View PDF Editionarrow Forward

Total Page:16

File Type:pdf, Size:1020Kb

View PDF Editionarrow Forward THE DIAPASON OCTOBER 2020 Organ and Church Music at The University of Kansas The 25th Year of the Bales Organ Recital Hall and Hellmuth Wolff Opus 40 Cover feature on pages 18–19 PHILLIP TRUCKENBROD CONCERT ARTISTS ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄt®ÄÄÙ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 10, A free gift with new subscriptions Whole No. 1331 and gift subscriptions OCTOBER 2020 A subscription to The Diapason makes the perfect gift for Established in 1909 a friend who shares your interest in the organ, church music, Stephen Schnurr ISSN 0012-2378 harpsichord, and carillon. And, just in time for the holidays, we 847/954-7989; [email protected] are extending our promotional offering of Raven CDs for new www.TheDiapason.com An International Monthly Devoted to the Organ, and gift subscriptions: one free CD for a one-year subscrip- the Harpsichord, Carillon, and Church Music tion; two CDs for a two-year subscription; and three CDs for a to consider now the young leader you might nominate for three-year subscription. Check it out now at www.thediapason. this important award! Visit thediapason.com and click on “20 CONTENTS com/subscribe. Under 30” to view past honorees and their accomplishments. FEATURES Schumann’s B-A-C-H Fugues: the genesis of Reminders In this issue the “Character-Fugue” Work on our 2021 Resource Directory continues, as it will be Colin MacKnight examines Robert Schumann’s Sechs by Colin MacKnight 12 mailed with the January issue. If your business should be listed Fugen über den Namen BACH für Orgel oder Pianoforte mit Creating a pipe organ: Artisans at work, in the directory and was not included in 2020, please email Pedal, op. 60. We present the second installment of Steve Ris- Part 2 by Steve Riskind 16 me with your contact information. If your business was listed kind’s photographic essay on organbuilding artisans at work, in our directory this year, please review your information to featuring the Peragallo Pipe Organ Company and A. David NEWS & DEPARTMENTS ensure it is accurate and complete. Listings are free. Advertis- Moore, Inc. Editor’s Notebook 3 ing opportunities are available for the directory, as well. For In “On Teaching,” Gavin Black discusses the “toccata princi- Letters to the Editor 3 advertising inquiries, please contact Jerome Butera (jbutera@ pal.” John Bishop, in “In the Wind . .,” reminds readers of the Here & There 3 sgcmail.com; 608/634-6253). The deadline for listings and need to use appropriate care when playing the organ. Appointments 4 advertising is November 1. Our cover feature spotlights the organ and church music pro- Nunc Dimittis 4 Nominations for The Diapason’s 20 Under 30 Class of 2021 gram of the University of Kansas, Lawrence, as well as the 25th Carillon Profile by Kimberly Schafer 6 On Teaching by Gavin Black 9 will open December 1. We will recognize once again young anniversary of Hellmuth Wolff Opus 40 in the university’s Bales In the wind . by John Bishop 10 women and men whose career accomplishments place them at Organ Recital Hall. In “Organ Projects,” Marceau Pipe Organ- the forefront of the organ, church music, harpsichord, carillon, builders has completed a renovation of the Casavant organ in REVIEWS and organbuilding fields, before their thirtieth birthdays. Begin Cross of Christ Lutheran Church, Bellevue, Washington. Q New Organ Music 21 New Recordings 22 Letters to the Editor ORGAN PROJECTS 20 CALENDAR 24 New organ announcements time and money into site visits, travel is not merely a privilege; it has its obliga- RECITAL PROGRAMS 25 Reading the new organ announce- expenses, space studies, and the other tions, too. CLASSIFIED ADVERTISING 26 ments in the August issue, page 8, dis- cost-consuming measures a responsible —Jonathan Ambrosino closed a phenomenon I wonder whether proposal requires. Arlington, Massachusetts this publication has the power to refine. Back in the days of sizable shops, The new Ruffatti organ for Notre sales departments, and regional repre- From the Editor: Dame Seminary in Louisiana is, of sentatives, perhaps such discourtesies It is unfortunate these situations occur. course, the kind of announcement The weren’t as glaring. Today, in a greatly In a sense, it is a sign of our times, when Diapason has published forever. Read- reduced market with many fewer pros- common courtesy is not extended to all. ers hope for precisely such news. But pects to go around, such sting is felt It is not possible to vet all organ there is a rub: every other bidder for that more sharply. project matters through the purchasers project learned of Ruffatti’s selection Is it possible for The Diapason of these instruments. If the non-winning only from this announcement, not from to establish a protocol by which such bidders did not receive the courtesy the seminary. announcements are accepted for pub- of learning the decision from the pur- Certainly it is not the duty of suc- lication only upon assurance from the chaser, we certainly could not expect the cessful bidders to notify their competi- organ’s purchaser that all bidders have purchaser to confirm a request that all tors of an outcome. But it is too often been properly notified? It would cer- bidders are notified. In that case, and if the case that prospective customers tainly be considerate of our colleague the projects were not published in the haven’t the decency to inform unsuc- organbuilders, while reminding custom- journal, the rejected bidders still would cessful bidders, who invest significant ers that the commissioning of a project not know the outcome. Q COVER Organ and Church Music at The University of Kansas; The 25th Year of the Bales Organ Recital Hall and Hellmuth Wolff Opus 40 18 Here & There Events Chapel, Hartford, Connecticut; and 10/8, Plutz had planned to perform the sym- Editorial Director STEPHEN SCHNURR and Publisher [email protected] a live recital of works by Vierne. For phonies in various concerts during the 847/954-7989 information: christopherhoulihan.com. 2020 season, these events having been canceled due to the pandemic. Many of President RICK SCHWER these performances will now take place [email protected] 847/391-1048 in 2021. For information: facebook.com/ SevenEightArtists/. Editor-at-Large ANDREW SCHAEFFER [email protected] Sales Director JEROME BUTERA [email protected] 608/634-6253 Circulation/ Subscriptions THE DIAPASON P.O. Box 300 Christopher Houlihan (photo credit: Ali Lincolnshire, IL. 60069-0300 Winbery) [email protected] Toll-Free: 877/501-7540 Eric Plutz Local: 847/763-4933 Christopher Houlihan presents an online festival celebrating the 150th Eric Plutz will present The Vierne Designer DAN SOLTIS [email protected] anniversary of the birth of Louis Vierne, Project, a marathon of the six organ St. John’s Episcopal Church, West Hart- 847/391-1014 October 5–8. Nightly events at 7:00 p.m. symphonies of Louis Vierne, premiering ford, Connecticut EDT include: October 5, an interview on YouTube on October 8, the 150th CATHERINE LEPENSKE [email protected] with Phillip Truckenbrod about his birthday of the composer. The sympho- St. John’s Episcopal Church, West 847/954-7964 career; 10/6, an interview with Oivier nies are being professionally recorded Hartford, Connecticut, announces its Latry about the 2019 fire at Notre Dame live on the organ of Princeton University 2020–2021 Music at the Red Door Contributing Editors LARRY PALMER Cathedral, Paris, France; 10/7, a lecture Chapel, Princeton, New Jersey, through series: October 16, Laura Metcalf, ’cello, Harpsichord and demonstration from Trinity College the financial support of the university. ³ 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. $44; 2 yr. $81; 3 yr. $112 (United States and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. Canada and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the GAVIN BLACK shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specific written permission of the Editor, except that libraries are authorized to make On Teaching 3 yr. $112 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fifteen students. Such copies may be reused for other Reviewers Jeffrey Schleff Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently.
Recommended publications
  • Buzard Pipe Organ Builders, Opus 41 Trinity Lutheran Church, Sheboygan, Wisconsin
    Cover feature The console Winding system showing stop action trundles above Buzard Pipe Organ Builders, a synthesis of these colors into the well- Trinity Lutheran Church’s director of we draw upon an intimate knowledge Champaign, Illinois precedented framework of classic organ- music, Brian Heinlein. We were asked of many styles and schools of voicing, as Opus 41, Trinity Lutheran Church, building, not from a rejection of the to create the quintessential “Lutheran well as aspects of tonal design, for the Sheboygan, Wisconsin lessons the Organ Reform Movement organ” for Trinity parish’s expansive and particular musical contexts at hand. Add taught. An organ for Lutheran worship impressive music program, combining to that sensitivity for one’s individual From the artistic director must be classically conceived, with a the overall effect of our own “house style and you have the making of art. Sometimes great new organs result hierarchical ordering of the divisions style” with the specific items that dif- Ours is one of few modern commercial when materials from older instruments and the choruses within those divisions. ferentiate the two. The result of the full organbuilding firms that dares to believe are recrafted and repurposed. Many (Oh . but that’s also how we go about organ, and the ability to make seamless it can create a unique place in the pro- of the best builders throughout history designing an Anglican organ as well . .) crescendos and diminuendos, is that fession and its history by developing an have reused former instruments to vary- The greatest artists throughout his- of a Buzard organ—one simply gets to individual artistic style.
    [Show full text]
  • The Fabulous 'Beer Can' Organ
    Now the organist could practice his BOMBARDENostalgia selections for the morrow and the organ committee members need never know that a lowly beer can was making THE FABULOUS it possible. The incident got Art Stopes to think­ ing about beer cans and organs. Per­ 'BEER CAN' ORGAN haps these beer cans had special quali­ ties which merited further investigation. Story by Stu Green Photo Copying by Bill Lamb He wondered how the plated ferrous metal from which they are stamped Art Stopes has led a colorful life, But if one were to ask Art about the would compare with pipe metal tonally. by any man's standards, and especially adventure which stands out in bold Tone from beer cans? You've gotta be those of organ enthusiasts. His entire relief as the most memorable, he'll an­ out of your skull, Art Stopes! life, since the age of 15 has been domi­ swer without hesitation, "my beer can The idea not only persisted but de­ nated by pipe organs - and he's still organ!" veloped. Soon Art knew that he was going strong. The year was 1942 and Art was in­ going to build some sort of a wind­ Art got his "baptism of fire" when stalling an organ in a Philadelphia church. It had to be ready for a dedi­ blown instrument, and the music would he was apprenticed to the Aeolian come from beer cans! Organ Co., in Garwood, New Jersey, cation concert the next day and time Being a craftsman, Art Stopes first just after his 15th birthday.
    [Show full text]
  • 2017 Pipe Organ Report
    ORGAN REPORT 2604 N. Swan Blvd., Wauwatosa, WI 53226 JUNE 1, 2017 “Beauty evangelizes, and a new organ will strengthen the Christ King mission to proclaim Christ and make disciples in the world.” Table of Contents A Letter From the Organ Committee.................Pg. 2 The Organ Committee Process..........................Pg. 3 Addendum 1 of 2: Riedel Organ Condition Report..................Pg. 4-15 Addendum 2 of 2: Type of Organs.............................................Pg.16-20 From theTHE Committee... PIPE ORGAN AT CHRIST KING PARISH The Organ Committee at Christ King Parish was formed in 2015 at the request of the Pastoral Council and the Worship Committee to evaluate the condition of our current organ, plus its present and future role in our community. This report will provide details on the failing condition of our organ, the cost for refurbishment vs the cost of replacing the instrument and the vetting of organ building companies. In 2007, the United States Conference of Catholic Bishops (USCCB) issued a document entitled, “Sing to the Lord: Music in Divine Worship”. Drawing from several centuries of organ use in the Catholic Church the Bishops stated the following about organs: 87. Among all other instruments which are suitable for divine worship, the organ is “accorded pride of place” because of its capacity to sustain the singing of a large gathered assembly, due to both its size and its ability to give “resonance to the fullness of human sentiments, from joy to sadness, from praise to lamentation.” Likewise,” the manifold possibilities of the organ in some way remind us of the immensity and the magnificence of God” 88.
    [Show full text]
  • From Basement to Barcheston Paul Hale
    something old, something new FROM BASEMENT TO BARCHESTON Paul Hale This is the story of the organ now to be found in the delightful Warwickshire church at Barcheston. It begins in 1973, when Longstaff & Jones (Telford-based organ-builders and maintainers) advertised in the organ press that they would like to build a new, small pipe organ. Geoffrey Holroyde had yearned for some time for a small house organ for regular practice, so Longstaff & Jones were soon engaged to build for him a compact instrument, using direct-electric action. The successful design consisted of four ranks of pipes (and a quiet electronic pedal Bourdon) providing two manuals and pedals, with no couplers thereby avoiding too much extension with its attendant ‘missing notes’. Tickell case design for Barcheston The carefully chosen vintage ranks of pipes were: A Wooden stopped Gedackt 8ft extended to 4ft 68 pipes B Open metal (stopped from TC down) 8ft 56 pipes C Smaller scale open metal 4ft extended to 2ft 68 pipes D Oboe (for the Pedal Organ) 8ft 30 pipes Specification: Lower manual B8ft A8ft C4ft A4ft C2ft Upper manual C8ft (bottom octave from B) A8ft C4ft A4ft Barcheston Church looking East Pedal 16ft D8ft B8ft A8ft B4ft A4ft C2ft 48 • March 2020 something old, something new The opening recital in Geoffrey’s house was given by the youthful Edward Higginbottom, who before Cambridge had played for Geoffrey’s flourishing choir at St Mary’s Collegiate Church, Warwick. In 1979, Geoffrey and his, by then, large family moved to a spacious Victorian four-storey house.
    [Show full text]
  • Question: Is It Ok to Play a Pipe Organ During COVID? There's Debate in Our Church Whether, Since This Is a Wind Instrument, It Will Blow Covid Particles Around
    American Guild of Organists Committee on Career Development and Support - COVID-19 and Organists: Q & A https://www.agohq.org/covid-19-and-organists-q-a/ Question: Is it ok to play a pipe organ during COVID? There's debate in our church whether, since this is a wind instrument, it will blow Covid particles around. Research shows that minute Covid droplets attach themselves to dust particles and disperse in the air for 2-4 hours. The organ is in an enclosed chamber 10ft above the floor of the balcony, and 25 feet above the congregation in a very large building. The blower is located in a tower well above the balcony. Thanks. Responses: 1) from Jeffrey Dexter, President of the American Institute of Organbuilders... I would tend to agree ... that the organ would not be any more of an agent of virus spread than say, for example, a building HVAC system – likely even less. Although I cannot offer any factual evidence that would corroborate that claim, common sense seems to indicate such. My greater concern would be for any assembly/choral singing within a space (as tempting as it is to burst forth into song upon hearing an organ play). I am copying a number of my AIO colleagues – a cross section of persons – if only to provide further reinforcement to that which I have suggested – or perhaps, to take a wholly different opinion. This is the first such question about the pipe organ being a potential 'distribution agent' for the COVID-19 virus. We've been fielding questions about the sanitization of manual keyboards – especially in parishes where multiple organists use the same instrument.
    [Show full text]
  • Organ Registration: the Organist’S Palette—An Orchestra at Your Fingertips by Dr
    Organ Registration: The Organist’s Palette—An Orchestra at Your Fingertips By Dr. Bradley Hunter Welch I. Basic Review of Organ Tone (see www.organstops.org for reference) A. Two types of tone—flue & reed 1. Flue a. Principals (“Principal, Diapason, Montre, Octave, Super Octave, Fifteenth”) & Mixtures b. Flutes (any name containing “flute” or “flöte” or “flauto” as well as “Bourdon, Gedeckt, Nachthorn, Quintaton”) c. Strings (“Viole de Gambe, Viole Celeste, Voix Celeste, Violone, Gamba”) 2. Reed (“Trompette, Hautbois [Oboe], Clarion, Fagotto [Basson], Bombarde, Posaune [Trombone], English Horn, Krummhorn, Clarinet”, etc.) a. Conical reeds i. “Chorus” reeds—Trompette, Bombarde, Clarion, Hautbois ii. Orchestral, “imitative” reeds—English Horn, French Horn b. Cylindrical reeds (very prominent even-numbered overtones) i. Baroque, “color” reeds— Cromorne, Dulzian, some ex. of Schalmei (can also be conical) ii. Orchestral, “imitative” reeds—Clarinet (or Cor di Bassetto or Basset Horn) Listen to pipes in the bottom range and try to hear harmonic development. Begin by hearing the prominent 2nd overtone of the Cromorne 8' (overtone at 2 2/3' pitch); then hear 4th overtone (at 1 3/5'). B. Pitch name on stop indicates “speaking” length of the pipe played by low C on that rank II. Scaling A. Differences in scale among families of organ tone 1. Flutes are broadest scale (similar to “oo” or “oh” vowel) 2. Principals are in the middle—narrower than flutes (similar to “ah” vowel) 3. Strings are narrowest scale (similar to “ee” vowel) B. Differences in scale according to era of organ construction 1. In general, organs built in early 20th century (1920s-1940s): principals and flutes are broad in scale (darker, fuller sound), and strings tend to be very thin, keen.
    [Show full text]
  • ORGAN SEARCH COMMITTEE REPORT First Presbyterian Church, Boone NC
    ORGAN SEARCH COMMITTEE REPORT First Presbyterian Church, Boone NC June 19, 2018 TABLE OF CONTENTS 2018 WHY AN ORGAN NOW? ...................................... 2 SUMMARY .................................................................. 3 Mandate…. .................................................................................. 3 Starting Point………………………………………………………………………………………….3 Options…………………………………………………………………………………………………….4 The Way Forward…………………………………………………………………………………….5 Organ Options: Pros and Cons……………………………………………………………….6 FULL REPORT……………………………………………………….7 Introduction………………………………………………………………………………………….…7 Scope and Guidelines……………………………………………………………………………..7 Background……………………………………………………………………………………………..9 Current Condition of the Gawthrop Organ ..………………………………………….9 Pipe Organ Considerations and Recommendations ..……………………….…11 Digital Organs……………………………………………………………………………………….12 Digital Organ Considerations and Recommendations ..………………………13 Digital Organ Analysis………………………………………………………………………..…14 Search Committee’s Recommended Organ ……..…………………………………15 2018 WHY AN ORGAN NOW? At First Presbyterian we utilize many tools to help us recognize God in our midst, sacred vessels, vestments, paraments, flowers, etc. Additionally, musical instruments inspire our song and aid us in reflection. We have a beautiful piano, guitars, violins, keyboards, and yes drums, all of which bring a variety of music to life. Of all the instruments heard in a worship service, the organ is the largest and most versatile. Because of its aural and visual presence
    [Show full text]
  • Composers for the Pipe Organ from the Renaissance to the 20Th Century
    Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today.
    [Show full text]
  • A 3D Visualization of Pipe Organ Music
    Rochester Institute of Technology RIT Scholar Works Theses 10-3-2011 A Vision of sound: A 3D visualization of pipe organ music Donna Schichler Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Schichler, Donna, "A Vision of sound: A 3D visualization of pipe organ music" (2011). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. A Vision of Sound A 3D Visualization of Pipe Organ Music Donna Schichler Rochester Institute of Technology Computer Graphics Design A thesis submitted to the Faculty of the College of Imaging Arts and Sciences in candidacy for the degree of Master of Fine Arts December 17, 2011 1 Abstract My goal is to create a 3D animation that illustrates the movements and patterns produced in the air when Bach’s Chromatic Fugue is played on a pipe organ. By combining the visual element of swirling patterns inspired by pipe organ acoustics simulation with imagery that the music evokes in the mind, I aim to present a surrealistic soundscape that visually depicts the boundless creative energy and freedom of music and mind combined. I hope to create an animation that is aesthetically interesting and to inspire imagination in viewer. Background When we hear music, the effect of traveling vibrations on surrounding air molecules creates what we perceive as sound. In some cases, invisible patterns are formed by the disturbance in the air that these moving vibrations create when musical instruments are played.
    [Show full text]
  • DB-40 Diane Bish Signature Organ
    Renaissance DB-40 Diane Bish Signature Organ Copyright © 1999 Allen Organ Company All Rights Reserved AOC P/N: 033-0119 06/99 RENAISSANCE DB-40 i ALLEN ORGAN COMPANY For more than sixty years--practically the entire history of electronic organs--the Allen Organ Company has sought to build the finest organs that technology would allow. In 1939, Allen built and marketed the world’s first purely electronic oscillator organ. The tone generators for this first instrument used two hundred forty-four vacuum tubes, contained about five thousand components, and weighed nearly three hundred pounds. Even with all this equipment, the specification included relatively few stops. By 1959, Allen had replaced vacuum tubes in the oscillator organs with transistors. Thousands of transistorized instruments were built, including some of the largest, most sophisticated oscillator organs. Only a radical technological breakthrough could improve upon the fine performance of Allen’s solid-state oscillator organs. Such a breakthrough came in conjunction with the U.S. Space Program in the form of highly advanced digital microcircuits. Renaissance™ organs are the product of years of refinement in digital sound and control techniques by Allen engineers. It represents the apex of computer technology applied to exacting musical tasks. The result is an instrument of remarkably advanced tone quality and performance. Congratulations on the purchase of your new Allen Renaissance™ organ! You have acquired the most advanced electronic organ ever built, one that harnesses a modern computer to create and control beautiful organ tones. Familiarize yourself with the instrument by reading through this booklet. The sections on stop description and organ registration are intended for immediate use as well as for future reference RENAISSANCE DB-40 ii Contents I.
    [Show full text]
  • THEATRE ORGAN BOMBARDE, the Official Pub­ an Acre of Seats
    TheatreOrgan Bombarde JOURNAL of the AMERICAN THEATRE ORGAN ENTHUSIASTS Volume 11 Number 3 June 1969 --·"'" ~ ~Mi---~---....~ ..... ~ Wurlitzer Theatre Organ The modern Theatre Console Organ that combines the grandeur of resterday with the electronic wizardry of today. Command performance! Wurlitzer combines the classic Horseshoe Design of the immortal Mighty Wurlitzer with the exclusive Total Tone electronic circuitry of today. Knowledge and craftsmanship from the Mighty Wurlitzer Era have produced authentic console dimensions in this magnificent new theatre organ. It stands apart, in an instru­ ment of its size, from all imitative theatre organ • Dual system of tone generation • Authentic Mighty Wurlitzer Horseshoe Design designs. To achieve its big, rich and electrifying • Authentic voicing of theatrical Tibia and tohe, Wurlitzer harmonically "photographed" Kinura originating on the Mighty Wurlitzer pipe organ voices of the Mighty Wurlitzer pipe organ to • Four families of organ tone serve as a standard. The resultant voices are au­ • Two 61-note keyboards • 25 -note pedal keyboard with two 16 ' and thentic individually, and when combined they two 8 ' pedal voices augmented by Sustain blend into a rich ensemble of magnificent dimen­ • Multi -Matic Percussion ® with Ssh-Boom ®, Sustain , Repeat , Attack, Pizzicato , and sion. Then, to crown the accomplishment, we Bongo Percussion incorporated the famous Wurlitzer Multi-Matic • Silicon transistors for minimum maintenance Percussion ® section with exclusive Ssh-Boom ® • Reverb, Slide, Chimes , and Solo controls • Electronic Vibrato (4 settings) that requires no special playing techniques, • Exclusive 2 speed Spectra-Tone ® Sound Pizzi ca to Touch that was found only on larger pipe in Motion • Two -channel solid state amplifiers, 70 watts organs, Chimes and Slide Control ..
    [Show full text]
  • Pipe Organ Repertoire List
    Pipe Organ repertoire list PIPE ORGAN Contents Page Introduction ......................................................................... 3 LCM Publications ................................................................ 3 Grade 2 ............................................................................... 4 Grade 4 ............................................................................... 5 Grade 5 ............................................................................... 6 Grade 6 ............................................................................... 7 Grade 8 ............................................................................... 8 Viva Voce ............................................................................ 9 Aural Tests .......................................................................... 11 This repertoire list should be read in conjunction with the Syllabus for Graded and Leisure Play Examinations in Music Performance. Copies are available free of charge from LCM Examinations (tel: 020 8231 2364) or from local representatives. Leisure Play examinations are also available, for candidates who wish to play pieces only. Please see Section 5 of the syllabus for details. LCM Examinations Director of Examinations John Howard BA PhD Chief Examiner in Music Philip Aldred BEd FLCM LCM Examinations University of West London St Mary’s Road Ealing London W5 5RF tel: +44 (0)20 8231 2364 fax: +44 (0)20 8231 2433 email: [email protected] uwl.ac.uk/lcmexams © Copyright 2011 LCM Examinations, University
    [Show full text]