of Santiago Teotongo, rich those startling moments of silence when pipes. Luckily organbuilder Hal Gober the women’s costumes and the stalls piled enough in eighteenth-century Baroque the bellows pumpers were distracted was on hand to make the necessary adjust- high with local produce. art to stand as a museum in its own right. and lost their rhythm. The registers ments. The church is one of the loveliest The seventh concert of the festival The magnif cent case of this 8′ organ, of table organs are controlled by tabs in Mexico with its exuberant interior was presented by Andrés Cea Galán though empty, is integrated stylistically protruding from the sides of the case, f oral decoration and splendid Baroque featuring sixteenth- and seventeenth- with the opulent altarpieces, and statues and thanks to the screen projection the altarpieces, all restored in the past twenty century repertoire that highlighted the of angels once stood atop its towers, audience could appreciate the team- years. The 4′ organ was built sometime beautiful sound of this organ. It was built singing through their O-shaped mouths work involved. Joel Vasquez and David before 1735 and restored in 1991. The in Oaxaca in 1792 by Manuel Neri y Car- via pipes passing through their bodies. Reyes had to make a detachable music case and pipes are decorated with f oral mona, restored by the Gerhard Grenzing The organ was stripped of its pipes, rack to prevent the pages resting against motifs, and the organ harmonizes beauti- f rm, and inaugurated during the Tenth keyboard, and more during the Mexican the façade pipes from being blown away. fully, both visually and acoustically, with IOHIO Festival in 2014. The visual Revolution, and its date is unknown, Clearly the organists of past centuries the architecture of the church. impression of the Baroque-style case, but the organ’s prof le closely resembles played by memory or improvised, and After a buffet lunch of Oaxacan painted red and black and opulently that of San Mateo Yucucuí (1743). An the position of the keyboard indicates specialties in the “Donají” Restaurant gilded, is striking, and it has the most added attraction was the eighteenth- elaborately painted façade pipes in all century painted armoire in the sacristy, Confident pedal work of Mexico. Local people began to arrive decorated with period f gures engaged in for Mass following the concert, so by the their daily activities. comes with practice and end the church was packed. It is likely The tour continued with a visit to the right shoes that many were hearing and viewing the the sixteenth-century church of San- organ (on the screen) for the f rst time, tiago Tejupan, which could also stand and they must have been amazed by the as a museum of colonial religious art in on the rich, full sound of the organ. this culturally rich area of the Mixteca Alta. The luxuriously painted organ pedals February 19 (Monday) case (1776) was the last Oaxacan organ Our two-day excursion to the Mix- with religious imagery. Portraits of the Men’s & Women’s Organ Shoes teca Alta began with a stop in Santa donor and his wife being blessed by María de la Natividad Tamazulapan his patron saint, Saint Nicholas, are with suede soles and heels where we heard the eighth concert depicted on one side and Santiago on Whole & Half of the festival. This second collective horseback on the other, both unfor- Sizes in 3 Widths event was presented by organ students tunately obscured by layers of grime. Greta Baltazar, Alejandro Lemus, Another special feature is the informa- Quick & Easy Mario Moya, and Zeltzin Perez, who tion painted on two decorative medal- Returns study in university programs in Mexico lions on the façade, which include the City, along with Joel Vasquez from the name of the donor, the cost of the OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET IOHIO. Arnoldo Perez, a young organ- organ, and the date of construction, 44 Montague City Rd Email: [email protected] builder apprentice, pumped the bellows. although as in Sinaxtla, omitting the Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes This church had been closed after the name of the organbuilder. Afterward

18 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM The table organ of Santa María de la Natividad, Tamazulapan

The Dominican Church of San Pedro y The organ case of the sixteenth-century San Pablo, Teposcolula, and the “King Church of Santiago, Tejupan Midas” organ February 21 (Wednesday) Our f nal church and organ visit Around thirty people made the trek was in Santa María Tiltepec, for some up to the archeological site of Monte the crowning visual experience of the Albán to enjoy an optional guided three- f eld trips. Located in the Dominican hour tour with Marcus Winter from the sphere of Yanhuitlan and built atop a Oaxaca Regional Off ce of the INAH. pre-Hispanic temple, this sixteenth- century church has long been appre- Cicely Winter grew up in Michigan ciated by art historians for its richly and studied piano and harpsichord carved asymmetrical façade and stone at Smith College and the University interior arches. The unrestored 4′ of Michigan, where she obtained a Participants in the Oaxaca organ festival organ, situated on a side balcony, is Bachelor of Arts in music and a Master one of Oaxaca’s oldest (1703) and often of Arts in European history; she later we were treated to a talk about the opted to stay behind to play the Tlaxi- elicits a gasp of astonishment when studied piano performance at Indiana Mixtec ball game (pelota mixteca). aco organ and had great fun trying out seen for the f rst time. Unfortunately University. Her principal teachers were After lunch in our favorite restaurant their pieces and helping each other with nothing is known about its history to Fritz Steinegger and Leonard Hokan- “Eunice,” we walked over to the Domin- the registers. explain its idiosyncrasies of construc- son (piano), and Lory Wallf sch and ican architectural complex of San Pedro Both groups met up in Huamelulpan, tion and decoration, and if it did not Elisabeth Wright (harpsichord). Winter y San Pablo Teposcolula with its church then proceeded to the village of San have the characteristic Oaxacan hips on has lived in Oaxaca since 1972 and has dwarfed by the enormous sixteenth- Pedro Mártir Yucuxaco where we were the sides of the case, we might wonder presented numerous piano, harpsichord, century open chapel and atrium. The 8′ once again formally received by the if it were imported. and organ concerts over the years, many organ (ca. 1730–1740) has a similar pro- municipal authorities. The organ here We proceeded to the Hacienda of which have benef tted community f le to that of Yanhuitlán. The case was (1740) is complete and in excellent Santa Marta in San Sebastian Etla on service projects in Oaxaca. In 2000, with painted white with light green touches condition, missing only its bellows. It is the outskirts of Oaxaca City for our the support of philanthropist Alfredo sometime after the original construc- the least altered of the Oaxacan 4′ table farewell dinner. A scrumptious buffet Harp Helú, she and organist Edward tion and, with its delicate carvings, had organs, parallel to Yucucui for the 8′ awaited us with plenty of mezcal, and Pepe co-founded the Instituto de Órga- a graceful look. However, now we refer stationary group, and closely resembles a guitar duo serenaded us with numer- nos Históricos de Oaxaca A.C. (IOHIO), to it as the King Midas organ, because the organ in Zautla, although without ous Oaxacan folk songs. Toasts and for which she serves as its director. Her in 2010 a well-connected architect took the painted decoration. The carved sentimental reminiscences created a professional performances have increas- the liberty of gilding at great cost all pipeshades show two faces in prof le, a special connection with old and new ingly focused on historic organs, pre- the decorative carvings and moldings, unique decorative detail, and the key- friends who had shared this unique senting a broad repertoire of classical, even though it had only been minimally board is exquisite. Oaxaca organ adventure. sacred, and folkloric music. gilded historically, and, in fact, the organ’s overall manufacture is not of the highest quality. We drove up through the pine Penny Lorenz Artist Management forest to Santa María Tlaxiaco. The presents imposing “fortress church” was the Dominican outpost for this strategic area of the high sierra in the sixteenth century. For the f nal ninth concert of the festival, Ricardo Ramírez, Laura Carrasco Curintzita, Andrés Cea Galán, Michael Barone, Jan Willem Jansen, and David Furniss offered an eclectic program to close the concert cycle. This monumental 8′ instrument, built around 1800 and restored in 2000, is decorated with typical neo-Classic design elements, painted white and Craig Cramer Kathrine Handford Balint Karosi Christophe Mantoux richly gilded; it synchronizes with the altarpieces of the church, all in homo- geneous neo-Classic style. We spent For Organ Recitals & Workshops, the night in the Hotel del Portal on the Please Contact: main plaza and had a chance to wander around the market.

February 20 (Tuesday) Penny Lorenz Participants divided into two groups. 425.745.1316 Many chose to visit the late pre-Classic [email protected] and Classic (400 BC–800 AD) Mixtec www.organists.net archeological site and the community museum of San Martín Huamelulpan Aaron David Miller Jack Mitchener with Marcus Winter of the INAH. Most of the organists and students

WWW.THEDIAPASON.COM THE DIAPASON APRIL 2019 19 Organ music review

trees, and buildings (quiet low-register arriving at the idea, analogous to the tremolandi); f oating notes of light that wash over a ground, of using wedges punctuate the darkness of buildings (ad- of notes on one keyboard and pedal libbed single notes on light, bright stops that show through the ever-changing in the Positiv against the soft, 16′, 8′, wedge-shaped f gures (outer, f xed notes and 4′ left-hand accompaniment); and a and all the notes in between that are single, anonymous f gure walking towards gradually released) on the other manu- the nearest well-lit building—a tavern? als. The music f ows ceaselessly, like the home? (a gently undulating, rhythmically Thames, even when notes singly and in William Albright, irregular line at the close). Whistler warms pairs break the surface like little ripples. his painting by the subtle, pervasive use of Sinuous lines of continuous chromatic gold, and Albright does the same for the improvisation against over-legato chro- music by suggesting soft f ue stops. matic descending lines (measure 24) or Whistler (1834–1903): II. “Nocturne in Black and Gold: stationary pitches recreate the horizontal Falling Rocket” is a dramatic depiction orientation of the painting. A gradual of f reworks in Cremorne Gardens (a increase of surface activity and a thick- Three Nocturnes popular park in London) and is one of ening of texture smooth the way for the Whistler’s boldest and most (in)famous appearance of the “campanili e palazzi” works. It is intensely vertical—the focal in measure 48. Albright explains: point is an explosion of rockets and the As a coda—conceivably for the entire shower of falling sparks from high in the set—I have added music inspired by Whis- black nighttime sky. Whistler’s attempt tler’s powerful image of the smokestacks By Sarah Mahler Kraaz to portray the exciting sensation of f re- becoming campanili and the warehouses works in an abstract manner provoked becoming palaces. In composing these bell-towers and castles of sound I hope to William Albright, Whistler (1834– clear what are his words and what are the critic John Ruskin to declare that “a give tribute to the painter and his paradox, 1903): Three Nocturnes for organ the composer’s. pot of paint is f ung in the public’s face.” a duality of intent that wanted abstraction solo and assistants, edited by Doug- To begin to understand and appreciate (Whistler subsequently sued Ruskin and representation at the same time, the las Reed. Edward B. Marks Music the Nocturnes, one must study the visual for slander and won the suit but only generous “both/and” that is the exciting Company, www.ebmarks.com, www. art that was the inspiration for the music. received a farthing in damages.) imperative of artistic achievement. halleonard.com. A twofold process—researching Whis- Albright wrote that “The Falling In the late 1980s William Albright tler’s esthetics, including why he chose Rocket . . . is an ‘impression’ of the paint- The bell towers and castles are mas- was commissioned by the Harvard Art musical titles for his pieces, and look- ing, with its battle-like energy, its explo- sive vertical structures built from chord Museums to write a work for organ, with ing long and carefully at images of the sion of color, its violent thrust upwards clusters in the pedal up through the the suggestion that he f nd inspiration three paintings—was the starting point and vivid fallout interpreted in music.” extreme treble on the manuals, but among the collections there. He was for this review. Whistler was an Ameri- In an opening gesture reminiscent of mass does not equal volume in sound drawn to some of the paintings by James can ex-pat who spent most of his life in his teacher, Messiaen, Albright’s music (the loudest dynamic marking is forte). McNeill Whistler in the Fogg Museum, Europe, specif cally London, although literally explodes onto the page with Bursts of thirty-second notes punctuate in part because he could see musicality he also lived in Venice for a time. He upward-leaping clusters of sixteenth the sound mass and thick downward- in their subject matter and execution, modeled his art from the 1870s upon notes that settle into sustained chords. arpeggiated chords suggest bells. At the but also because Whistler titled the series musical principles, using the idea of line, Another statement follows, in which very end of the movement two handbells “Harmonies,” “Symphonies,” and “Noc- harmony, and color rather than subjects ostinato pitches are added in a textural ring simultaneously; they are the last turnes.” Albright chose two of the latter— with emotional associations to organize crescendo. Albright considered subtitling sounds heard. Nocturne in Grey and Gold and Nocturne his works. A much-quoted passage in his this piece “toccata.” In measure 24 the Whistler (1834–1903): Three Noc- in Blue and Silver—plus one from the autobiography, The Gentle Art of Making performer is instructed to play thick turnes is a unique, complex work that Detroit Institute of Art, Nocturne in Enemies, explains: chord clusters of white notes (right hand) demands much of the performer and Black and Gold: The Falling Rocket, as and black notes (left hand) in a cascade of audience; eyes, ears, intellect, and the subjects for a three-movement work. As music is the poetry of sound, so is “sparks.” Meanwhile, as bursting rockets imagination are essential. The music painting the poetry of sight. . . . Art should Sadly, however, Albright did not f nish be independent of all claptrap, should and falling bits of burning ash occupy the makes technical demands on the organ- the piece before his death in 1998; he stand alone, and appeal to the artistic sense performer’s hands, the feet are busy with ist—palm glissandi, tremolandi, chord left sketches, an annotated performance of eye or ear, without confounding this with a prominent twenty-three-note sequence clusters, coordination with an assistant, manuscript, and a recording of his per- emotions entirely foreign to it, as devotion, in the pedal that repeats six times in and improvisation—that are challenging pity, love, patriotism, and the like. All these formance at the University of Wisconsin- have no kind of concern with it; and that is the course of the movement. The effect but not impossible. Although Albright Madison in 1989 to the University of why I insist on calling my works ‘arrange- is that of a French toccata, but the did not mention projecting Whistler’s Michigan Bentley Historic Library ments’ and ‘harmonies.’1 structural technique is more complex. images during a performance, doing so where Douglas Reed discovered them. It is rather like the color—a repeating seems almost essential given the close Hence, this new publication is the result Whistler originally titled his paint- melodic pattern—in medieval isorhythm. connection between the paintings and of two years of painstaking editing by ings “moonlights” but changed them The frequent meter changes and ensuing the music. A pre-concert talk by an art Reed and Evan Hause of Marks Music to to “nocturnes” at the suggestion of a rhythmic shifts render the melodic line historian might also be appropriate. reconstruct Albright’s work using these patron who was familiar with the piano diff cult to detect, so although the lis- One artist painted on the organ, the sources from the composer. works of Chopin. The idea of night, with tener hears the bass line quite clearly, the other on canvas. Both created works of The preface includes all of the com- its associations of loneliness, mystery, repetition is not obvious. This foundation great dramatic contrast. Albright’s adven- ments from Albright’s performance brooding introspection, melancholy, and anchors the movement even as more and turous exploration of color, form, and score as well as his thoughts from the less often, hope and warmth, appealed to more improvisation (“wild white notes”) technique match Whistler’s in intensity sketches—which reveal a fascinating Romantic sensibilities—and to Albright is required on the manuals. and effect. These pieces are a valuable engagement with Whistler’s art—orga- (See “Nocturne” in Organbook III). The III. “Nocturne in Blue and Silver” and welcome addition to twenty-f rst- nized by Reed with his own performance titles of Whistler’s paintings describe the (reproduced on the cover of the score) century organ repertoire—they sound notes on Albright’s notational language dominant colors (analogous to key rela- is a tonally cool work—blue and silver fresh and contemporary even thirty years and improvisational passages. Reed tionships in tonal music) of each, and his wash over a reddish-white ground— after they were written. Messrs. Reed describes his editing process, making technique of combining colors in differ- mysterious, atmospheric, and timeless and Hause at E. B. Marks Music are ent places produces visual harmony. In in its evocation of dusk on the Thames to be commended for their painstaking his “Ten O’Clock” lecture given a decade River. Whistler painted the water with work in making Albright’s opus ultimus A. E. Schlueter Pipe Organ Co. after these paintings were made, Whis- even brushstrokes that cover the canvas available to the public. tler reiterated the connection between from one side to the other, and the fac- painting and music: tory/warehouse and smokestacks across Notes the water from the viewer lie low on the 1. James McNeil Whistler, “The Red Rag,” Nature contains the elements, in colour in Denys Sutton, James McNeill Whistler; and form, of all pictures, as the keyboard horizon. Albright notes, “The idea of Paintings, Etchings, Pastels & Watercolours contains the notes of all music. But the beautiful design found in an unpromis- (London: Phaidon Press, 1966), 58. artist is born to pick, and choose . . . these ingly shabby, industrial shoreline must 2. Ibid, p. 51. elements, that the results may be beauti- have excited Whistler,” who rhapsodizes: 3. Frances Spalding, Whistler (Oxford: ful—as the musician gathers his notes, and Phaidon, 1979), p. 50. forms his chords, until he brings forth from And when the evening mist clothes the chaos glorious harmony.2 riverside with poetry, as with a veil, the poor buildings lose themselves in the dim Sarah Mahler Kraaz is William Har- I. “Nocturne in Grey and Gold: Chel- sky, and the tall chimneys become campa- ley Barber Distinguished Professor and sea Snow” is a winter scene with four nili, and the warehouses are palaces in the professor of music and organist of the ‡ New Instruments ‡ Tonal Additions night, and the whole city hangs in the heav- ‡ Rebuilding ‡ Maintenance elements that Albright identif es musi- ens, and fairy-land is before us—then the college at Ripon College, Ripon, Wis- ‡ New Consoles ‡ Tuning cally: a broad snowy road, tinged with wayfarer hastens home . . .3 consin, where she teaches piano, organ, bluish-gray and gold, that mirrors the sky and harpsichord, music history courses, How can we help you? (translated as a widely spaced texture with The key words here are “poetry,” “Women in Music,” “Music and Art,” and low Krummhorn sounds in the left hand “campanili,” and “palaces;” the key con- “Music and War.” Her edited volume, 800-836-2726 and high register f ute tones in the right cept is transformation. Albright studied Music and War in the United States, has www.pipe-organ.com hand); fused, or blurred, forms of snow, Whistler’s technique carefully before been recently released by Routledge.

20 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM Seminar report

The f rst International Late Medieval and Renaissance Music Course, San Marino,

August 27–September 2, 2018 Participants of the course with Cristina Alís Raurich (photo credit: Augusto Ciavatta)

By Eva Moreda

e quickly managed to build a rou- places (on the feast of a patron saint of a Wtine that involved rising early, eat- city or community). Originally evolving ing some homemade cake for breakfast, from the last syllable of the Alleluia that and spending the day singing and play- precedes the Gospel in the Catholic ing late medieval music (Las Huelgas, Mass, Sequences soon developed inde- Dufay, Sankt Gallen) on our portative pendently as new compositions of both organs, switching between solo, pair, and music and text and f ourished through- large group work as need arose, always out the Middle Ages until the Council with a generous pause for lunch in which of Trent restricted their use. conversations about medieval sounds The earliest Sequences we worked on and how to make them come alive today came from the Castilian Codex Las Huel- A moment of the f nal concert on the Sequence (photo credit: Augusto Ciavatta) f owed generously. There were f ve of gas. Dating from the early fourteenth us, and although all of us arrived in San century, the codex is a compendium of The sequentiary of Joachim Cuontz was way that never took us far away from Marino not knowing any of our fellow the advances in polyphony that Euro- copied in the Swiss monastery of Saint the music-making. Certainly, this was students, the week we spent together pean music had seen in the previous two Gallen in the sixteenth century and con- the best possible start to the Interna- at the Stabat Mater Convent, in the centuries. Working in pairs with portative tains Sequences dating from earlier in the tional Late Medieval and Renaissance village of Borgo Maggiore, felt like part organs on pieces originally intended to Middle Ages. Unlike the Du Fay and Las Course in San Marino, and here’s hope rehearsal and part retreat, and not so be sung by the female voices of the Las Huelgas music, these pieces are notated to it becoming established as one of the much like just one more summer school. Huelgas monastery allowed us to work for one voice with no accompaniment, and top summer schools for keen perform- Off cially, though, it was indeed the on phrasing and expressivity, paying close so considerable work was devoted during ers of medieval music worldwide. latter: the f rst International Late Medi- attention to the text and to each other. the course to transforming the sparse eval and Renaissance Course (the latest There followed two lesser-known pieces medieval notation and words into music, Eva Moreda is lecturer in music at the addition to the San Marino International by Flemish composer Guillaume Du Fay, adding bourdons and percussion, distrib- University of Glasgow and specializes in Music Summer Courses series), taught dating from approximately a century later uting the phrases between instruments, the cultural and political history of Span- entirely by Cristina Alís Raurich, one of than Las Huelgas. Here, Du Fay alter- solo voices, and chorus, and making deci- ish music of the nineteenth and twentieth the most exciting portative organ per- nates the original Gregorian chant with sions aimed at conveying the full extent of centuries. Her latest book is Music Criti- formers of our day. While I will not go as interpolations of three-part polyphony: the rhetorical nuance of each of the texts. cism and Music Critics in Francoist Spain far as claiming that the portative organ— complex counterpoint that took the Working on the sequentiary pro- (Oxford University Press, 2016). Apart f rst documented in the thirteenth cen- whole group many hours to put together vided one further example of Raurich’s from her academic commitments, she tury and disappeared, after a long decline, with instruments and voices, and lots sensitivity as a teacher: instead of has a keen interest in the performance of in the sixteenth century—is making a of food for thought on the relationship holding formal lectures, she chose to medieval and renaissance music on voice, comeback, interest is certainly on the rise (musical, textual, rhetorical) between the introduce a range of theoretical topics portative organ, and recorders. from professional and amateur musicians traditional monophonic chant and the pertinent to the history and perfor- alike. Indeed, three participants in the more recent polyphonic glosses. mance practice of medieval music in a Course website: www.sanmarinoartist.com course had never played a portative organ before, which was no obstacle for them to successfully participate in the student concert held at the end of the course at the Church of San Francesco. One of the main tenets of Raurich’s NATIONAL ASSOCIATION OF PASTORAL MUSICIANS teaching philosophy is that the portative organ is not a keyboard instrument, but a wind instrument; the performer, with the nd instrument placed on his or her thigh or 42 Annual Convention hanging from his or her body by means of July 16-19, 2019 a strap, plays the small keyboard (about two octaves) with one hand and manipu- Raleigh, North Carolina lates the bellows with the other. It is the ability to modulate one’s pressure on the bellows that renders the music expressive and makes true the medieval Guitar and Ensemble Institute notion that the organ is the voice of the July 22-26, 2019 doctors of the Church, capable of saying, singing, moving, and persuading. With Milford, Ohio this in mind, we set out to unravel, with our voices and our organs (sometimes in combination, sometimes separately), some of the repertoire that Raurich had chosen for the course. The overarching theme was the Sequence. Sequences are liturgical texts that seek to illuminate aspects of the WWW.NPM.ORG Gospel or the liturgy, and hence tend to be time or place specif c: Sequences were composed for specif c events of the liturgical year (Easter, Christmas, Pen- tecost, etc.) and occasionally for specif c

WWW.THEDIAPASON.COM THE DIAPASON APRIL 2019 21 Cover feature

A revolution in Norman: how a today’s students, and through the pio- visionary idea is transforming neering spirit that is so often associated the organ industry with the state of Oklahoma, the American American Organ Institute Organ Institute was born. University of Oklahoma The plans were admittedly ambitious, Norman, Oklahoma but, in Dr. Schwandt’s words, “why not?” Many in the organ community have In 2007, shortly after the AOI opened likely heard about the American Organ its doors, the vision of integrating a fully Institute (AOI) at the University of Okla- functioning organ shop into the cur- homa in Norman. Fewer have had the riculum of the institute became a reality. opportunity to experience the institute Shop director John Riester describes f rst-hand. For many years, I have had the shop as an “education laboratory” the privilege of knowing the faculty and with its primary purpose to provide stu- staff of the AOI personally and profes- dents with projects and opportunities for sionally and am grateful for the chance broad understanding of the mechanical to share some thoughts about this vision- and technical aspects of a pipe organ. ary program. This includes work in the shop as well In December 2017, I spent several days as regular opportunities to work in the on campus at the AOI and conducted a surrounding community with service series of interviews. While I have always manager Nathan Rau. held the people at the AOI in the high- The practical knowledge gained at the Current faculty and staff of the AOI (left to right): Fredrick Bahr, shop manager and est of regard, I was nevertheless deeply shop is important because it gives the instructor of organ technology; Nathan Rau, service manager; Bailey Hoffner, cu- rator and archivist; Damin Spritzer, assistant professor of organ; John Schwandt, touched by the fervent passion with which student a basic understanding of what director and professor of organ; Paul Watkins, shop technician; John Riester, shop the goals of the institute were shared to do if an organ has a technical prob- director; Clark Wilson, instructor of organ—theatre; Jeremy Wance, associate direc- among all. From the director of the lem—whether during a worship service tor; Adam Pajan, instructor of organ and shop technician program to students just beginning their or during a concert or other public pre- musical journey, there was a unanimity of sentation. Mr. Riester also emphasized purpose and an understanding that the the importance of organists having that AOI offers something truly exceptional: basic knowledge in order to be effective the opportunity to be part of a family that, advocates on organ committees and to by providing a far-reaching and all-inclu- understand how to better understand sive educational experience to its students, organ proposals. Importantly, every is helping to transform the organ world. student at the AOI, regardless of degree At its core, the AOI is one of the larg- program, must spend a certain amount est and certainly most stylistically diverse of time in the shop. organ music programs in the country. The initial funds designated by OU Although the institute was founded at were originally intended to purchase an the University of Oklahoma in 2006, its organ for Sharp Hall of Catlett Music bedrock principles began to take shape Center. Instead, these funds were utilized many years earlier in the mind of Dr. over ten years to develop the shop, hire John Schwandt. For too long, he had staff, as well as install an organ in Sharp watched as the various traditions within Hall. One of the shop’s f rst projects was the organ world operated largely inde- the creation of Mini Mo—the “miniature” pendent of one another. Dr. Schwandt core of M. P. Möller Opus 5819. It was Schwandt teaching David H. Anderson viewed this compartmentalization as procured almost by chance, before its (graduate student) on “Mini-Mo” tribalism that could threaten the very imminent demolition. OU and University industry we all seek to promote. of Pennsylvania reached an agreement, In 2005, Dr. Schwandt, then comfort- and by February 2007 the Möller pipe ably ensconced in a faculty position at organ began to arrive in Norman. Com- Spritzer teaching Sela Park (secondary Indiana University, became aware of a pleted in 2009, a smaller version was cre- student) on the Fisk unique opportunity at the University of ated f rst so that a working hybrid concert/ Oklahoma. The university’s president, theatre organ could be used pending the of theatre organ has since that time been David Boren, circulated a letter solicit- restoration of the complete instrument. the nearly exclusive province of private ing applicants to develop an organ pro- AOI students were involved in every instructors and oral history. In 2016, gram within the school of music, and Dr. aspect of the project, including rebuild- Clark Wilson joined the faculty to teach Schwandt seized the opportunity. ing of chests, winding, and installation of theatre organ as part of the curriculum of Among his most important purposes, the fourteen ranks that now serve as the the AOI. Under his tutelage, students can Dr. Schwandt wanted to unite the often- concert organ for Sharp Hall. learn the fundamentals of theatre organ Photograph of Marcel Dupré with in- disparate communities within the organ Mini-Mo, an incredibly versatile history, playing, as well as silent f lm scription to Mildred Andrews dated July 29, 1948. One of thousands of photo- world. To achieve that goal, the institute instrument, complements the more clas- accompaniment. And, as with the focus graphs within the special collections at would need to offer the rigorous discipline sical C. B. Fisk, Inc., Opus 111, known as on organ technology, this knowledge has the AOI of a traditional organ program, but also the Mildred Andrews Boggess Memorial important practical applications, given offer students the ability to pursue the Organ, in the cathedral-like Gothic Hall the growing interest within the larger heretofore unconventional, including con- of Catlett. Thanks to the work of students musical world in theatre organ, orchestral returned to serve as the full-time curator cert and symphonic organ playing, theatre and staff at the shop and tireless develop- music, and silent f lm accompaniment. and archivist. She projects a discernible organ styling and silent f lm accompani- ment efforts by associate director Jer- One of the unique aspects of the pro- passion for outreach and encourages any- ment, and organ building and technology. emy Wance, the number of instruments gram is that it is home to its very own one with questions about the materials to I asked Dr. Schwandt the obvious available to students in the program has archives and library. In 2012, the AOI contact the archives and library.2 In Ms. question: why was it so important to doubled. With these instruments in the acquired the complete archival materials Hoffner’s words, “you don’t have to be a include all of these various disciplines talented hands of the students, a wide of the American Theatre Organ Society researcher” to take advantage of these within a single organ program? Beyond range of music is interpreted credibly (ATOS), consisting of a treasure trove special collections, and the wide range the academic answer, that “knowledge is and, most importantly, musically. of materials such as scores, blueprints, of research requests, from students in power,” he had a more immediate and Work at the shop is complemented by stoplists, correspondence, photographs, the program to organ enthusiasts from practical response, focusing on providing degree and course offerings that range and recordings. Currently, more than 350 around the world, is testament to that. students a more complete skill set to meet from sacred music and classical organ per- cubic feet of those materials have been Dr. Adam Pajan, instructor of organ the challenges of being an organist in the formance to organ technology and theatre carefully preserved, with inventory lists and AOI shop technician, described twenty-f rst century. A student who could organ. While throughout its long history available online.1 The large collection of the institute as the “Willy Wonka” of play a Bach trio sonata f awlessly—but not the craft of organbuilding has been passed glass slides from the silent f lm era has the organ world, offering the ability to a hymn—would be ill equipped to serve from generation to generation, often been a particularly fertile area for research. explore virtually anything within the the liturgical needs of many churches. An through apprenticeships, no other pro- In addition to the ATOS collection, greater organ culture. And that very organist without basic skills of improvisa- gram exists that offers the credibility and the archive houses other signif cant openness is what has attracted so many tion would be challenged to segue seam- indeed gravitas of a recognized formal materials that have been donated to the students to the institute. lessly from one musical theme to another degree. The number of organ companies institute, including the Mildred Andrews In the years since the AOI welcomed or to remedy a situation in which a pre- currently in line to hire one of the organ Boggess collection, the papers of Dr. its f rst students, there has been tremen- pared offertory was 45 seconds too short technology graduates from the AOI—37 Larry Smith (including materials from dous growth. Since 2006, the number for the service. And, a student without f rms as of February 2019—speaks to the his teachers Arthur Poister and Russell of students has increased from f ve basic training in the art of theatre organ changing nature of the industry and the Saunders), and the complete collection to twenty-six, with a current count of would surely struggle if asked to accom- necessity of this program. of Möller master player rolls. In 2012, eighteen majors (four are doctoral candi- pany a praise band on a Sunday morning. While accredited degree programs Bailey Hoffner became one of the dates) and eight non-majors. Faculty and Dr. Schwandt perceived an opportunity existed for theatre organ in the 1920s dur- f rst graduate assistants to work with the staff positions have grown to accommo- to offer a broader spectrum of skills to ing the original silent f lm era, the study collections, and in October of 2016, she date the students, with the addition of

22 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM Adam Pajan (instructor of organ and shop technician) teaching Solena Riz- Luke Staisiunas (undergraduate stu- zato (undergraduate student) in the AOI dent) working on wiring for a rebuilt shop practice instrument

Faculty, staff, and students of the AOI with Diane Bish and Michael Barone, after a gala weekend in her honor

us had.” The key is to ensure that our The f rst squadrons have already left educational institutions are equipped the doors of the AOI and are fulf lling to give students the skills they need to its mission, and many more will follow thrive in today’s often-changing musical over the coming years and decades. The world. That is, indeed, the true vision diligent, hard work of those who have of the AOI, and I am grateful to have helped to create and develop the AOI had the opportunity to experience that has already paid dividends as seen in the vision f rst-hand through the eyes of the lives and achievements of the students students, faculty, and staff. that have been part of the program, as My visit left me both grateful and well as the impact the students have had inspired. It was clear that the future of in the industry. the organ industry was in capable hands, The words of Dr. Schwandt could not both with the talented faculty and staff ring truer. Excellence will always suc- and exceptional students. But I was also ceed. It already has, and there is much inspired by the talent, camaraderie, and more to come. supportive atmosphere that pervaded all aspects of the AOI experience. Website: www.ou.edu/aoi. In my discussions with the people Interested individuals should contact of the AOI, one word kept coming up [email protected] for more information on repeatedly—family. The students and audition dates, visits, etc. faculty were passionate in their commit- ment to the inclusion of everyone within The author thanks the University of their extended family, and these were Oklahoma and the American Organ not just platitudes offered to an outside Institute, as well as the many people observer. To the contrary, the inclusivity, who gave of their time and shared of support, and caring was palpable among their experiences, including Dr. John all of them. Schwandt, Dr. Damin Spritzer, Dr. Adam Most of the current students at the American Organ Institute I close by sharing the observations of Pajan, Clark Wilson, Jeremy Wance, Dr. Schwandt, whose vision, along with John Riester, Fredrick Bahr, Nathan assistant professor of organ, Dr. Damin the broadest way possible. The AOI shop the help and dedication from so many, Rau, Bailey Hoffner, and Paul Watkins. Spritzer, and three full-time shop staff. looks to continue to expand its educa- has created something truly special in Along with that growth has blossomed tion of students on the technology of the Norman. In contemplating what he R. Jelani Eddington has been an a shared passion that the vision of the organ through apprenticeship programs hopes the legacy of the institute will be, international theatre organist and con- AOI is helping to ensure that future gen- and through pedagogically signif cant Dr. Schwandt candidly observed: cert artist for over thirty years. During erations have a thriving organ industry projects. The archive will continue to pre- his career, he has performed in theatre within which to practice. serve, catalogue, and strategically digitize What I hope we can achieve is to train organ venues throughout the world and The AOI has its own goals for the as many parts of the collection as possible, legions of students who learned how to has over forty albums to his credit. With future, and two to three times each year not only to protect the material but also play music in every way possible, and who degrees from Indiana University and learned that they can be greater than they the faculty participate in retreats to revise to ensure access to those materials for thought. And, I hope that, in whatever way Yale Law School, Jelani Eddington also the one-year and f ve-year strategic plans, generations to come. they can have an impact, they leave the practices law in Milwaukee, Wisconsin. always with the aim of ensuring that “This industry is not dying,” observed world a better place than how they found it. everything they do is for the betterment shop manager and instructor of organ Whether it’s working in an organ shop, play- Notes ing in a church, teaching, or whatever they of the students. This includes continued technology Fredrick Bahr. “People are may do, I hope they always understand that 1. http://www.aoi.ou.edu/aoial (last visited expansion and evolution of the curricu- coming along with the same passions diligent, hard work will produce excellence. February 10, 2019). lum to address the needs of students in that we had, and that generations before And, excellence will always succeed. 2. [email protected].

WWW.THEDIAPASON.COM THE DIAPASON APRIL 2019 23 Organ Projects Summer Institutes, Workshops, & Conferences

University of Florida Sacred Music Lutheran Summer Music Academy Workshop June 23–July 21, Valparaiso, IN. May 5–7, Gainesville, FL. Lessons, masterclasses, lectures for high Hymn festival, organ and carillon recital, school students; Chad Fothergill, David choral workshops; Laura Ellis. Cherwien, Nancy Menk, others. Contact: https://arts.uf .edu/in-the-loop/ Contact: www.lsmacademy.org. events/uf-sacred-music-workshop-1439/. Summer Chant Intensive RSCM Course for Young People June 24–28, Duquesne University, Pitts- May 28–30, Ashbourne, Derbyshire, UK. burgh, PA. Intensive training for young singers; Simon The Justine Ward Method for teaching Russell. children, chant intensive for singers, chant Contact: www.rscm.org.uk/courses/spring- intensive for directors; Jeffrey Morse, Br. course-for-young-people-dovedale-house//. Mark Bachmann. Contact: musicasacra.com. American Guild of Organists Regional Conventions Interlochen Adult Choir Camp June 9–12, Myrtle Beach, SC June 24–29, Interlochen, MI. June 16–19, Milwaukee, WI Vocal warm–ups, sectional rehearsals, with June 30–July 3, Cherry Hill, NJ public performance; Jerry Blackstone, Scott June 30–July 3, Grand Rapids, MI Van Ornum. June 30–July 3, Irvine, CA Contact: college.interlochen.org/adultchoir. July 1–4, Buffalo, NY July 7–10, Denver, CO. United Church of Christ Musicians’ Recitals, concerts, lectures, workshops, Association Biennial Conference worship. June 25–28, Madison, WI. Contact: www.agohq.org. Worship services, workshops; John Behnke, Bruce A. Bengtson, Greg Zelek, and others. Singing Gregorian Chant and Renais- Contact: www.uccma.org/conference2019. sance Polyphony June 10–14, New York, NY. Association of Anglican Musicians For church music directors, choral direc- 2019 Conference tors, and singers wishing to gain a stronger June 30–July 4, Boston, MA. foundation in early music; Michael Alan Workshops and discussions, liturgies, Anderson. choral and organ concerts; Richard Webster, Contact: https://summer.esm.rochester. Barbara Bruns, Stuart Forster, Colin Lynch. Wicks Opus 5809 in its new home, the Basilica and National Shrine of Our Lady of edu/course/singing-gregorian-chant-and- Contact: www.aamboston2019.com. Lebanon, North Jackson, Ohio renaissance-polyphony-new-york-city/ American Theatre Organ Society Annual Guild of Carillonneurs in North America Convention Wicks Organ Company, Annual Congress 2019 June 30–July 5, Rochester, NY. Highland, Illinois June 10–14, Lake Wales, FL. David Gray, Mark Herman, Clark Wilson, Basilica and National Shrine of Geert D’hollander, Laura Ellis, others. others. Our Lady of Lebanon, Contact: www.gcna.org. Contact: www.atos.org. North Jackson, Ohio Mo-Ranch/PAM Worship and Music Church Music Association of America Wicks Opus 5809 was originally built Conference Sacred Music Colloquium for Trinity Evangelical Free Church, June 16–21, Hunt, TX. July 1–6, Philadelphia, PA. Holdrege, Nebraska. It was designed Lectures, workshops, concerts; Tom Tren- Instruction in chant and Catholic sacred ney, Anne Wilson, Beth Judd, others. music tradition, participation in chant choirs, by their guest organist, Leon Nelson, in Contact: 502/569–5288; lectures, performances. close consultation with the Green and www.presbymusic.org. Contact: http://musicasacra.com. Kohler Company, who represented the Wicks Organ Company of Highland, Illi- Wicks Opus 5809 in its original home, Montreat Conferences on Worship and French Organ Music Seminar Music July 4–19, England, Paris, and Alsace. nois. The organ, commissioned in 1980, Trinity Evangelical Free Church, Hold- rege, Nebraska June 16–21, 23–28, Montreat Conference Playing time and instruction on organs of consisted of two manuals, f fteen ranks Center, Montreat, NC. each region; Daniel Roth, Yannick Merlin, of pipes. Rehearsals, seminars, workshops; choirs, Beatrice Piertot, and others. In 2017, due to the changing needs of were painted by Wicks to complement handbells, organ, visual arts, liturgies; Contact: www.bfoms.com. Nicole Simental, Adam Tice, Jenny McDe- the congregation along with a planned their new surroundings. The result of the vitt, others. Royal Canadian College of Organists expansion of the church, the organ became transformation was noted in the words of Contact: Presbyterian Association of Musi- Annual Convention 2019 available. At the same time, Wicks Organ Chorbishop Spinosa as he communicated cians, www.pam.pcusa.org. July 7–11, Halifax, NS, Canada. Company was working with Chorbishop to Wicks Organ Company, “The instru- Workshops, recitals, exhibits, hymn Baroque Performance Institute festival. Anthony Spinosa to provide an organ that ment makes a truly grand sound and June 16–29, Oberlin Conservatory of Music, Contact: https://changingtides2019.ca. would complement the worship space of f lls the Basilica with wonderful music to Oberlin, OH. the Basilica and National Shrine of Our praise Almighty God.” “Music of the Enemies of Louis XIV,” Association of Disciple Musicians 2019 Lady of Lebanon, North Jackson, Ohio. —Lynn Dermody coaching, masterclasses, concerts; Oberlin National Annual Conference Realizing the potential Opus 5809 had to Baroque Ensemble. July 7–12, Webster Groves, MO. www.oberlin.edu/summer-programs/bpi. Workshops on organ, choral, and handbell meet the expectations of the shrine, Wicks Builder’s website: www.wicksorgan.com music. Organ Company renovated and relocated Shrine website: Westminster Choir College Choral Con- Contact: http://www.adm-doc.org. the organ to its new home. Creativity, www.ourladyof ebanonshrine.com ducting Intensive coupled with an innovative design, led to June 17–21, Princeton, NJ. Westminster Choir College High School Intensive study sessions, Alexander Tech- Organ Institute the addition of two ranks of pipes: a 16′ Photo credits: Scott Wick (Trinity Evan- nique, musical analysis; James Jordan and July 7–20, Princeton, NJ. Open Wood to the Pedal and an 8′ Oboe gelical Free Church) and Ron Goulish Meade Andrews. Lessons, organ crawls, masterclasses in in the Swell. In addition, the wood pipes (Basilica Shrine) Contact: www.rider.edu/summerarts organ and choral training; Matthew Lewis, Eric Plutz. RSCM–America Gulf Coast Course Contact: www.rider.edu/summerarts. June 17–23, Houston, TX. Wicks Organ Company Course for girls 10–18 (choristers and two Oregon Bach Festival Organ Institute organ scholars), individual and group instruc- July 8–13, Eugene, OR. Basilica and National Shrine of Our Lady of Lebanon, North Jackson, Ohio tion; Walden Moore. Masterclasses, seminars, organ crawls, Contact: www.rscmgulfcoast.org. performance; Paul Jacobs. GREAT (enclosed) PEDAL Contact: www.oregonbachfestival.org/ 8′ Principal (61 pipes) 16′ Open Wood (32 pipes, from stock)* Orgel Festival Holland organ-institute. 8′ Bourdon (73 pipes) 16′ Contra Viole (56 pipes)* June 21–28, Alkmaar, Holland. 8′ Viole d’Gamba (Sw) 16′ Bourdon (ext Gt, 12 pipes) Lessons, masterclasses, workshops, con- 69th Sewanee Church Music Conference 8′ Viole Celeste (Sw) 8′ Principal (ext 16′ Contra Viole)* certs, and excursions; Pieter van Dijk and July 8–14, Monteagle, TN. 4′ Octave (61 pipes) 8′ Bourdon (Gt) Frank van Wijk. Study, worship, organ and choral music; 4′ Bourdon (ext 8′) 4′ Choralbass (ext 16′ Contra Viole) Contact: https://orgelfestivalholland.nl/en/ Huw Lewis, Jack Mitchener. III–IV Plein Jeu (226 pipes) 16′ Contra Trompette (12 pipes) academie-en. Contact: www.sewaneeconf.com. Tremolo 8′ Trompette (Sw) 8′ Trompette (Sw) The Fellowship of United Methodists Oundle for Organists Summer School Chimes Couplers in Music and Worship Arts (FUMMWA) July 8–14, Oundle, Northamptonshire, UK. Great to Pedal Music and Worship Arts Week Course for young organists including SWELL (enclosed) Swell to Pedal June 23–28, Lake Junaluska, NC. keyboard skills, liturgical skills, improvisa- 8′ Rohr Flute (61 pipes) Great to Great 16 Handbells, organ, and choral workshops, tion; Ann Elise Smoot, Martin Baker, Jeremy 8′ Viole d’Gamba (61 pipes) Great Unison Off recitals; Mark Mummert, Alicia Walker, Mark Filsell, David Goode, others. 8′ Viole Celeste (61 pipes) Great to Great 4 Miller, others. Contact: oundlefororganists.org.uk. 4′ Prestant (61 pipes) Swell to Great 16 Contact: www.umfellowship.org. 4′ Spillf oete (61 pipes) Swell to Great 8 Westminster Choir College Choral Insti- 2 2⁄3′ Nazard (ext 8′, 19 pipes) Swell to Great 4 Berkshire Choral Festival tute at Oxford 2′ Octavin (61 pipes) Swell to Swell 16 June 23–30, Boston, MA; July 4–14, Richmond, July 9–18, Oxford, UK. 8′ Trompette (73 pipes) Swell to Swell 4 VA; August 4–11, Prague, Czech Republic. Choral conducting lessons and master- 8′ Oboe (61 pipes, from stock) Rehearsals, classes, lectures, concerts; Erin classes; James Jordan and James Whitbourn, 4′ Clairon (ext 8′) * exposed pipework co-directors Tremolo Freeman, Tom Hall, Heinz Ferlesch. Contact: berkshirechoral.org. Contact: www.rider.edu/summerarts.

24 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM Summer Institutes, Bert Adams, FAGO ATRICK LLEN Workshops, & Conferences Park Ridge Presbyterian Church P A Park Ridge, IL GRACE CHURCH Hymn Society Annual Conference Indiana University Jacobs Organ Pickle Piano / Johannus Midwest NEW YORK July 14–18, Dallas, TX. Academy Bloomingdale, IL Lectures, hymn festival, masterclass; Jan July 21–26, Bloomington, IN. Kraybill, John Thornburg, Marissa Glynias For pre-college and collegiate organists or Moore, others. keyboardists, program includes daily lessons, Contact: www.thehymnsociety.org. classes, practice, and access to campus instru- ments, including organs, harpsichords, and Christopher Babcock Michael J. Batcho Organ Historical Society Convention carillon; Janette Fishell, Christopher Young, July 14–18, Dallas, TX. and others. Director of Music Kimberly Marshall, Scott Dettra, Damin Contact: http://music.indiana.edu/precol- St. Andrew’s by the Sea, Spritzer, Renée Anne Louprette, many others. lege/summer/jacobs-organ-academy/index. CATHEDRAL OF ST. JOHN shtml. Hyannis Port Contact: www.organsociety.org/2019. MILWAUKEE Choristers Guild Institute Fellowship of American Baptist Musi- July 22–26, Fort Worth, TX. cians 2019 Conference Certif cate program for directors of young July 14–20, Green Lake, WI. singers in churches and schools; Michael Bur- Workshops, ensembles, and concerts; khardt, Andrea Baxter, Emily Floyd, and others. Dean W. Billmeyer Sarah Mahler Kraaz, Jane Holstein, Gene Contact: www.choristersguild.org. Peterson, others. University of Minnesota Contact: www.fabm.com. Mississippi Conference on Church Music and Liturgy 2019 Conference Minneapolis 55455 • [email protected] Cours d’Interprétation et Improvisation July 23–28, Canton, MS. de Romainmôtier Workshops, reading sessions; Michael July 14–28, Romainmôtier, Switzerland. Smith, Kyle Ritter, Rev. Bryan Owen. Classes on Jehan Alain, improvisation, Contact: www.mississippiconference.org. J. S. Bach, and German Romanticism; Olivier GAVIN BLACK Byron L. Blackmore Latry, Guy Bovet, Michel Jordan, others. Royal College of Organists Organ Stu- Contact: www.jehanalain.ch. dent Experience Princeton Early Keyboard Center Crown of Life Lutheran Church July 23–28, Cambridge, UK. Eastman Summer Academy for High Lessons, masterclasses, and lectures for 732/599-0392 Sun City West, Arizona School Organists young students; Daniel Moult, Sarah Baldock, www.pekc.org 623/214-4903 July 15–19, Rochester, NY. Henry Fairs, Simon Williams, others. Faculty includes David Higgs, Nathan Contact: https://www.rco.org.uk/events/ Laube, William Porter, Stephen Kennedy. TOSE. Contact: https://summer.esm.rochester. St. Andrews Bach Choral Course edu/course/summer-organ-academy/. THOMAS BROWN July 24–28, St. Andrews, UK. Carson Cooman UNIVERSITY Massachusetts Boys Choir Course Rehearsals, masterclasses, lecture, perfor- mance; Andrew Parrott, Jonathan May, John PRESBYTERIAN CHURCH Composer and Concert Organist July 15–21, Groton, MA. Butt. CHAPEL HILL, NORTH CAROLINA Harvard University RSCM course at the Groton School; Rich- Contact: https://www.st-andrews.ac.uk/ ard Webster, Brian Harlow, others. music/perform/shortcourses/choralcourse/. ThomasBrownMusic.com www.carsoncooman.com Contact: www.mbccusa.com. Choral Artistry Choral Conducting Symposium July 25–28, Eastman School, Rochester, NY. July 15–21, University of Michigan, Ann Conducting, vocal pedagogy, musicianship; Your professional card Arbor. Kathryn Cowdrick, Monica Dale, others. DELBERT DISSELHORST Masterclasses, score study, rehearsal Contact: http://summer.esm.rochester. could appear here! techniques, reading sessions; Scott Hanoian, edu/course/choral-artistry-conducting-vocal- Professor Emeritus Eugene Rogers, Lucinda Carver. pedagogy-musicianship/. Contact: [email protected] Contact: www.music.umich.edu/special_ University of Iowa–Iowa City programs/adult/choral.conducting.htm. Smarano Academy 2019 or 608/634-6253 July 25–August 4, Smarano, Italy. National Association of Pastoral Musi- Fantasia and its historical development; cians Annual Convention 2019 Joel Speerstra, William Porter, Malcolm Bil- July 16–19, Raleigh, NC. son, Edoardo Bellotti, others. STEVEN EGLER Contact: www.smaranoacademy.com/organ. JOHN FENSTERMAKER Handbell festival, exhibits, choral, organ, Central Michigan University and music direction clinics, recitals. Contact: www.npm.org. St. Andrews Organ Week 2019 School of Music TRINITY-BY-THE-COVE July 27–August 3, St. Andrews, UK. Mt. Pleasant, MI 48859 Lessons, lectures, masterclasses, work- Baylor Alleluia Conference [email protected] NAPLES, FLORIDA July 16–19, Waco, TX. shops on music of Bach and of France; Chris- Conference for church music directors, tophe Mantoux, Katelyn Emerson, Henry plenary reading sessions, choral/orchestral Fairs, others. reading sessions; Mark Burrows, Hart Morris, Contact: https://bit.ly/2Dr2p2Y. Norberto Heather Sorenson, Jerry McCoy, others. Contact: www.baylor.edu/alleluia. Liturgical Music Institute Susan Goodson July 28–August 2, Huntington, New York. Guinaldo London Organ Improvisation Course Skills and plenum workshops in music, liturgy, and theology; Frank Crosio, John J. Emanuel United Church of Christ His Music July 16–19, London, UK. See—Listen—Buy Improvisation lessons and workshops on his- Miller, Susan, Hugelmeyer, Lisa Evard Kelly. Manchester, Michigan Contact: www.liturgicalmusicinstitute.org. toric and modern instruments; Franz Danksag- www.GuinaldoPublications.com muller, Duncan Middleton, and Gerard Brooks. Contact: https://loic.org.uk Royal College of Organists Summer Course A Professional Card in Handbell Musicians of America National July 29–August 3, London, UK. Lessons, masterclasses, services, and per- TEPHEN AMILTON Seminar 2019 The Diapason S H July 16–20, St. Louis, MO. formance; Anne Marsden Thomas, Simon Williams, others. For rates and digital specif cations, recitalist–clinician–educator Classes, performances, exhibits, handbell Contact: https://www.rco.org.uk/events/ notation conference; Houston Chamber summer-course-2019. contact Jerome Butera www.stephenjonhamilton.com Ringers, Rezound!, Timbré, others. 847/391-1045; [email protected] Contact: www.handbellmusicians.org. RSCM Residentiary Choir for Adults Sing Your Faith—Refresh Your Spirit: July 29–August 4, Coventry, UK. A Choral and Spiritual Retreat in the Sing choral services for a week under the Heartland direction of Silas Wollston, including vocal coaching. July 19–21, First-Plymouth Church, Lincoln, Contact: https://www.rscm.com/learn-with- David Herman NE. us/residentiary-choir/. Clinicians include Tom Trenney, Ariel Trustees Distinguished Professor Emeritus of Music and University Organist Merivil, Barbara Crafton, and Michael Hawn. Royal School of Church Music Interna- The University of Delaware [email protected] Contact: www.f rstplymouth.org/ tional Summer School singyourfaith. August 5–11, Norfold, UK. Choral workshops; Silas Wollston, Cecilia Westminster Choir College Choral McDowell, Joel Payne, others Festival Contact: www.rscm.org.uk. July 19–27, Princeton, NJ. Gail Archer Intensive study sessions, masterclasses, BYU Organ Workshop lectures, participation in festival chorus; Joe organist August 6–9, Brigham Young University, Miller, others. Provo, UT. www.gailarcher.com Lorraine Brugh, Ph.D. Contact: www.rider.edu/summerarts. Organ skill-building for all levels; Don Cook, Bonnie Goodliffe, Seth Bott, others. Vassar College Professor of Music Choral Masterworks—Handel’s Mes- Contact: https://organ.ce.byu.edu. Barnard College, Columbia University University Organist siah: Style and Structure [email protected] July 20–23, Rochester, NY. Musica Antica a Magnano (212) 854-5096 Valparaiso, Ind. In-depth analysis and rehearsal of Handel’s August 8–18, Magnano, Italy. valpo.edu Messiah; Betsy Burleigh and William Weinert. Clavichord, fortepiano, organ, harpsichord, Promotion Contact: https://summer.esm.rochester. 219.464.5084 musicology; Bernard Brauchli, Georges Kiss, SOZO Media edu/course/choral-masterworks-handels- [email protected] messiah-style-and-structure/. page 26 [email protected]

WWW.THEDIAPASON.COM THE DIAPASON APRIL 2019 25 WILL HEADLEE ANDREW HENDERSON, DMA Summer Institutes, 1650 James Street Madison Avenue Presbyterian Church Workshops, & Conferences Syracuse, NY 13203-2816 New York, NY (315) 471-8451 www.andrewhenderson.net page 25 Lectures, masterclasses, recitals; David Briggs, Gerard Brooks, David Pipe, others. Eva Kiss, Luca Taccardi, Alberto Galazzo. Contact: www.organfest.org.uk. Contact: www.musicaanticamagnano.com. Sacred Music Symposium Richard Barrick Hoskins Chamber Choir and Choral Conducting September 11–13, Tabernacle Presbyterian Brian Jones Workshop Church, Indianapolis, IN. Director of Music & Organist Workshops for organists, choral directors, Director of Music Emeritus August 11–18, Norfolk, Connecticut. St. Chrysostom's Church For advanced singers and choral conduc- and handbell conductors; Mark Hayes and others. Chicago TRINITY CHURCH tors; Simon Carrington. Contact: www.norfolkmusic.org. Contact: tabpres.org/sacredmusic. [email protected] BOSTON RSCM Summer Course for Young Norwegian Organ Festival People September 12–15, Stavanger, Norway. August 19–25, Bath, UK. Concerts, lectures, seminars, master- KIM R. KASLING JAMES KIBBIE Course for singers age 4–24; choral train- classes; Edoardo Bellotti, Magnus Andersson, ing, musical leadership skills, services. others. D.M.A. The University of Michigan Contact: www.rscm.com/courses/summer- Contact: http://orgelfestival.no. St. John’s University Ann Arbor, MI 48109-2085 course-for-young-people/. 734-764-1591 FAX: 734-763-5097 46th Annual Convention of the Ameri- Collegeville, MN 56321 Incorporated Association of Organists email: [email protected] can Institute of Organbuilders Annual Festival October 6–9, Richmond, VA. September 6–8, Cardiff, UK. Contact: www.pipeorgan.org. David K. Lamb, D.Mus. Karen Schneider Kirner Calendar Director of Music Director, Notre Dame Handbell Choir Trinity United Methodist Church Assistant Director, Notre Dame Folk Choir 26 APRIL New Albany, Indiana This calendar runs from the 15th of the month Glen High School & North Davidson University of Notre Dame 812/944-2229 of issue through the following month. The deadline High School Choirs; St. Patrick’s Cathedral, is the f rst of the preceding month (Jan. 1 for New York, NY 1:45 pm Feb. issue). All events are assumed to be organ Choir concert; Grace Church, New York, recitals unless otherwise indicated and are grouped NY 4 pm within each date north-south and east-west. •=AGO Barnard-Columbia Chorus, Haydn, The chapter event, • •=RCCO centre event, +=new organ Creation; Church of the Ascension, New A.S.C.A.P. dedication, ++= OHS event. York, NY 8 pm FELLOW, AMERICAN GUILD OF ORGANISTS Information cannot be accepted unless it John Walker; Shadyside Presbyterian, specif es artist name, date, location, and hour in 345 SADDLE LAKE DRIVE Pittsburgh, PA 7:30 pm writing. Multiple listings should be in chronological ROSWELL-ATLANTA, GEORGIA 30076 Elizabeth Lenti; Emmanuel Church, (770) 594-0949 order; please do not send duplicate listings. Chester Parish, Chestertown, MD 7 pm THE DIAPASON regrets that it cannot assume Georgia Boy Choir; Peachtree Road responsibility for the accuracy of calendar entries. United Methodist, Atlanta, GA 7:30 pm Nicholas Schmelter; First Presbyterian, UNITED STATES Caro, MI 12 noon East of the Mississippi John Sherer; Fourth Presbyterian, Chi- cago, IL 12:10 pm Professor Emeritus – University of Michigan – Ann Arbor Lakeside Singers; Fourth Presbyterian, Professor of Organ for 67 years 15 APRIL Chicago, IL 7:30 pm MarilynThe University’s longest-serving faculty memberMason Yale Repertory Chorus; Marquand Cha- pel, Yale University, New Haven, CT 5 pm 27 APRIL Ryan Kennedy & Chase Loomer; Wool- Aaron Tan; Dwight Chapel, Yale Univer- sey Hall, Yale University, New Haven, CT sity, New Haven, CT 2 pm A two-inch Professional Card in The Diapason 7:30 pm Grant Wareham; Christ Church, New Fauré, Requiem; Christ Church Cathe- Haven, CT 5 pm For information on rates and specif cations, contact Jerome Butera: dral, Lexington, KY 4 pm 28 APRIL [email protected] 608/634-6253 16 APRIL George Baker; Church of the Transf gu- Maunder, Olivet to Calvary; Grace ration, Orleans, MA 3:30 pm Church, New York, NY 7 pm Choral Evensong; St. John’s Episcopal, West Hartford, CT 5 pm 17 APRIL Preston Smith; St. Patrick’s Cathedral, Ken Cowan, Dupré, Stations of the New York, NY 3:15 pm Patrick Pope; Cathedral of St. John the LARRY PALMER Cross; Princeton University Chapel, Princ- PHILIP CROZIER Divine, New York, NY 5 pm eton, NJ 8 pm CONCERT ORGANIST Harpsichord – Organ Robert McCormick; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 18 APRIL ACCOMPANIST Alan Morrison, with Ursinus College Professor of Music, Emeritus Alan Morrison, with dance; Kravis Cen- 3355 Queen Mary Road, Apt 424 Choir; Ursinus College, Collegeville, PA 4 pm ter, West Palm Beach, FL 8 pm Nathan Laube; St. Ann’s Church, Wash- Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Leighton, Crucif xus Pro Nobis; Fourth ington, DC 3 pm Canada Presbyterian, Chicago, IL 7:30 pm Chelsea Chen; Stambaugh Auditorium, Youngstown, OH 4 pm (514) 739-8696 Recitals — Lectures — Consultancies 19 APRIL The Chenault Duo; First Presbyterian, [email protected] Bach, St. John Passion; Fourth Presbyte- Tuscaloosa, AL 4 pm [email protected] + 214.350-3628 rian, Chicago, IL 7:30 pm Sr. Catherine Duenne, OSB; First Pres- byterian, Evansville, IN 1 pm 20 APRIL Mozart, Coronation Mass; Church of St. Gail Archer, with bass; Vassar College, Agnes, St. Paul, MN 10 am Poughkeepsie, NY 3 pm Aaron David Miller; House of Hope Alan Morrison, with dance; Kimmel Presbyterian, St. Paul, MN 4 pm announces... Center, Philadelphia, PA 8 pm Palestrina Choir of Dublin; Cathedral of St. Paul, St. Paul, MN 7:30 pm 21 APRIL 20 Under 30 Nominations Benjamin Sheen; St. Thomas Church 29 APRIL Nominations20 Under 30close Class February of 12019 Fifth Avenue, New York, NY 2:30 pm St. Michael’s Choir School; St. Patrick’s Bach, Cantata 15; Holy Trinity Lutheran, Cathedral, New York, NY 1:45 pm We will be recognizing 20 young New York, NY 5 pm Aaron Tan; Church of the Ascension, Knoxville, TN 7:30 pm men and women whose career George Fergus; Washington National Timothy Spelbring; Presbyterian accomplishments place them at Cathedral, Washington, DC 1:30 pm Homes, Evanston, IL 1:30 pm the forefront of the organ, church Haydn, Grosse Orgelmesse; Church of music, harpsichord, carillon, and St. Agnes, St. Paul, MN 10 am 30 APRIL —before Raymond Johnston; St. Louis King their 30th birthday. 23 APRIL of France Catholic Church, St. Paul, MN Students from Vassar College; Central 12:35 pm Synagogue, New York, NY 12:30 pm WatchVisit TheDiapason.com for prof les of the Class of 2019 Capital District Youth Chorale; St. Pat- 1 MAY in the May issue. for more information and to nominate. rick’s Cathedral, New York, NY 1:45 pm Jacob Reed; Dwight Chapel, Yale Uni- versity, New Haven, CT 12:30 pm 24 APRIL Andrew Van Varick; Cathedral Basilica Stay up to date on all of the latest industry news and events. Agnieszka Kosmecka; Cathedral of of the Sacred Heart, Newark, NJ 12 noon Visit TheDiapason.com regularly. St. John the Evangelist, Milwaukee, WI Su-Ryeon Ji; Peachtree Road United 12:15 pm Methodist, Atlanta, GA 12 noon

26 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 3 MAY • Ken Cowan; St. Chrysostom’s Episco- Southminster Presbyterian Church Yale Schola Cantorum & Juilliard415; pal, Chicago, IL 7:30 pm SHORT HILLS Woolsey Hall, Yale University, New Haven, Chelsea Chen; Hamline United Method- Arlington Heights, IL 60005 CT 7:30 pm ist, St. Paul, MN 7:30 pm Stefan Donner; Lutheran Church of 8 MAY Times Square, New York, NY 1 pm ANDREW SCHAEFFER Stefan Donner; St. Malachy’s Catholic Timothy Wissler; Peachtree Road Unit- DEREK E. NICKELS, DMA Church, New York, NY 6:30 pm ed Methodist, Atlanta, GA 12 noon Luther Memorial Church (ELCA) Nathan Laube; St. Bridget Catholic Church of the Holy Comforter 9 MAY Madison, Wisconsin Church, Richmond, VA 7:30 pm Kenilworth, IL 60043 Nicholas Schmelter; First Presbyterian, Verdi, Requiem; Oratorio Society of New [email protected] York; Carnegie Hall, New York, NY 8 pm Caro, MI 12 noon (847) 251-6120 • [email protected] Recitals — Hymn Festivals Megan Cutting; Cathedral Basilica of Jihye Choi; First Presbyterian, Evans- the Sacred Heart, Newark, NJ 12 noon ville, IN 7 pm 10 MAY 4 MAY Jeffrey Schleff, Ed.D. A one-inch Professional Card Nathan Laube; Calvary Episcopal, Ston- in The Diapason Crane School Orchestra and Chorus, ington, CT 7:30 pm Organist – Teacher – Consultant Mozart, Mass in C Minor; SUNY Potsdam, Gail Archer; Asbury United Methodist, For information on rates and specif cations, Potsdam, NY 7:30 pm Salisbury, MD 7 pm Sulphur Public Schools, Sulphur, OK Yale Schola Cantorum & Juilliard415; Al- Ken Cowan; Emmanuel Church, Ches- United Disciples Christian Church, Richardson, TX contact Jerome Butera: ice Tully Hall, Lincoln Center, New York, NY ter Parish, Chestertown, MD 7 pm [email protected] [email protected] 608/634-6253 7:30 pm Quire Cleveland; Lakewood Congrega- 11 MAY tional, Lakewood, OH 7:30 pm Choir concert; St. Luke’s Episcopal, Festival of Hymns, Psalms, and Spiritual Evanston, IL 4 pm OHN CHWANDT Songs; Cathedral Church of the Advent, STEPHEN SCHNURR J S Birmingham, AL 3 pm 12 MAY American Organ Institute • Craig Cramer, workshop on Buxtehu- Conte & Ennis Duo (Peter Richard Saint Paul Catholic Church University of Oklahoma de; Zion Lutheran, Wausau, WI 9 am Conte, organ, & Andrew Ennis, f ugelhorn Valparaiso, Indiana & organ); Old St. Joseph’s Catholic Church, aoi.ou.edu 5 MAY Philadelphia, PA 3 pm Jackson Merrill; St. John’s Episcopal, Chuyoung Suter; Washington National West Hartford, CT 12:15 pm Cathedral, Washington, DC 5:15 pm GMChorale, Bruckner, Mass in e; Mid- Ken Cowan; Christ and St. Luke’s Epis- ROBERT L. dletown High School, Middletown, CT 4 pm copal, Norfolk, VA 4 pm David von Behren; Woolsey Hall, Yale North Shore Choral Society & Evanston University, New Haven, CT 7:30 pm Children’s Choir; Bernstein, Chichester SIMPSON Mark Steinbach New York City Children’s Chorus; Madison Psalms, Orff, Carmina Burana; Northwest- Christ Church Cathedral Brown University Avenue Presbyterian, New York, NY 3 pm ern University, Evanston, IL 2:30 pm 1117 Texas Avenue John Richardson; Cathedral of St. John Gounod, St. Cecilia Mass; Church of St. Houston, Texas 77002 the Divine, New York, NY 5 pm Agnes, St. Paul, MN 10 am Peter Stoltzfus Berton; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 13 MAY ] ; Marble Collegiate Church, Richard Spotts; Washington National Aaron Tan New York, NY 12:30 pm Joe Utterback Cathedral, Washington, DC 5:15 pm David Wagner

David Jonies; Congregation of St. Jo- ]] ] Kimberly Marshall; Holy Trinity Luther- seph, La Grange Park, IL 1 pm www.jazzmuze.com DMA an, Lynchburg, VA 4 pm www.davidwagnerorganist.com Amanda Mole; Advent Lutheran, Mel- 14 MAY 203 386 9992 bourne, FL 3 pm • Alan Morrison; St. John’s UCC, Lans- Nathan Laube; St. Boniface Episcopal, dale, PA 12 noon Sarasota, FL 6 pm Jillian Gardner; St. John Presbyterian, Katelyn Emerson; First Evangelical Lu- New Albany, IN 7 pm theran, Lorain, OH 3 pm ARL ATSON Quire Cleveland; St. Peter Catholic 15 MAY Kevin Walters K W Church, Cleveland, OH 4 pm Sarah Hawbecker; Peachtree Road M.A., F.A.G.O. FIRST PRESBYTERIAN CHURCH Craig Cramer; Zion Lutheran, Wausau, United Methodist, Atlanta, GA 12 noon WI 3 pm Rye, New York WOODBRIDGE, NJ Mozart, Credo Mass in C; Church of St. 16 MAY Agnes, St. Paul, MN 10 am Gail Jennings, Shin-Ae Chun, & Alice Van Wambeke, Bach, Well-Tempered Cla- 7 MAY vier; First Baptist, Ann Arbor, MI 12:15 pm Students from Indiana University; Cen- Alan G Woolley PhD RONALD WYATT tral Synagogue, New York, NY 12:30 pm 17 MAY Musical Instrument Research Maria Rayzvasser; Church of St. Anne & Rosalind Mohnsen; Trinity Episcopal, Boston, MA 12:15 pm Edinburgh Trinity Church the Holy Trinity, Brooklyn, NY 1 pm [email protected] Galveston

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

A 1913 - The New and the Old . . . these recent releases P embrace intriguing repertoire covering six centuries. A two-inch Professional Card in The Diapason R 1914 - Famous Last Words . . . in anticipation of Holy Week, selections from various compositions that enshrine Jesus’s For information on rates and specif cations, contact Jerome Butera: I ¿QDOHDUWK\XWWHUDQFHV [email protected] 608/634-6253 L 1915 - For the Morning of Easter . . . the resurrection theme has inspired composers across many generations. 2 ArtistArtist Spotlights Spotlightspotlight s 1916 - Two Will Do . . . proving quality over quantity and the 0 remarkable capability of organs with ‘only’ two manuals. 1 Artist Spotlights 1917 - Past Masters . . . recalling famous and forgotten names are available on Your professional card 9 from the past who still engage us with their unique talents. The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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

WWW.THEDIAPASON.COM THE DIAPASON APRIL 2019 27 Calendar

Karen Beaumont; St. Malachy’s Catho- Alex Ashman; First United Methodist, David Ball; Cathedral of St. Mary of the 17 APRIL lic Church, New York, NY 6:30 pm Hershey, PA 7 pm Assumption, San Francisco, CA 4 pm Olivier Latry; Kulturpalast, Dresden, David Baskeyf eld, recital and silent • Michael Plagerman; First Presbyterian, Germany 8 pm f lm; Overbrook Presbyterian, Philadelphia, Saginaw, MI 7:30 pm 3 MAY Stephen Hamilton; Memorial Chapel, PA 7 pm Edoardo Bellotti; St. Mark’s Episcopal University of Glasgow, Glasgow, Scotland 26 MAY Isabelle Demers; St. Raphael Catholic Cathedral, Seattle, WA 7:30 pm 1:05 pm Church, Naperville, IL 7:30 pm Rebecca Marie Yoder; Washington Na- Chelsea Chen, with San Diego Sym- tional Cathedral, Washington, DC 5:15 pm Jillian Gardner; St. Martyrs-Canadiens phony, Poulenc, Concerto for Organ, Saint- Church, Québec, Canada 2 pm 18 MAY Pamela Meys Kane; Holy Spirit Luther- Saëns, Symphony III; Copley Symphony Ken Cowan; St. Thomas Church, Fifth an, Charleston, SC 3 pm Hall, San Diego, CA 8 pm Mozart, Trinitatis Mass; Church of St. Ag- 24 APRIL Avenue, New York, NY 3 pm Martin Sturm; Frauenkirche, Dresden, nes, St. Paul, MN 10 am 4 MAY Anthony & Beard Duo (trumpet & or- Germany 8 pm gan); Calvary Episcopal, Summit, NJ 7 pm Chelsea Chen, with San Diego Sym- 27 MAY phony, Poulenc, Concerto for Organ, Saint- Aaron David Miller, with Manual Cin- Lee Kohlenberg; Grace Church Cathe- 26 APRIL Saëns, Symphony III; Copley Symphony ema-ADA/AVA; Kimmel Center, Philadel- dral, Charleston, SC 10 am Eleni Keventsidou, with violin; Blooms- Hall, San Diego, CA 8 pm phia, PA 8 pm bury Central Baptist, London, UK 4 pm 28 MAY 5 MAY 19 MAY Jonathan Schakel; Cathedral Church of 28 APRIL Gail Archer; Cathedral of St. Mary of the Nathaniel Gumbs; Trinity Lutheran, St. Luke & St. Paul, Charleston, SC 10 am Ken Cowan, with violin; Philharmonic Worcester, MA 4 pm Assumption, San Francisco, CA 4 pm Chelsea Chen, with San Diego Sym- Hall, Berlin, Germany 11 am Renée Anne Louprette; Brick Presbyte- 29 MAY Michael Hey; Westminster United rian, New York, NY 5 pm James Mellichamp; Cathedral of St. phony, Poulenc, Concerto for Organ, Saint- Church, Winnepeg, MB, Canada 2:30 pm Robert McCormick; Cathedral Church John the Baptist, Charleston, SC 10 am Saëns, Symphony III; Copley Symphony Patrick Scott; Peachtree Road United Hall, San Diego, CA 2 pm of the Nativity, Bethlehem, PA 4 pm 29 APRIL Michael Hey; Sts. Philip & James Catho- Methodist, Atlanta, GA 12 noon 9 MAY Wayne Marshall; Royal Festival Hall, lic Church, Baltimore, MD 3 pm London, UK 7:30 pm Peter DuBois; Christ Episcopal, Easton, 30 MAY Johnathan Wohlers, with soprano; St. Ascension Evensong; Emmanuel Epis- Andrew’s Episcopal, Tacoma, WA 3 pm MD 4 pm 1 MAY Wayne Wold; St. John’s Episcopal, Elli- copal, Chester Parish, Chestertown, MD 6 pm 10 MAY Johannes Trümpler; Kreuzkirche, Dres- cott City, MD 4 pm Richard Gray; St. Philip’s Church, Chelsea Chen; Trinity Episcopal, Tulsa, den, Germany 8 pm Joshua Stafford; Grace United Method- Charleston, SC 10 am OK 7 pm ist, Hagerstown, MD 4 pm Choral Evensong; Cathedral Church of 8 MAY Nicholas Schmelter, with piano; First the Advent, Birmingham, AL 5:30 pm 12 MAY Sebastian Freitag; Kathedrale, Dres- Presbyterian, Caro, MI 4 pm Amanda Mole; St. James Episcopal, den, Germany 8 pm Thomas Fielding; Loyola University, 31 MAY Los Angeles, CA 6 pm Chicago, IL 3 pm + Vaughn Mauren; St. James’s Episco- 15 MAY Schubert, Mass in G; Church of St. Ag- pal, West Hartford, CT 7 pm 13 MAY Renata Marcinkute; Frauenkirche, nes, St. Paul, MN 10 am Eli Roberts; St. Matthew’s Lutheran, Katelyn Emerson; Benaroya Hall, Se- Dresden, Germany 8 pm Charleston, SC 10 am attle, WA 7:30 pm Nathan Laube; Radio France, Paris, 20 MAY France 8 pm Peggy Massello; Presbyterian Homes, UNITED STATES 16 MAY Evanston, IL 1:30 pm West of the Mississippi Amanda Mole; The Episcopal School of 18 MAY Dallas, Dallas, TX 7:30 pm 22 MAY Philip Scriven; St. Alban’s Cathedral, 19 APRIL St. Alban’s, UK 5:30 pm Scott Atchison & Nicole Marane; 17 MAY Peachtree Road United Methodist, Atlanta, Stainer, The Crucif xion; St. Mark’s Epis- copal Cathedral, Minneapolis, MN 7:30 pm Mina Choi; Christ Episcopal, Tacoma, 21 MAY GA 12 noon Pergolesi, Stabat Mater; St. James Cath- WA 12:10 pm Rien Donkersloot; Grote Zaalvan Phil- olic Cathedral, Seattle, WA 12 noon 23 MAY 19 MAY harmonie, Haarlem, Netherlands 8:15 pm St. James School Choir; St. John’s Epis- Jonathan Wohlers, with soprano; St. 23 APRIL 22 MAY copal, Hagerstown, MD 7:30 pm Andrew’s Episcopal, Tacoma, WA 3 pm Bruce Neswick; Wichita State Univer- Holger Gehring, with trumpet and alto; sity, Wichita, KS 7:30 pm Gail Archer; St. Bede’s Episcopal, Menlo 24 MAY Park, CA 4 pm Kreuzkirche, Dresden, Germany 8 pm Handel, Dixit Dominus, Haydn, Har- 28 APRIL 24 MAY moniemesse; St. Ignatius Loyola, New Monica Czausz; St. Andrew’s Episcopal, INTERNATIONAL Daniel Moult; Bloomsbury Central Bap- York, NY 8 pm Amarillo, TX 7:30 pm tist, London, UK 4 pm 16 APRIL Denis Bédard; Holy Rosary Catholic Ca- Jos van der Kooy, with oboe & alto viol; thedral, Vancouver, BC, Canada 8 pm Grote Zaalvan Philharmonie, Haarlem, Netherands 8:15 pm 29 MAY Stephen Hamilton; Cathedral, Glasgow, Stefan Viegelahn; Kathedrale, Dresden, Scotland 7:30 pm Germany 8 pm

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28 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM Recital Programs

GUY BOVET, Basilique Saint-Sernin, Variations in the Italian Manner, Bach, tran- tions, op. 23, Buck; Choral in E, Franck; RENÉE ANNE LOUPRETTE, with Toulouse, France, October 9: Ofertorio en scr. Winsemius; Hymn improvisation on “Be Mein junges Leben hat ein End, SwWV 324, Ivan Goff (Uilleann pipes, Irish f ute), Walt do mineur, Albéniz; 2 versets sur le Secu- Not Afraid;” Gymnopédie No. 2, Satie, tran- Sweelinck; Improvisation on St. Clement, Disney Concert Hall, Los Angeles, CA, Oc- lorum, Eslava; Benedictus, Alkan, transcr. scr. Gouwens; Prelude No. 3, van den Gheyn; Hancock, transcr. Stoltzfus; Final (Symphonie tober 7: Prelude and Fugue in G, BWV 541, Bovet; Pavane de la Belle au Bois dormant, Dorian Chorale for Organ, Alain, transcr. I, op. 14), Vierne. Bach; Alcyone, Suite des Airs à joüer, Mara- Petit Poucet, Laideronnette, Impératrice des Gouwens; Hymn improvisation on “Arirang;” is; Lament for Limerick, The Angel’s Share, pagodes, Les entretiens de la Belle et de la Five Short Pieces, Robins; Hymn improvisa- YUKA ISHIKAWA, FABIAN LUCHTER- arr. Goff, Louprette; Litanies, JA 119, Alain; Bête, Le Jardin féerique (Ma Mère l’Oye), tion on “Lead On, O King Eternal.” HANDT, JOHANNES ZEINLER, Basilique Were You at the Rock?, Beglarian; Suite, op. Ravel, transcr. Bovet; Le Boléro du divin Mo- Saint-Sernin, Toulouse, France, October 14: 5, Duruf é. zart, Trois tangos ecclesiasticos, Bovet. THOMAS GOUWENS, Fourth Presby- Scène et fantaisie pastorale, Lefébure-Wély; terian Church, Chicago, IL, October 12: Im- Larghetto (Symphony VII), Beethoven, ROBERT McCORMICK, Allen Organ ADAM BRAKEL, Westminster United provisation sur le Te Deum, Tournemire; A la transcr. Batiste; Sortie, Petrali; Danse ma- Company, Macungie, PA, October 26: Impe- Church, Winnipeg, MB, Canada, October 28: Sainte Vierge (Sept pièces pour orgue), Fleu- cabre, Saint-Saëns; Naïades, op. 55, no. 4, rial March, op. 32, Elgar, transcr. Martin; An- Étude Symphonique, Bossi; Sonata in c, BWV ry; Sonata in E-f at, BWV 525, Bach; Sicili- Vierne; 2e et 3e danse, Rachmaninov; Aka- dante espressivo (Sonata in G, op. 28), Elgar; 526, Bach; Fantasy on Jerusalem, Rone; So- enne, von Paradis, transcr. Gowers; Prelude et demische Festouvertüre, Brahms; Bien loin Suite for Organ, Martinson; Choral (Deuxième nata Eroïca, op. 94, Jongen; Praeludium und Fugue sur le nom d’Alain, Duruf é. d’ici, Mukai; La Croix du Sud, Florentz; Tanz- Symphonie, op. 20), Vierne; Prelude on Llan- Fuge in c, Martin; Praeludium in d, BuxWV Toccata, Heiller; 2e mouvement (Concerto à 4 fair, Robinson. 140, Buxtehude; Variations on a theme from RICHARD GOUWERS, Église Notre- mains), Bartók. Carmen, Horowitz, transc. Brakel. Dame de la Dalbade, Toulouse, France, Oc- JONATHAN MELLING, All Hallows by tober 10: Overture (Die Meistersinger von SIMON THOMAS JACOBS, Rye Presby- the Tower, London, UK, October 4: Trumpet PETER RICHARD CONTE, Plainf eld Nürnberg), Wagner, transcr. Lemare; Inter- terian Church, Rye, NY, October 14: Sinfonia Tune in C, Purcell; Aria (Semele), Andante United Methodist Church, Plainf eld, IN, mède (Feuersnot), Strauss, transcr. Gowers; (Cantata 29), Bach; Concerto No. 13 in F, (Concerto in G, op. 4, no. 1), Handel, transcr. October 28: Toccata and Fugue in d, Bach; Fantaisie et Fugue sur le Choral Ad Nos, ad HWV 295, Handel; Organ Concerto No. 1 in Taylor; Andante with Variations in D, Men- Funeral March for a Marionette, Gounod, salutarem undam, Liszt. F, op. 137, Rheinberger. delssohn; Arietta, op. 12, no. 1, Hjemve, op. 57, transcr. Conte; Grand Choeur avec Ton- no. 6, Berceuse, op. 38, no. 1, Grieg, transcr. nerre, Corrette; Graceful Ghost, Bolcom, STEPHEN HAMILTON, Eglise St. Vin- CALVERT JOHNSON, Hill Auditorium, Ludwig; We All Believe in One True God, transcr. Conte; Night on Bald Mountain, cent de Merignac, Bordeaux, France, Octo- University of Michigan, Ann Arbor, MI, Octo- Peeters; Tune in E, Elegy in B-f at, Thalben- Mussorgsky, transcr. Conte; In the Hall of ber 11: Suite de Deuxieme Ton, Clérambault; ber 2: Passacaglia and Fugue, Andante, Hour Ball; Festival Toccata, Fletcher. the Mountain King, Grieg, transcr. Conte; Sonata de 1° tono para clave y para órgano of Peace, Cantilena, Little Pastorale, Caprice, Elfes, Bonnet; Overture (Ruddigore), Sulli- con trompete real, Lidón; Partite Sopra la Tempo moderato, Florence Price. ALAN MORRISON, Spivey Hall, Clay- van, transcr. Conte. Aria della Folia de Espagne, Pasquini; La Ro- ton State University, Morrow, GA, October manesca con Cinque Mutanze, Valente; Con- SUNGHEE KIM, Valparaiso University, 27: Orb and Sceptre, Walton; Vater unser im DAVID COOK, All Hallows by the Tower, certo in b, Walther; Prelude and Fugue in c, Valparaiso, IN, October 5: Sonata in G, BWV Himmelreich, Böhm; Partita diverse sopra Sei London, UK, October 18: Prelude (The Spit- BWV 546, Bach; Toccata, Villancico, y Fuga, 530, Prelude and Fugue in e, BWV 548, Bach; gegrüßet, Jesu gütig, BWV 768, Bach; Caril- f re), Walton, transcr. Morrell; Chanson Triste, op. 18, Ginastera; Aria (Six Pieces), A. Alain; Study for Pedal Piano, op. 56, no. 4, Sketch for lon, Sowerby; Octaves (Six Études, op. 5), Tchaikovsky, transcr. Lemare; Minuet and Le Jardin suspendu, JA 71, Litanies, JA 119, Pedal Piano, op. 58, no. 3, Schumann; Sicili- Demessieux; Pictures at an Exhibition, Mus- Trio (Jena Symphony), Beethoven, transcr. J. Alain. enne, Toccata (Suite, op. 5), Duruf é. sorgsky, transcr. Guillou, Morrison. Coleman; Adagio (Moonlight Sonata), Beethoven, transcr. Best; Concerto in G, CHRISTOPHER HOULIHAN, Christ OLIVIER LATRY, Cathedral of the Holy RAPHAËL OLIVER, Église Notre-Dame BWV 592, Bach; Consolation No. 4 in D-f at, Evangelical Lutheran Church, Athens, OH, Name, Chicago, IL, October 18: Offertoire de la Dalbade, Toulouse, France, October 5: Liszt, transcr. Henderson; Finlandia, op. 26, October 5: Toccata, Sowerby; Master Tal- sur les Grands Jeux (Messe des Paroisses), Pelleas et Mélisande, Fauré, transcr. Robilliard; no. 7, Sibelius, transcr. Fricker. lis’s Testament (Six Pieces), Howells; Four Couperin; Menuet, Ouverture d’Isis, Marche Clair de Lune, op. 53, no. 5, Naîades, op. 55, Sketches for Pedal Piano, op. 58, Schumann; de Thésée, Lully, transcr. Geoffroy; Partita so- no. 4, Vierne; Suite, op. 5, Duruf é. ISABELLE DEMERS, Knox United Passacaglia and Fugue in c, BWV 582, Bach; pra Sei gegrüßet, Jesu gütig, BWV 768, Bach; Church, Parksville, BC, Canada, October Scherzo (Symphonie II, op. 20), Romance Troisième Choral, FWV 40, Franck; Postlude PATRICK POPE, Loyola University, Chi- 7: Harry Potter Symphonic Suite, Williams, (Symphonie IV, op. 32), Toccata (24 Pièces de pour l’off ce des Complies, JA 29, Alain; Évoca- cago, IL, October 21: Comes Autumn Time, transcr. Demers; Requiescat in Pace, Sow- Fantaisie, op. 53, no. 6), Vierne. tion II, Escaich; improvisation. Carillon, Sowerby; Air, Hancock; Concerto erby; Intermezzo, Finale (Symphonie pour in C, BWV 595, Bach; Partita on Crucifer, Orgue, op. 5), Barié; Ma Vlast, Smetana, tran- DANIEL HYDE, St. Thomas Church, NATHAN LAUBE, Church of the Trans- Bates; Concertino, Major. scr. Demers; Aubade, op. 55, no. 1, Carillon Fifth Avenue, New York, NY, October 5: f guration, Orleans, MA, October 14: Allegro de Westminster, op. 54, no. 6, Vierne; Sonata Overture (Die Meistersinger von Nürnberg), vivace (Symphonie V, op. 42, no. 1), Widor; NICHOLAS SCHMELTER, Cathedral of in c, BWV 526, Bach. Wagner, transcr. Lemare; Allein Gott in der Pastorale, Roger-Ducasse; Introduction, Pas- St. John the Evangelist, Milwaukee, WI, Oc- Höh sei Ehr’, BWV 715, 711, 717, 676, Bach; sacaglia, and Fugue, Willan; Concert Overture tober 10: Toccata, Mushel; Meditation (Trois JOHN GOUWENS, carillon, Culver Valse Mignonne, op. 142, no. 2, Karg-Elert; in c, Hollins; Overture (Tannhäuser), Wagner, Improvisations), Vierne; Introduction, Passa- Academies, Culver, IN, October 6: Air with The Star-Spangled Banner Concert Varia- transcr. Warren, Lemare, Laube. caglia, and Fugue, Wright.

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Don’t just tell people what you _ have for sale. Show them! Own a piece of history! The cover of the 100th Anniversary www.thediapason.com Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color Building websites for tomorrow is bordered in gold-colored metal, and the high-quality plaque has a marble- ized black f nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding Include pictures with your members of the 50-Year Subscribers Club. Order yours today: E-Commerce SEO Training classif ed ads on our website. [email protected] WWW.THEDIAPASON.COM 608/634-6253 Want to know more? Contact Jerome Butera for details. www.mediapressstudios.com or e-mail [email protected] 608/634-6253; [email protected]

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

Wanted: Organists visiting Maui. Lahaina’s Organa Europae calendars featuring famous The Organ Historical Society announced the Lawrence Phelps Casavant Frères, Op. 3075 Holy Innocents Episcopal Church invites visit- pipe organs of Europe; years 1969 to 1977. publication of its 2019 Pipe Organ Calendar. for sale. 2 manuals, 3 divisions, 46 ranks, 29 ing organists to play its Beckerath Positiv organ $10.00 each. 219/662-0677, [email protected]. The calendar features organs by Wolff, Schudi, stops. Terraced drawknob console. Mechani- at Sunday services. Built in 1972 by Rudolf von Noack, Bedient, Sipe-Yarbrough, Fisk, Hook & cal action. 1969 electronic combination action. Beckerath and then-apprentice Hans-Ulrich Hastings, Redman, Kern, and others. Available Email [email protected] or call Spring Song, by William Faulkes. I think Men- Erbslöh for Honolulu’s Lutheran Church, the 408- from the OHS e-Shoppe: $18 members ($21 914/738-5515, ext. 102. pipe Shrankpositiv has a 54-note “split” manual, delssohn was the f rst to use the title of “Früh- non-members), https://organhistoricalsociety.org/ 30-note pedal, 11 stops, 8 ranks, and 6 registers. lingslied” or “Spring Song” in his op. 62, no. 6, of product/ohs-2019-calendar/?v=7516fd43adaa. Holy Innocents acquired the instrument in 1977 “Songs without Words.” Several others have fol- Aeolian Duo-Art Pipe Organ, Opus 1560. and moved it to Maui where it has been played lowed this idea, and this is Faulkes’s. It’s light and Three manuals: Great, Swell, Choir, w/expres- The new Nordic Journey series of CD record- by parish musicians such as Carol Monaghan lyrical and I encourage you to look at it for Spring sion, and Pedal; 48 ranks, Harp and Chimes, 2019. michaelsmusicservice.com 704/567-1066. ings reveals premiere recordings of symphonic and visiting artists including Angus Sinclair of all stops 73-pipes, 61-note manuals, 32-note organ music—much of it still unpublished—from Canada and Dalibor Miklavcic of Slovenia. The pedals. Electro-pneumatic chests; 176-note roll- instrument is extremely responsive and f lls the Nordic composers, played by American organist Consoliere Classic Series for Organ: Complete player in console. $52,000. Restored by Dave worship space beautifully. The parish community James Hicks on a variety of recently restored Set of Six Books. An outstanding collection com- Junchen; professionally removed from California is “exemplary in its hospitality to all visitors,” and Swedish organs. It’s a little bit like Widor, Reger piled from World Library Publication’s extensive Institute of Technology, Pasadena, by Organ that especially includes visiting organists. For and Karg-Elert, but with a Nordic twist. Check it organ library. A must for any church organist. Clearing House and American Organ Institute. information: 808/661-4202; holyimaui.org. out at www.proorgano.com and search for the 003067, $54.00, 800/566-6150, Wlpmusic.com. term “Nordic Journey.” Organ in safe/secure climate controlled stor- age, San Antonio, Texas. Contact Mr. Crockett; PUBLICATIONS / RECORDINGS 214/991-1009; [email protected] Certified appraisals—Collections of organ Raven has released the f rst in a series of new books, recordings, and music, for divorce, recordings by Timothy Olsen, Organs of North Mother’s Day Music? Check out “A Woman of estate, gift, and tax purposes. Stephen L. Carolina. Vol. 1, The German Muse (OAR-977), M.P. Moller Opus 11542, 1981 (3m, 36r), is Valor”—Seven pieces on Proverbs 31, by Nor- Pinel, Appraiser. 629 Edison Drive, East Wind- features the 1965 Flentrop at Salem College in being offered for sale and must be removed by berto Guinaldo: More precious than rubies; In her sor, NJ 08520-5205; phone: 609/448-8427; works by Buxtehude, Distler, Böhm, J. S. Bach, June 2019. The specif cation can be found on husband’s heart; Fortitude; Artful and charitable; email: [email protected]. Pachelbel, Zipoli, Hindemith, and Walcha. Vol. the OHS Database. The organ is in playable Wisdom and kindness; Gratitude and blessings; 2, The American and French Muses (OAR-145), condition and can be heard on YouTube “Organs The beauty within. 28 pages. See, listen, buy. features the 1977 Fisk op. 75 at the University of Pittsburgh – Ep. 9”. Asking price is $10k; must www.guinaldopublications.com. Raven has released the CD, Tell of His Love, of NC School of the Arts; works by Margaret Raven OAR-144, featuring the musicians of the be removed by an insured organ builder. Contact: Sandresky, Aaron Travers, Ted Oliver, Claude [email protected] Cathedral of St. John, Albuquerque, New Mexico. Gervaise, de Grigny, and Franck. $15.98 each, A Whispered Prayer, for unison voices with organ The Choirs of the Cathedral of St. John, Maxine postpaid worldwide from RavenCD.com. accompaniment, is the third of a trio of compli- Thévenot, Director and Organist, and Edmund Reuter Antiphonal Organ and console (un- mentary hymn anthems to be offered by Fruhauf Connolly, Assistant Organist, perform the Mag- enclosed 3 ranks unif ed to 25 stop-tab controls, Music Publications in the course of 2018–19. nif cat and Nunc Dimittis by Aaron David Miller; The Tracker—The Organ Historical Society quar- 2 manual and pedal) for sale. Reuter 3 manual Available in May, the hymn text is omni-seasonal. Andrew Carter’s setting of “Consider the Lillies”; terly journal includes news and articles about the The setting provides three unison verses and a settings of O sacrum convivium and Haec Dies organ and its history, organ builders, exemplary and pedal console also for sale (69 draw-knobs, brief transition, followed by a unison fourth verse by McNeil Robinson; and other choral works by organs, and regional surveys of instruments. Both 15 tilting tablets), all from Opus 1554, 1967. Can that features a free accompaniment and des- Fauré, Samuel Wesley, Casals, Dyson, Gibson, American and European organ topics are dis- be purchased separately or together. Make offer, cant. A visit to FMP’s home page bulletin board and Stephanie Martin. Thévenot plays Variations cussed, and most issues run 40 pages with many buyer to remove by April 26, 2019. Contact organ- at www.frumuspub.net will provide a link to the on Ubi Caritas by Denis Bédard and Robinson’s illustrations and photographs. Membership in the ist Julia Tucker for full information and photos, letter-sized PDF booklet f le’s download page, Chorale Prelude on Llanfair. Edmund Connolly OHS includes a subscription to The Tracker. Visit Valley Presbyterian Church, 6947 E. McDonald along with access to the other two anthems being plays Fanfare by Kenneth Leighton. Raven OAR- the OHS Web site for subscription and member- Drive, Paradise Valley, AZ 85253; 480/991-6424, featured this year. 144, RavenCD.com, $15.98 postpaid. ship information: www.organhistoricalsociety.org. [email protected].

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Each month your gift will keep on giving by providing the important news TOTAL PIPE ORGAN RESOURCES of the organ and church music f eld. Know that your gift will be just right. For information, contact Rose Geritano, 847/391-1030; rgeritano@ 2320 West 50th Street * Erie, PA 16505-0325 sgcmail.com. Or visit www.thediapason.com and click “subscribe.” (814) 835-2244 * www.organsupply.com $43 one year USA; $35 one year digital; $20 one year student

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Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

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30 THE DIAPASON APRIL 2019 WWW.THEDIAPASON.COM Classif ed Advertising Rates will be found below.

PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES

26-rank Casavant - Létourneau pipe organ for 33-rank Wicks, Opus 3585 (1956) for sale. 38-rank pipe organ, excellent condition. Built Releathering all types of pipe organ actions sale. Orgues Létourneau is offering a 22-stop Three-manual and pedal drawknob console, in 1926 with pipes from 1896 organ; rebuilt in and mechanisms. Highest quality materi- Casavant Frères pipe organ (Opus 1274 from duplexed to 60 playing stops. Exposed Great, 1952, enlarged in 1992 with Antiphonal. Beautiful als and workmanship. Reasonable rates. 1928) for sale. This electro-pneumatic instru- expressive Swell and Choir, chamber 22′ wide, 3-manual console. Priced low for quick sale—call Columbia Organ Leathers 800/423-7003. ment was rebuilt by Létourneau in 1987 and is 10′-6″ deep. Make offer. Christ King Catholic to negotiate. Phone Jim Resh, 765/935-2481 or www.columbiaorgan.com/col. currently in storage at the Létourneau shops. It is Church, 2604 N. Swan Blvd., Wauwatosa, WI email [email protected]. available for purchase in “as is” condition for US 53226; 414/258-2604. Organist Bill Lieven, Aeolian/Robert Morton-style maroon $35,000 with its original two-manual console. [email protected]. leather is now available from Columbia Organ Likewise, Létourneau would be pleased to pro- MISCELLANEOUS FOR SALE Leathers! Highest quality. 800/423-7003, vide a proposal to rebuild this instrument, taking Residence instrument available, Doug- www.columbiaorgan.com. into account any desired changes to the stoplist Consoles, pipes and numerous miscellaneous lasville, Georgia. Four manual, six division, as well as installation costs, voicing, casework parts. Let us know what you are looking for. hybrid instrument built in 2010. Short montage as required, and rebuilding the two-manual on YouTube by entering “HDG residence organ” E-mail [email protected] (not comcast), ANNOUNCEMENTS console with a new solid-state switching system. in the browser. Complete stoplist and pictures phone 215/353-0286 or 215/788-3423. The organ requires approximately 360 sq. ft. available. Contact M. Proscia, 770/258-3388 or with 20′ ceiling for 16′ ranks. For more details, 770/361-2485; [email protected]. THE DIAPASON E-Newsletters are e-mailed visit www.letourneauorgans.com, email info@ Gothic White Oak Organ Case. 25′ x 25′ x 12′ deep. Excellent condition. Spiky towers, lots of monthly to subscribers who sign up to letourneauorgans.com or call Andrew Forrest at receive them. Don’t miss the latest news, 450/774-2698. Rieger 23-rank mechanical pipe organ for sale. f ligree. The Organ Clearing House, 617/688- featured artists, and classif ed ads—all with Two 61-note manuals and 32-note AGO concave, 9290, [email protected]. photos—some before they appear in print! radiating pedals. 1,221 pipes, manual and pedal Visit www.TheDiapason.com and click on 1968 Schantz, opus 890, III Manual, 5 divi- Subscribe to our newsletter. For assistance, couplers, and tremulant; includes 3 separate SERVICES / SUPPLIES sions. Organ is in good condition, console con- mixture stops and 2 reed stops. Gently voiced for contact Stephen Schnurr, 847/954-7989, [email protected]. verted to solid-state, several additions to original a chapel or home use. Compact design: width: 1 stoplist, organ to be removed professionally by 5′-8 ⁄8″, depth 7′-3¼″, height 7′-3½″ with sepa- Complete Pipe Organ Services from the Organ new owner prior to new organ installation. Best rate electric blower 2′ x 2′-1″ x 2′-5″. Mechanical Clearing House: 450 vintage pipe organs avail- offer. 1980 Milnar organ, 11 ranks on II Manu- key and stop action, slider windchest. Reduced to able, renovation, tuning, consultation. Other THE DIAPASON’S new website has an increased als and Pedal. Currently in climate-controlled $45,000.00. For more details call 360/945-0425 services include transportation, cleaning and capacity for new videos. Go to www.thediapa- storage. Asking $17,500. Small Wicks practice or see OHS Organ Data Base, Rieger Orgelbau, renovation of carvings, reredos, liturgical furnish- son.com and click on videos to see what you’ve organ, $5,000. Contact Milnar Organ Company Gaspar Schulek Residence. ings. Call John Bishop at 617/688-9290. john@ missed! Visit www.thediapason.com often and for more information on either of these organs. organclearinghouse.com. keep up to date with all the news items. www.milnarorgan.com or 615/274-6400. Expressive and compact—3/27 Kilgen (1940). Two expressive divisions. 17 manual 8-foot f ues. Do you have a pipe organ that you would Postal regulations require that mail to THE Pfeffer and Debierre organs. Circa 1860 Pfeffer Reeds include Tuba, Cornopean, Oboe, Clarinet, like to interface with an electronic or digital DIAPASON include a suite number to assure eight-rank organ, available rebuilt and custom Vox Humana. Harp. 16′ Open Wood. H: 237″, W: organ? We can interface any digital organ or delivery. Please send all correspondence to: f nished. Also 1884 choir organ by Louis Debi- 170″, D: 189″. Stopkey console. Original restor- any organ console with any pipe organ. For more THE DIAPASON, 3030 W. Salt Creek Lane, Suite erre. Both are pictured on the Redman website: able condition. $30,000. Organ Clearing House, information e-mail [email protected] (not 201, Arlington Heights, IL 60005. www.redmanpipeorgans.com. 617/688-9290, [email protected]. Comcast) or call 215/353-0286.

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WWW.THEDIAPASON.COM THE DIAPASON APRIL 2019 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

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

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

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

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Choirs Available

Saint Thomas Church New York City (March 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole New College Oxford United Kingdom (March/April 2019) Trinity College Cambridge United Kingdom (September 2019) Notre-Dame Cathedral Paris (April 2020) Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

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