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>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄt®Äě٠THE 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. THE DIAPASON THE DIAPASON David Troiano POSTMASTER: Send address changes to , P.O. Box 300, Lincolnshire, IL. accepts no responsibility or liability for the 60069-0300. validity of information supplied by contributors, vendors, John L. Speller This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 3 Here & There

³ page 3 and its milieu along with a memoir of OCP Scholarship; the La Beca Juan and Rupert Boyd, guitar; December 13, how he ended up living his life with XXIII Scholarship (for Spanish speaking Candlelight Festival of Lessons & Car- organists. It is the story of the concert students) is given to Julio DeLeon; the ols; March 6, 2021, David Hurd, organ; organist scene in the last three-plus NPM Members Scholarship is awarded April 16, Leonid Sigal and friends; May decades of the 20th century and the first to Kathleen LaTorre; Darrell St. Romain 14, Nat Reeves and friends. couple of the 21st, plus some memoir is the winner of the Peter R. and Rose- St. John’s choirs, Schola, and visit- material about Truckenbrod growing mary C. Girardot Memorial Scholarship. ing choirs sing for Evensong, Sundays up discovering the organ, its music, and For information: npm.org. at 5:30 p.m.: January 24, February 28, its people. His intention was to look to March 28, and April 25. Half-hour Pipes the future as much as possible, since the Alive! organ recitals, Sundays at 12:30 dominant feeling of his career was try- Appointments p.m.: November 1, Zachary Schurman; ing to preserve the organ performance December 6, Scott Lamlein; January 3, scene from further decline. For that Kari Miller; February 7, Scott Lamlein; reason, the book is dedicated to Chris- March 7, Carolyn Craig; May 2, Ed topher Houlihan. Clark; June 6, Sean McCarthy. All events Chernivtsi: Contemporary Ukrainian Or- At the beginning of the 20th century are livestreamed. For information: gan Music the pipe organ was a major source of reddoormusic.org. music for live audience consumption. As performed on a Rieger-Kloss organ the century unfolded the organ had to in the Armenian Catholic Church, yield a portion of that stage to symphony Chernivtsi. Works included: Fanfare orchestras, but despite rapidly changing (Bohdan Kotyuk), Benedictus: Song of musical tastes it remained a major player. Zachariah (Kotyuk), Piece in Five Move- The second half of the 20th century and ments (Tadeusz Machl), Fantasia (Viktor the beginning of the 21st, however, had Goncharenko), Passacaglia (Mykola become a challenging period for both Kolessa), Chacona (Svitlana Ostrova), organists and their booking agents. This and Fantasie (Iwan Kryschanowskij). is the story of one of the two agencies This is the second in a series of three that dominated the American scene dur- CDs spotlighting organ literature from ing that period, as told by the man who Eastern Europe, the first release entitled ventured from a Lutheran pulpit in New Andrew Woodruff A Russian Journey (2017). For informa- York City into the highly competitive and tion: meyer-media.com or somewhat rarified world of performing Andrew Woodruff is appointed a gailarcher.com. musicians, with a stop along the way in member of the service department of the city room of a major American daily John-Paul Buzard Pipe Organ Builders, newspaper. The book is part memoir, part Champaign, Illinois. A native of Califor- historical account, and part commentary. nia, he holds a Bachelor of Music degree It is also a peek behind the scenes of how in organ performance from Brigham the art of organ performance survived Young University in Idaho and a Master into the 21st century. For information: of Music degree in organ technology concertartists.com. from University of Oklahoma. Woodruff Marcussen organ, Wichita State Uni- will be working under the tutelage of versity, Wichita, Kansas (photo credit: Jeff Buzard service director Fred Bahr, tun- Tuttle) Awards ing and servicing clients’ instruments, The National Association of Pas- and working in the shop on rebuilding Wichita State University, Wichita, toral Musicians announces its 2020 and restoration projects. For informa- Kansas, announces its 2020–2021 Rie award recipients: the Jubilate Deo tion: buzardorgans.com. Bloomfield Organ Series on the Marcus- award for substantial contribution to sen organ in Wiedemann Hall, Tuesdays the development of pastoral liturgy in at 7:30 p.m.: November 10, Isabelle the United States is presented to Elaine Nunc Dimittis Demers; April 20, 2021, Tate Addis and Rendler-McQueeney; the pastoral Barbara Benefiel Elder, 88, of Brett Valliant. In addition, the Wednes- musician of the year award goes to Tom Tulsa, Oklahoma, died July 23. She was days in Wiedemann series features Stehle; the NPM stewardship award is born September 3, 1931, in Coffeyville, Lynne Davis performing at 5:15 p.m.: given to Anne Ketzer; the Louisville Kansas. She began taking piano lessons October 14, November 24 (Christmas NPM chapter received the chapter of at age 5 and played her first solo recital at organ concert), February 3, March 3, the year award; the chapter leader of age 13, receiving musical honors during April 7, April 28 (annual pops concert). the year award is presented to Martha her school years in Coffeyville. Benefiel All events are available livestream. For Organists & Me: Half a Century as an Richardson and Mark Walker, both of graduated summa cum laude in 1953 information: lynnedavis.net. Agent for Musicians Louisville; Mary Bellman is the Direc- from Hastings College, Nebraska, with tor of Music Ministries Division mem- a Bachelor of Arts degree, the second Phillip Truckenbrod has released a ber of the year. person to graduate with a 4.00 average People paperback book available from Amazon: Academic scholarship awards are in the history of the college. She earned Gail Archer announces a new CD: Organists and Me: Half a Century as presented as follows: the James W. a Master of Music degree from the Chernivtsi: Contemporary Ukrainian an Agent for Musicians (https://amzn. Kosnik Scholarship to Maria Milazzo; University of Tulsa with a 4.00 average Organ Music (TBR 08.07.20), released to/2CKSs1C, $12.95). Truckenbrod, the GIA Pastoral Musicians Scholarship in 1960. She composed a five-movement by Meyer Media. The disc features who in 1967 founded the agency that to Brett Pardue; Danell St. Romain is suite for chamber orchestra in dodeca- organ literature from the 19th to 21st bears his name, has written an account presented the Funk Family Scholar- phony as a requirement of this degree. centuries by Ukrainian composers, of Phillip Truckenbrod Concert Artists ship; John J. Mitchell is awarded the ³ page 6

Quality Pipe Organ Building and Service since 1969

AUSTINORGANS.COM


t

8PPEMBOE
4U
)BSUGPSE
$5

bedientorgan.com | 402.420.7662 | Lincoln, Nebraska

4 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM DISCOVER A WORLD OF POSSIBILITIES

WITNESS A NEW STANDARD IN DIGITAL AND HYBRID ORGANS WITH THE NEW RODGERS IMAGINE SERIES.

Presenting Rodgers’ newest 3-manual organs: the Imagine 351D (drawknob) and 351T (tab). The Imagine Series is designed to captivate organists, organ enthusiasts and audiences/congregations worldwide. They feature the exquisite Rodgers sound, endless musical possibilities, a stunning console, and an array of high-quality innovative features.

323 Choices at Your Fingertips!
Pipe Compatibility
High-Resolution Color LCD Menu
2.1 Internal Audio System
Organ Type Piston Immediately
2-14 Channel External Audio Accesses 4 Distinct Organ Styles
And More…

Contact your local Rodgers Dealer for more information.

www.rodgersinstruments.com EXPERIENCE ELEVATED Here & There Carillon Profile Grosse Pointe Memorial Church, ³ page 4 Grosse Pointe, Michigan Editor’s note: This is an expanded version of Carillon Profile from the August issue with additional details that were not available at that time. Near the shores of Lake St. Clair, the current Grosse Pointe Memorial Church was built between 1923 and 1927, and the original chime of eight bells was installed in the final year of construction. These bells were cast by the English bell foundry Gillett & John- ston. This was the second tuned tower bell instrument installed in the Detroit area, and an early such instrument west of the east coast. The first tuned chime or carillon installed in Detroit was in Grosse Pointe Memorial Church tow- Bells in the tower (photo credit: Michelle Jefferson Avenue Presbyterian Church er (photo credit: Michelle Lam) Lam) in 1926. The chime took on carillon status when it was expanded to 47 bells Barbara Benefiel Elder by Petit & Fritsen of the Netherlands in 1952. Most recently, the carillon under- From 1956 to 1964, Benefiel served as went a major renovation in 2015. Meeks, organist and music department secretary Watson & Company of Georgetown, of Boston Avenue Methodist Church, Ohio, performed the bulk of the work. Tulsa, and accompanied the multi-choir Highlights of their project included re- program, played services, and presented tuning the existing Petit & Fritsen bells, organ recitals. At Northwestern State designing and installing a complete new College, Alva, Oklahoma, she was assis- bell frame, designing a new sealed ball tant professor of music, teaching theory, bearing and centralized transmission counterpoint, form and analysis, compo- action, designing and building a new sition, music history, piano, and organ. playing keyboard, providing new clap- During a sabbatical year (1968–1969) pers and related bell hardware, and pro- at the University of Colorado, she com- viding bell measurements and tuning pleted resident requirements toward the specifications for the casting of the new Doctor of Musical Arts degree with a bell. This bell, the keyboard low E-flat major in organ performance and Master and third largest, was cast by the Taylor of Music degree in musicology. bell foundry in England using vintage G The performance clavier (photo credit: Another view of bells in the tower In summer of 1971 she was accom- & J strickle boards from their archives. Michelle Lam) (photo credit: Michelle Lam) panist for the University of Colorado The new bell was dedicated to carillon- Madrigal Singers European concert tour. ist Phyllis Webb, who served the church In May 1972, Barbara Benefiel and Fred from 1993 until her death in 2016. The Elder were married at Boston Avenue instrument comprises four octaves, United Methodist Church, and she was absent the keyboard low C-sharp, and it appointed organist at First Presbyterian transposes up one semitone. Church, Tulsa (1972–1974). After ser- The carillon is played before and vice as a legal secretary of Rizley, Prich- after Sunday services, twice per month, ard and Boone, Smith, Attorneys at Law, and for sacred holidays. Michelle Lam she retired in 1986. is the current carillonist. Guest recital- Elder was a docent at Philbrook ists also play the carillon during a sum- Museum, Tulsa, for several years before mer carillon concert series. Q serving as a docent at the Harwelden Mansion. She was active in the P. E. O. —Kimberly Schafer, PhD sisterhood (Philanthropic Educational Founder and Partner, Association), Wednesday Morning Community Bell Advocates, LLC The Webb bell (photo credit: Richard Musicale, and the American Guild of www.communitybelladvocates.com Watson) Organists, serving as past dean of the [email protected] Tulsa Chapter. The Elders enjoyed Carillonist Phyllis Webb next to her dedicated bell (photo credit: Richard Watson)

“one of this era’s most adventurous interpreters of Largest 1952 bell set up for tuning The practice clavier (photo credit: Mi- the classical corrections (photo credit: Richard Watson) chelle Lam) organ repertoire” NY MUSIC DAILY

MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com

6 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM Here & There travel in England, Europe, and Mexico 1,600 shows. A comprehensive index is AGO had received significant national inaugural concerts, the premieres of for many years. found at www.pipedreams.org/episodes. radio exposure, though by the conclusion many new scores, a review of the life of Contributions may be made to Boston Pipedreams was launched in Janu- of those first broadcasts in April 1982, Sigfrid Karg-Elert commented upon by Avenue United Methodist Church Organ ary 1982 by Minnesota Public Radio’s there had been no thought of a continu- Felix Aprahamian (who heard Karg-Elert Fund, 1301 South Boston Avenue, Tulsa, then-music director Michael Barone ing series. live), a focus on historic instruments in Oklahoma 74119. as a 14-program “limited-series.” The With recordings from the 1982 AGO Mexico, and numerous programs devoted majority of those first programs derived convention in Washington, D.C., other to the work of African-American compos- from recordings made during the 1980 materials accessed through the Euro- ers and performers, with commentary Milestones American Guild of Organists national pean Broadcasting Union, numerous from by Mickey Thomas Terry and the convention in Minneapolis and Saint concerts recorded in Minnesota, and late Herman D. Taylor. These are all Paul. Included were premieres by additional audio sources, Pipedreams accessed in search content by artist, com- Marilyn Mason of Alberto Ginastera’s reappeared in national syndication in poser, instrument builder, topic, or locale. Variazioni e Toccata sopra “Aurora lucis October 1983, first of 90-minute dura- Details of each of October’s Pipe- Pipedreams rutilat,” by David Craighead of Calvin tion and later two-hours, and has been dreams programs are listed on page 23. Hampton’s Concerto for Organ and providing weekly programs to a national Among these is Program #2040 (avail- American Public Media’s Pipe- Strings, by Robert Glasgow of Robert audience ever since. able at www.pipedreams.org on October dreams announces a newly updated Ward’s Celebrations of God in Nature, In addition to music from every subse- 5 and broadcast the following weekend) website. For the first time the entire his- and performances by the Choir of Saint quent AGO national convention one finds in observance of the 150th birthday of tory of Pipedreams programming is avail- Paul’s Cathedral, London, in their first features including Marie-Claire Alain former Notre Dame Cathedral organist able for global 24/7 online listening with appearance in the United States. These reflecting on her career and the music of Louis Vierne (1870–1937), “Venerating a new audio playback engine, more than programs also marked the first time the her brother Jehan, competition winners, ³ page 8

Hearing IS Believing!

4JODF

XIFO
"MMFO
0SHBO
$PNQBOZ
JOUSPEVDFE
UIF
XPSMET
ĕ
STU
EJHJUBMMZ
TBNQMFE
PSHBO UP
UIF
QSFTFOU
UI
HFOFSBUJPO
(FOJ4ZT
TBNQMJOH
UFDIOPMPHZ
XJUI
TBNQMFE
BDPVTUJDT "MMFO
0SHBO
IBT
CFFO
BU
UIF
GPSFGSPOU
PG
TBNQMJOH
UFDIOPMPHZ
QSPEVDJOH
UIF
NPTU
QJQFMJLF TPVOEJOH
JOTUSVNFOUT
BWBJMBCMF

*G
JUT
OPU
B
(FOJ4ZTTM
0SHBO
JUT
BMSFBEZ
PVUEBUFE )FBSJOH
JT
CFMJFWJOH
4BNQMF
BO
"MMFO
0SHBO
UPEBZ

EXCELLENCE IS WORTH MORE



t

BPTBMFT!BMMFOPSHBODPN XXXBMMFOPSHBODPN

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 7 Here & There

³ page 7 Perspectives (CD 7292, $24.98), consist- The church is currently stripped of Vierne,” including recordings of works by ing of two discs and featuring James D. all pews and other appointments and Bach and Vierne performed by Vierne. Hicks, assisted by George Chittenden. is being thoroughly cleaned. In the The following week’s Program #2041 The first disc includes 19th- and early process, the pipes of the three-manual, highlights “A Grand Organ Extrava- 20th-century compositions performed 37-rank Randall Dyer & Associates ganza” featuring David Briggs, Olivier on the 1879 Olsen/1986 Marcussen Opus 58 (1993) have also been disman- Latry, and Wayne Marshall in an appear- organ of Helligåndskirken, Copenhagen, tled for washing to remove film and soot, ance at the Kimmel Center in Philadel- Denmark. Works by Gottfred Matthison- and to facilitate a thorough cleaning of phia recorded February 26, 2020. Hansen, Finn Viderø, and Carl Nielsen the mechanical parts of the organ by the Pipedreams is heard on public radio are heard. builder. For information: stations across the United States, in col- The second disc has music from the rdyerorgans.com. legial collaboration with the AGO, the second half of the twentieth century Organ Historical Society, and The Dia- Die Orgeln der Hofkirche in Innsbruck through the present time utilizing the pason. Support comes from the Associ- 1994 Andersen organ of St. Morten’s ated Pipe Organ Builders of America North Tyrolean region of Austria: the Church, Randers, Denmark. Lise Dyn- (APOBA) as well as from the family of Ebert organ in the Hofkirche (Court nesen, Knud Jeppesen, and Leif Thybo Lucinda and Wesley C. Dudley, from Chapel) and the Italian organ in the are among the composers on this disc. Walter McCarthy, Clara Ueland, and nearby Silberne Kapelle (Silver Chapel), For information: proorgano.com. the Greystone Foundation, from Jan and both dating from the 16th century. The Steve Kirschner, from the Art and Mar- text is in German, with brief summaries tha Kaemmer Fund of the HRK Foun- in English. A CD accompanies each vol- dation, and from listener-supporters ume in the set, featuring the organs. For of public radio across the country. For information: helbling.com. information: www.pipedreams.org. Recordings Publishers

First Lutheran Church, Cedar Rapids, Iowa, computer rendering

Parsons Pipe Organ Builders announces the following projects. In Olivier Messiaen, Volume 5 2020, First Lutheran Church, Cedar Rapids, Iowa, new organ of three manu- Raven announces a new CD: Olivier als, 51 ranks, with mechanical action; Messiaen, Volume 5 (OAR-985), features Woodlawn Cemetery, Canandaigua, Jon Gillock performing the composer’s New York, historic restoration of Hook & Le Banquet Celeste and La Nativité Hastings Opus 2243 (1910), one manual, on the 111-rank Pascal Quoirin organ four ranks. A New England Requiem: Sacred Choral (2011) at the Church of the Ascension For 2021, St. James by-the-Sea Epis- Music of Scott Perkins in New York City. Gillock’s entire cycle copal Church, La Jolla, California, new of Messiaen organ works uses this organ, organ, four manuals, 79 ranks. In 2022, Gothic announces a new CD: A New as it was conceived to play the works St. Benedict Catholic Cathedral, Evans- England Requiem: Sacred Choral Music of Messiaen specifically. Gillock was ville, Indiana, new organ, three manuals, by Scott Perkins (G-49322, $18.98, with involved with the instrument’s design. 57 ranks. For information: 585/229- individual track downloads available). For information: ravencd.com. 5888, parsonsorgans.com. The Requiem by Perkins is performed Singing the Faith: A Short Introduction by Da Capo Players & Choir, Brett Alan to Christian Hymnody Judson, conductor, and Tom Mueller, Organbuilders organist. The seven-movement work MorningStar Music Publishers includes text of the Latin Mass with announces a new book: Singing the poems by Dickinson, Longfellow, Haw- Faith: A Short Introduction to Christian thorne, and Sigourney. For information: Hymnody (978-0-944529-80-5, $15), by gothic-catalog.com. Carl Schalk. The volume provides a compact history of Christian hymnody in the Western Church, guiding the reader through contributions, conflicts, and questions that arose through the successive periods in the development of Christian song from the Old Testa- ment through the twentieth century. For Edison Baptist Church, Edison, Geor- information: morningstarmusic.com. gia, Schlueter rebuild of Wicks organ

Helbling Verlag GmbH announces A. E. Schlueter Pipe Organ Com- a two-volume set of books: Die Orgeln pany, Lithonia, Georgia, has completed der Hofkirche in Innsbruck (The Organs reinstallation of the two-manual, nine- of the Court Chapel in Innsbruck) Queen of Peace Catholic Church, Ocala, rank organ at Edison Baptist Church, (978-3-99069-232-5, €22), the fifth pub- Florida, Dyer organ Edison, Georgia. The instrument, origi- lication in the series Tyroler Orgelschatz Nordic Journey, Volume X: Danish nally built and installed by Wicks Organ (Tyrolean Organ Treasure), edited by Perspectives On July 11, an arsonist drove his Company, was severely water damaged Kurt Estermann. The two volumes, car through the front door of Queen when the church roof was ripped off by placed in a slipcase, deal with the two Pro Organo announces a new CD: of Peace Catholic Church, Ocala, a recent hurricane. As a result, the entire most important historic organs in the Nordic Journey, Volume X: Danish Florida, spread several gallons of gaso- organ was soaked with rain, necessitating line around the narthex, and lit a match a complete rebuilding of the organ. 0LOQDU2UJDQ&RPSDQ\ prior to the regular morning Mass. The Schlueter worked closely with the doors between the narthex and the nave insurance company to ensure that the of the church were closed, but the air organ was protected and renovated to ([FHOOHQWXVHGSLSHV conditioning system was functioning and once again provide service to the con-  carried smoke into the nave as parishio- gregation. For information: ners were gathering. pipe-organ.com. Q 9HU\FOHDQOLNHQHZ

FRVWRIQHZSLSHV A. Thompson-Allen Co., LLC 11 Court Street -- New Haven, Connecticut 06511 GHQQLV#PLOQDURUJDQFRP 203.776.1616 www.thompson-allen.com ZZZPLOQDURUJDQFRP

8 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM On Teaching By Gavin Black

The toccata principle One way to frame the distinction fact, it is a praeludium in one movement continuity to guide interpretive choices. Studying J. S. Bach’s The Art of the between the Frescobaldi/Froberger/ with eight contrasting sections. This underlies the way I normally pick Fugue inevitably leads to thinking Buxtehude toccata or praeludium and All of this about titles is not necessar- pieces apart and I believe represents a about form. Whatever lens you view it the WTC-type prelude and fugue is that ily important, as I am sure that the more common approach. We want to know through, the formal shape of that piece the latter is a piece in two movements, accurate names are now in general use. what comes back, and how different is important to its impact. Some of the each often quite unified, whereas the But this nomenclature does tend to put a themes relate to one another. We use qualities of abstraction that have been former is a piece in one movement but sort of screen or filter between the player this to make certain decisions, starting ascribed to the work may encourage with many sections. As I wrote above, (or student) and the actual structure and with basics like shaping similar themes in us to focus too much on form or to the continuously spun out sort of musi- rhetoric of the piece. What is most inter- similar ways. So I think that students do attribute to form an even larger role in cal unit often coincides with what we call esting to me about that structure is the not often look for contrast, surface dis- shaping the impact of the work than it a movement. This is almost circular or notion that a certain kind of experience continuity, or abrupt, apparently illogical really has. Paradoxically, I have thought a matter of agreed-upon definition. If a creates the need for a different experi- change, or they are reluctant to make recently about a formal principle that piece starts and unfolds in a unified man- ence, and that it is this need—played out differences noticeably different. The is very different from anything that is ner with logical development and then in infinite detail—that creates shape. notion that some pieces will have a more found in The Art of the Fugue. It stands ends with a cadence and a double bar, It is the skill or genius of the com- convincing overall shape and greater almost opposed to it. we will consider this a movement, unless poser of such a piece to make the details emotional impact the more we let dif- I call this the toccata principle. This it is the entire work. It is easy to say that meaningful. How much dissonance or ferences be really different is, maybe, principle of shape or form is a bit Bach’s Prelude and Fugue in E Minor, static rhythm and of what kind creates counterintuitive. But it is both true and elusive to describe because it is not “a BWV 548, for example, is a piece in two the need for what kind of lush harmony sometimes a useful corrective. form” as such, but rather a particular movements. That would be evident to a or compelling, dance-like pulse? What To come back very briefly to the way of using contrast and continuity. listener who had never heard the piece, does it mean for a passage of irregular, somewhat speculative mode of some of It is a principle that can shape a piece or heard of it, and had never seen the ever-changing texture to be followed by my Art of the Fugue discussion, we want and be responsible for creating form layout of the printed music. regular, imitative, maybe almost chatty evident continuity in life. But in real life, and structure. It is found in pieces that In a piece that is constructed from counterpoint? This is independent of the though there is often a lot of continuity, are constructed largely through other contrasting sections, the contrasts might sort of shape that is created by continuity we never know for sure what is going to means. I have a feeling that looking for be along some of the following lines: con- or recurrence, that is, the kind of shape happen when we next turn the corner this principle in places where it might trapuntal versus non-contrapuntal; regu- that is found in The Art of the Fugue and or even as we keep walking straight! I not be evident on the surface can help lar in meter versus rhythmically static, in much of the music that we play or hear. suspect that the Frescobaldi and Fro- illuminate what is happening rhetori- recitative-like, irregular, or disjunct; slow My use of the word “toccata” to label berger toccatas, though in a very easy- cally in many situations. versus fast; using dissonance in a regular, this compositional approach comes, as I to-listen-to harmonic language, were in There are elements of music—pieces, prepared, and resolved manner versus said, from my having first encountered fact getting at some of the same sense of movements, passages—that are con- using dissonance for immediate or shock- it in the toccatas of Frescobaldi. But dislocation and questioning that is found structed according to what seems like a ing effect; somewhat vaguely: harmoni- words serve as names of pieces when in some nineteenth- and, even more, consistent evolution. Something happens cally lush and compelling versus harmoni- and how composers want them to, and twentieth-century music. It is interest- at the beginning, it continues, and when cally bare and tentative; unified within it is important not to take those words to ing that Bach used the sectional/frag- it changes it does so according to some the section as to texture (in the sense of mean more than they mean. At a certain mented/contrast-based approach much sort of logic. The texture does not change normal prevailing number of voices or point in music history, the word “toccata” earlier in his career than later. Was this drastically or very often, and when it does notes) versus irregular or varied within came to denote a piece that is outwardly just his moving away from early models, change, the change is not jarring. This the section as to texture (for example, virtuosic and fast. This has been known or did it reflect something evolving in his is nothing rare or arcane: it is by far the chords interspersed with scales); major to cause people to assume that any piece approach to life? norm or a common form found through- versus minor; ending with a cadence ver- with that name should be presumptively out organ repertoire and in classical sus ending abruptly; and more. treated as virtuosic and fast. But the And then there’s Beethoven. music in general. Each movement of The In the first toccata of Frescobaldi’s term simply did not mean that at all in There was a specific incident that Art of the Fugue fits this description. So Second Book of Toccatas and Partitas the seventeenth century. Likewise, by kicked off the most recent chapter of my do the Bach trio sonata movements, the (1627), there are eleven sections. This is the nineteenth century, the word did not own exploration of the toccata principle. vast majority of his fugues and his chorale in a piece that takes about four minutes have any flavor whatsoever of the sort of I was listening to Beethoven’s Fifth preludes, most Mozart concerto or sonata to play. The opening section consists of structure that I am talking about here. Symphony. This is a piece that it is very movements, and much of the output of chords, trills, and scale passages; the The Widor Toccata, for example, is in a hard not to experience as a cliché. I had Brahms and Bruckner. second contains a bit of imitative coun- form that is about as opposite to this as never disliked it, but I had never gotten A different sort of construction occurs terpoint in which the point of imitation could be: a perpetuum mobile spun out as much power out of it as I do out of, for when a piece (or movement or passage) in sixteenth-notes is accompanied by of one compelling gesture that seem- example, Beethoven’s seventh or eighth is created out of short elements of music quarter-note chords as it migrates from ingly cannot be stopped! (Or that one symphonies. I had probably always that are very different from one another, voice to voice; the next section is com- doesn’t want to stop.) found it simultaneously stirring and a bit making an overall shape as much out of posed of all dissonance and written-out Bach wrote several pieces that come annoying. This time listening, though, I contrast as out of continuity. This is the trills; the fourth is again contrapuntal, down to us with the word “toccata” in suddenly had the thought: “Oh! This is principle according to which most of but with more rhythmic variety in the the title. Seven of these are harpsichord a Frescobaldi toccata!” And so it is. It Frescobaldi’s toccatas were clearly and voices; and so on. The piece ends with a toccatas, and six of these are arguably is printed out in four movements. But explicitly constructed. This is why I tend long, rhythmically free cadential section, constructed in a Bachian version of what those are not the real divisions. It is an to use “toccata” as a shorthand or tag for prior to which is a sort of jig fugue that I am describing here. The seventh is overarching work with sections that have this sort of construction. This principle, almost could have been written by Bux- clearly not: it is basically an Italian con- continuity, more thematic recurrence however, also pervades much of Fresco- tehude or Pachelbel. My purpose here is certo, as much so as the Bach work that than Frescobaldi or Froberger, but that baldi’s output that was not given the title not to give a very thorough analysis of the actually bears that name. Of the organ also have contrast and a sense of frag- “toccata.” It was picked up by, among piece, but to demonstrate that the sec- toccatas, the D Minor, BWV 565, is in mentariness in spite of their length. others, Frescobaldi’s pupil Froberger, tions are short, on average, and clearly this sort of form; the so-called “Dorian” I do not (yet?) have a rigorous who was probably responsible for trans- contrast with one another. is emphatically not; the big C-major Toc- measure-by-measure analysis of how mitting an awareness of this technique Buxtehude’s Praeludium in C Major, cata, Adagio, and Fugue is, though the this works, but I find it convincing, and to a wide swath of the musical world BuxWV 137, is one that I tried to learn in sections are dramatically longer than it greatly enlivened the piece for me. I north of the Alps. Froberger was widely my very earliest days playing the organ. those of any corresponding Frescobaldi, also suspect that Beethoven in particular traveled and quite influential. The North It was known to me in those days as Froberger, or Buxtehude piece; the F used fragmentary contrast more than I German organ praeludium grew out of Prelude, Fugue, and Ciacona. This made Major is probably not: it is sectional in (at least) had noticed. This is something this form. some sense as far as the fugue and cia- its construction, but the sections display that I want to continue to examine. Q cona were concerned: the fourth section a lot of unity. Naming pieces of the piece is in imitative counterpoint, Not all of the pieces that Frescobaldi Gavin Black is director of the Princ- One of the things that I remember quite thoroughgoing, and it makes sense himself titled “Toccata” are in precisely eton Early Keyboard Center, Princeton, hearing in classes, lessons, and hallways to call it a fugue; the seventh and pen- this form, though most of them are. “Toc- New Jersey. He can be reached by email during graduate school years was that a ultimate section is manifestly a ciacona. cata VIII” from Second Book of Toccatas at [email protected]. “Praeludium” in the Buxtehude, Lübeck, But where’s the prelude? There are and Partitas is clearly different, and the or Bruhns sense was not a “Prelude and three quite distinct sections preceding toccatas from Fiori Musicali are mostly Fugue,” at least not in the Well-Tempered the fugue: together they could be the not constructed this way. Also, many Clavier or Mendelssohn or Shostakovich prelude, I suppose. But they are not one works of Frescobaldi’s that are given sense. At the time this felt like kind of coherent whole. The distinction between names of contrapuntal forms—canzona, a new idea. Some pieces by Buxtehude the opening section and the second sec- ricercar, etc.—are constructed accord- and others that were clearly in many tion is as crisp as that between the part ing to this sort of sectional contrasting short sections (some contrapuntal and before the fugue and throughout the plan, usually with the contrapuntal sec- some not) and the manuscripts that were fugue. Then what of the sections between tions longer than all the rest. titled “Praeludium” or “Toccata” had, the fugue and the ciacona? In order for Why in particular do I believe that it according to then-modern tradition, this work to have an accurate and con- is fruitful to share these ideas with stu- been re-titled “Prelude and Fugue.” This vincing name that is a kind of blow-by- dents? It is extremely easy to gravitate in turn led to an often-futile search for blow description, the name would have toward surface continuity as a source the section that was “the fugue,” which to be Prelude, Fugue, Interlude, Ciacona, of shape and direction in music and was distinct from “the prelude.” and Coda—or something like that. In to try to use our understanding of that

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 9 In the wind...

The beat goes on. One session was held in an organ At Oberlin College, January is a practice room so we could play for each month of independent study between other. I was working on Bach’s Toccata the fall and spring semesters known as in F Major at the time, and I was a whiz winter term. During the fall, students with those snazzy pedal solos. Up and propose projects to their principal teach- down the pedalboard I went, swivel- ers for approval. Projects can be off ing on that imaginary ball bearing, campus, and sometimes they are vaca- emphasizing the high notes with Bach’s tions disguised as serious research. I do unexpected accidentals (and probably not remember much about some of my providing a few unexpected accidentals winter term projects, but winter term of of my own). When I was finished, my 1977, my junior year, was special. peers made the obligatory supportive My organ teacher, Haskell Thomson, comments, then Inda Howland made a designed a project for me and about simple formative comment. “Your feet eight of my peers, inviting the legendary make more noise on the pedalboard eurhythmics professor Inda Howland out than the organ pipes.” She used the of retirement to lead us in a month of word “clattering.” I was approaching the rhythmic adventures. Swiss musician and pedal keys from inches above, my feet educator Émile Jaques-Dalcroze (1865– slapping the pedals, producing uneven 1950) invented eurhythmics, a discipline rhythms. “Try the first pedal solo again that draws on the natural rhythms of the with your feet on the keys.” Yikes. Many Fux organ, Klosterkirche, Fürsternfeld Christoph Hauser plays the Fux organ. human body to enhance the rhythmic readers have likely had similar experi- (photo credit: John Bishop) (photo credit: John Bishop) content of musical performances. Leg- ences, where a teacher asks you to try end has it that Dalcroze was struggling something for the first time in front of a Take care of your machines. and the stairs are a little squeakier the with a piano student whose playing was group. She was right. I had been prac- You get in your car, buckle up, start next time. You slam the door of a cup- distorted by chaotic rhythm. Following ticing and studying the organ for close the engine, and put the transmission in board, a dishwasher, a washing machine, a lesson, looking out his office window, to eight years by then, and no teacher Reverse to back out of a parking space. and each machine suffers a little under Dalcroze happened to see his student had ever mentioned this. Okay, maybe You check the mirrors, look over your the extra force. striding confidently across the campus. no naps. shoulder, and start the car moving. While I know perfectly well that an Of course he had rhythm, the human When I was leading church choirs, I You make the turn, drop the gearshift inanimate object like a door or a stair body is intrinsically rhythmic. Dalcroze held annual choir retreats. The last choir to Drive, the transmission gives a little tread, or a machine like a dishwasher or developed that realization into the epony- I worked with was at a Congregational thud, and the car changes direction with- the transmission in your car, do not have mous course of study, and Inda Howland church in Massachusetts, and the camp out pause. feelings, using them with extra force nec- (1907–1984) was one of his disciples. She was Craigville, a delightful beachfront Or, you get in your car, buckle up, essarily hastens their failure. My lifetime had completed her studies with Dalcroze community on Cape Cod. Those late start the engine, and put the transmis- of operating, building, and repairing at L’Institute Jaques-Dalcroze in 1934, summer retreats were filled with sion in Reverse to back out of a parking machines, especially pipe organs, com- the year she started teaching at Oberlin. rehearsals on new repertoire, introduc- space. You check the mirrors, look over bined with Inda Howland’s comments Ms. Howland was seventy years old ing the choir to the plans for the year, your shoulder, and start the car mov- about my clattering on the pedal keys has and barefoot, wore long flowing Indian open discussions with the clergy about ing. You make the turn, come to a stop, made me aware of the noise that results saris, and carried an exotic drum made in the choir’s role in the parish, and social and while stopped, move the gearshift from operating just about anything with Bali. She was never without something moments at meals and beach time. In slowly through Neutral to Drive before excessive force. that could share a beat. Our group of addition, I invited eurhythmics instruc- moving forward. No thud. The brakes That trick of putting the car in Neu- eight or ten performance majors was tors to join us to lead daily sessions, and are designed and intended to stop tral when you stop before changing a pretty cocky band, and I remember it was a treat to witness an imaginative the car. The transmission is intended direction does not take any real time. haughty smirks passing about as we first eurhythmics instructor warming up the to transmit (get it, transmission) the It is a matter of gentle timing, like the met with Professor Howland, sitting in a choir before a rehearsal. motion of the engine to the motion of simple push of a piston as you move into circle on a classroom floor bouncing balls During that winter term project, we the wheels, setting them turning in the a developing section of a piece of music. back and forth while counting aloud. had three morning classes a week for direction you wish to go. If you habitu- The seasoned organist gives the piston Maybe next we’ll color by numbers, have four weeks, maybe twenty-four hours ally use the transmission to stop the car a gentle tap at the precise moment, milk and cookies, spread out the mats, altogether spent with the witty, enthu- and change direction, you are mistreat- an infinitesimal movement. The Swell and take a nap. But it did not take long siastic, sagacious Inda Howland. I’m ing the transmission. That little thud is reeds kick in with the box closed, and for the depth of her mission to become grateful to Haskell Thomson for creating the car saying “ouch.” the drama steps up a notch. But I clear. We listened to recordings, sang that experience for us. It had a profound One of my sons has a bit of a race- remember standing next to the console to each other, bounced those balls, and impact on my understanding of music, horse in him. That is to our advantage of a big city organ at the start of a service skipped around in circles, all the while my own musicianship, and the many when he is skippering our sailboat dur- call, listening to the organist report that applying the motion of our bodies to the singers who participated in those choir ing a race and causes our broad-beamed, he could not change pistons, watching rhythmic content of the music. retreats with me. slightly chubby catboat to leave an the energetic thumb jabbing at the little entire fleet of sleek sloops in our wake. ivory set button as if striking a punching (There is nothing quite like swimming bag. Of course, the spring was broken, off your boat at anchor while waiting for and the button was jammed. the rest of the fleet to cross the finish How many organists, playing in sight line.) But he was well into his twenties of their audience, have drawn a stop when he realized how much his style of knob with histrionic flair, only to have driving was costing him. Tires had to be the knob come off in their hand, or replaced too soon, brake pads wore out better yet, soar across the chancel in a 2020-2022 Projects quickly, and an entire car “bit the dust” parabolic arc? sooner than expected, sooner than he Do you play an organ with mechani- 86$LU)RUFH$FDGHP\3URWHVWDQW&DGHW&KDSHOĆ&RORUDGR6SULQJV&R wished, sooner than he could afford. cal stop action? The next time you Rebuild III/83 Moller/Holtkamp He still rides a big motorcycle like the register a piece, notice whether the 86$LU)RUFH$FDGHP\&DWKROLF&DGHW&KDSHOĆ&RORUDGR6SULQJV&R desert wind, but he now drives his car mechanism is making any noise. Some like an adult and comments on how long organists tug on drawknobs with enough Rebuild III/33 Moller/Holtkamp a set of tires will last. force to cause a bang with each motion. 7KH)R[7KHDWUHĆ$WODQWD*D You are having a fight at home and Many slider windchests have steel pins slam a door to make a point. (I have read driven into the chest tables that corre- Rebuild “Mighty Mo” Moller theater organ console about such things.) The screws in the spond with slots in the sliders to limit %URDG6WUHHW3UHVE\WHULDQ&KXUFKĆ&ROXPEXV2K hinges, the screws that hold the knobset their travel. Yank that knob with a bang in place, the mechanism of the knob a few hundred times, and the pin will Build V-manual console with new windchests and more and latch, and the nails holding the door pull out and the slider will move too far, 6W$QGUHZ(SLVFRSDO&KXUFKĆ)RUW3LHUFH)OD frame together all take an extra strain likely resulting in partially closed note New III/31 pipe organ and work a little loose, and a picture falls holes so pipes are underwinded. You off the wall and its glass breaks. cannot use that stop anymore, and it is St Simons Island Presbyterian ChurchĆ6W6LPRQV,VODQG*D You thunder down the stairs, the stair an expensive repair because you have New III/38 pipe organ treads pull a little harder on the nails, to remove ranks of pipes, rackboards, 3OXVPRUHSURMHFWVIRUQHZFRQVROHVQHZIDFDGHV UHEXLOGLQJDQGUHVWRUDWLRQRIYLQWDJHLQVWUXPHQWV

How can we help you? ZZZSLSHRUJDQFRPĆ

10 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM By John Bishop and toeboards to fix it. If you can hear her teaching and observing was to woodwind instruments take it a step fur- a thud, clunk, or God help us, a bang me. An organbuilder is part artist, part ther by placing the instrument in their when you pull stops, you are not doing mechanic. I have always appreciated mouths. To play a pipe organ, one sits at it right. the operation of good machines. I am keyboards at least several feet from the still a sucker for a construction site. The source of the sound, and in many cases Twinkle toes operator of a payloader can lift five tons dozens, even hundreds of feet. Yet we Most organists have a special pair of of gravel with the flick of a wrist. Let the think of Franck at Ste. Clothilde, Widor organ shoes, usually light dance shoes machine do the work. An early lesson and Dupré at St. Sulpice, and Vierne with clearly defined heels and thin soles. for a woodworker is let the tool do the at Notre Dame as classic pairings, like The idea is that they help with accuracy work. For a musician, let the instrument matching wine to a meal. During my on the pedalboard, but they have an do the work. It’s your job to conjure up many visits to the Wanamaker Store important effect on the maintenance of beautiful sounds. It’s the instrument’s in Philadelphia, I have felt that Peter the organ. Every organist should have a purpose to allow that. Be gentle and love Conte’s affinity with the monster organ dedicated pair of organ shoes that are the thing. he calls “Baby” is on a par with those never worn outside. Where I live, it is French masters. likely to snow four months of the year. It’s personal. Last fall, in the days of yore when I got (photo credit: Félix Müller) An organist who practices regularly There are many celebrated relation- on airplanes to fly places, I spent a week on an instrument I maintained never ships between musicians and their in Germany visiting an organ workshop all spoke of his love of the instrument. changed his shoes. He came off the city instruments. In his book Violin Dreams as well as a couple special iconic historic When playing such an ancient organ, streets and went straight to the organ. (Houghton Mifflin, 2006), Arnold organs. A highlight of that trip was the one does not flail. The instrument The pedal keys and the frame of the Steinhardt, longtime first violinist of hours I spent in the Klosterkirche in defines the touch on the keys, and the pedalboard and floor around the con- the Guarneri Quartet, wrote of his Fürstenfeld (near Munich) with organ- player meets the organ on its terms. sole were sullied and stained with salt, affinity for his instrument, the sensual ist Christoph Hauser, experiencing the The smart musician leaves a session water, and city muck. The pedalboard relationship between the musician and dazzling organ completed in 1736 by with such an instrument having been springs and the screws were all rusty, the instrument. He wrote of resting the Johann Georg Fux. Christoph’s imagi- taught, and Christoph spoke eloquently and the pedal contacts were unreliable violin under his chin, between his brain native improvisations during the Mass, of how his playing was informed by that as they were clogged with the same and his beating heart, wrapping his his brilliant playing, and the excitement organ. Inda Howland would have surely muck. Of course, there were multiple fingers around its neck. Those who play with which he shared the organ with me enjoyed that visit. Q dead notes on the pedalboard. This same organist broke two pedal keys by standing on them. A wood pedal key is roughly the size of a hefty broomstick. If you are heavy and if you stomp on them, you will NORTH AMERICA’S snap them in a heartbeat. I have heard organists justify standing on the pedals, PREMIER PIPE ORGAN saying they are not that heavy (I am), BUILDING, REBUILDING that [Casavant — Skinner — Austin, etc.] pedalboards can take it. I think AND SERVICE FIRMS Casavant wins the prize for building the sturdiest pedalboards, but the keys are still just sticks of wood at most one by one-and-a-half inches with a maple cap glued and screwed on. Some are far OUR MEMBERS spindlier. Never stand on the pedal keys. WHY CHOOSE It is a musical instrument, not a diving platform. Remember my moment with AN APOBA FIRM? Inda. If the pedalboard stays quiet, the BUILDER MEMBERS: musicianship increases. For most people, purchasing a pipe organ is a once Andover Organ Company in a lifetime experience. It’s hard to know what Bedient Pipe Organ Company Tickling the ivories Berghaus Pipe Organ Builders, Inc. We are used to seeing theatrical ges- questions to ask, let alone how to get the answers. Bond Organ Builders, Inc. tures at the keyboard from musicians APOBA provides a simple way for people to take Buzard Pipe Organ Builders, LLC such as Yuja Wang or Lang Lang, a great advantage of the expertise of the top people in Casavant Frères pounce on the keyboard with arms sail- Dobson Pipe Organ Builders Ì iwi`]“>˜ÞœvÜ œ“LÀˆ˜}Ì iiÝ«iÀˆi˜Vi C.B. Fisk, Inc. ing overhead. But remember, the tone of the several generations who preceded them. Foley-Baker, Inc. of the piano is sensitive to the touch on APOBA has developed publications to help organ Paul Fritts & Co. Organ the keys. While I know that some of that Garland Pipe Organs, Inc. is for stage effect, it is fair enough that committees make Goulding & Wood, Inc. a pianist might invent a grand gesture informed decisions Holtkamp Organ Company that would deliver more weight to the and manage their Kegg Pipe Organ Builders Létourneau Pipe Organs keys. While I know all about the theo- pipe organ projects ries of sensitive touch with mechanical Muller Pipe Organ Company key action, on both tracker and electric- effectively, whether Patrick J. Murphy & Associates action organs, the force with which purchasing an Parsons Pipe Organ Builders you hit the keys has no impact on the organ or planning Pasi Organbuilders, Inc. amount of sound. It is nothing more Quimby Pipe Organs, Inc. a program for Schoenstein & Co. than extra wear-and-tear on a tiny sensi- renovation or service. Taylor & Boody Organbuilders tive mechanism. A. Thompson-Allen Do you rely on excessive pounding to play fast repeated chords? Three popular pieces come quickly to mind, OUR VISION SUPPLIER MEMBERS: the left hand of Widor’s Toccata, Mulet’s Integrated Organ Technologies, Inc. OSI - Total Pipe Organ Resources Tu es Petrus, and the echoing episodes Our vision is focused on the organ effectively serving in the third movement of the Vivaldi/ Peterson Electro-Musical Products Bach Concerto in A Minor. If you have the musical and liturgical needs of each congregation Solid State Organ Systems Syndyne Corporation to beat the keyboards to make those for generations to come. rhythms happen, you are not doing it right. The keys on organ keyboards Whether building a new organ or ensuring the US travel something like ten or twelve longevity of your existing instrument, CONTACT millimeters. With your finger resting APOBAwÀ“Ã>Ài>ÌޜÕÀÃiÀۈVi° on the surface of the key, it takes but a nanosecond to accomplish that trip. APOBA.com The sound of the organ does not know Call or email today for Please watch and share the difference between a pounded key 800.473.5270 or a stroked key, but your organ techni- APOBA’s free 84+ page our short video at: color prospectus! apoba.com/video cian does. 11804 Martin Road I wonder if Inda Howland would Waterford, PA 16441 be pleased with my extension of her teaching to how I handle my car, but I would love her to know how important

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 11 Organ works of Schumann

Schumann’s B-A-C-H Fugues: the genesis of the “Character-Fugue”

By Colin MacKnight

“Miss no opportunity to practice on (particularly for the organ) that include the organ; there is no instrument that the B-A-C-H motive. takes such immediate revenge on the This tradition began with Johann impure and the careless, in composition Sebastian Bach himself and continues as well as in the playing, as the organ.”1 to the present. Two notable examples of This description from Schumann was Bach encrypting his own name occur in likely referring to the organ’s ability to the Toccata in F Major for organ, BWV execute—one might even say affinity 540i (in transposition), and Contrapuncti for—complex counterpoint. It is only 8, 11, and 14 of Die Kunst der Fuga, fitting then that his only organ work BWV 1080. Felix Mendelssohn was the would be a set of six fugues on Johann next composer of a substantial body of Sebastian Bach’s surname, a homage to organ music to encrypt the B-A-C-H music’s greatest contrapuntist, one of motive into one of his pieces. In measure Schumann’s principal influences, and 56 of the first movement of hisSonata IV the composer who dominates the organ in B-flat from theSix Organ Sonatas, op. Robert Schumann repertoire to a degree that no other com- 65, he prominently includes the B-A-C-H poser dominates any other repertoire. motive in the pedal, transposed down a Schumann was, however, the first Schumann finished the first fugue on Schumann stated, “What art owes to whole-tone (Example 1). composer to write a large work based April 7 and the second on April 18.10 Bach is to the musical world hardly less Schumann was close friends with on this theme. This proved to be influ- Soon after the second fugue was com- than what a religion owes to its founder.”2 Mendelssohn and even wrote a glowing ential; other composers who would later pleted, a rented pedal-piano arrived at He also acknowledged the influence review of the organ sonatas in his jour- write substantial organ works based on the Schumann house.11 This would have that Bach exerted on his own music; nal, Neue Zeitschrift für Musik, so Men- B-A-C-H include Franz Liszt (Prelude been a useful tool for composing the Schumann’s compositional style was delssohn’s encryption may not have been and Fugue on the Name B-A-C-H, Sketches, Canonic Studies, and Fugues, unusually motivic, and he attributed his unnoticed by him. Perhaps it is not coin- S. 260, versions of which exist for piano but, surprisingly, this is also around the disdain for what he called “lyric simplic- cidence that Schumann composed his and organ), Sigfrid Karg-Elert (Passaca- time Schumann began to eschew the use ity” to his study of Bach and Beethoven.3 set in 1845—the year in which Mendels- glia and Fugue on B-A-C-H, op.150), Max of the piano as a compositional tool.12 In German musical parlance, B is sohn’s organ sonatas were published.4 In Reger (Fantasy and Fugue on the Name Perhaps, then, the pedal-piano was B-natural and H is B-flat, allowing one addition to Mendelssohn’s organ sonatas, B-A-C-H, op. 46), Ernst Pepping (Three mainly used to assist in pedal-writing. to turn Bach’s surname into the motive Mendelssohn’s Six Preludes and Fugues Fugues on B-A-C-H), etc. Schumann’s After the second fugue, progress on B-natural, A, C, B-flat. By compos- for Piano, op. 35, and Three Preludes set is the longest of these works. the set slowed for a variety of reasons ing a set of fugues based on the theme and Fugues for Organ, op. 37, were The year 1845 is often called including illness, work on the latter move- B-A-C-H, Schumann was participating almost certainly strong influences on Schumann’s contrapuntal year because of ments of the Piano Concerto in A Minor, in a long tradition of composing pieces Schumann’s B-A-C-H fugues.5 his and Clara Schumann’s intense study of op. 54, and organization of an orchestral counterpoint, resulting in such composi- concert series in Dresden.13 By the end tions as the Six Studies in Canonic Form, of September, Schumann had drafted op. 56, and Four Sketches, op. 58, both the third, fourth, and fifth fugues14 and for pedal-piano; Six Fugues on B-A-C-H in late November, Schumann completed for organ, op. 60; and Four Fugues the set.15 The influence of the B-A-C-H for piano, op. 72.6 During this year of project can also be seen on his next opus,

“Fugenpassion,”7 to use Schumann’s own Symphony No. 2 in C Major; the second term, they studied Friedrich Wilhelm trio of the scherzo uses a theme begin- Marpurg’s Treatise on the Fugue and ning with the B-A-C-H motive, and the Luigi Cherubini’s A Course of Counter- adagio contains a fugato (Example 2).16 8

point and Fugue. Schumann also stud- Schumann’s set of six fugues is in many ied counterpoint intensely from 1831 ways similar to and likely inspired by to 1832 under Heinrich Dorn and from Bach’s The Art of the Fugue since both 1836 to 1838, a period which yielded are thorough explorations of the con- more contrapuntally complex and rich trapuntal potential of one musical idea. works such as Kreisleriana.9 Schumann was, however, somewhat pipe organ kit Proud builders of the Subscribe now to receive

follow us on facebook! FFREEThroughR DecemberEE 31, newMusicM subscribersusi andc Photo courtesy of Eric Harrison gift subscriptions can receive one free Raven CD for a one-year subscription, two free CDs for a two-year subscription, and three 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA free CDs for a three-year subscription. t 800 625-7473 [email protected] Visit our website at www.letourneauorgans.com For details and to begin your new or gift subscription, visit www.thediapason.com/subscribe. marzolino - stock.adobe.com

12 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM Example 5, Fugue subject from Bach’s Toccata and Fugue in D minor, BWV 565

Example 1, Mendelssohn, Sonata IV, transposed B-A-C-H in pedal

Example 6, Schumann, Fugue no. 2, subject 5, Fugue subject from Bach’s Toccata and Fugue in D minor, BWV 565

B-flat major—somethingThe Art of the minute and comes close to doubling the Fugue does not do despite its much tempo, reaching 168 beats per minute greater length. Additionally, there is at the fastest), with double-pedal before Example 2, Schumann, Symphony No. 2, op. 61; Scherzo: 2nd trio, measure 6, first greater variety of texture in Schumann’s a five-bar coda that returns to a poly- violins set than The Art of the Fugue. Schumann phonic texture, although without the is not averse to devolving to homophony B-A-C-H subject. Because of the lower as he does in all but the third fugue. He register and reduction in texture, it is not also frequently composed in what looks uncommon to decrescendo through the like a “lazy” five-voice texture by writing coda, even though this is not indicated five-voice expositions but not maintain- in the score. Example 3, Schumann, Fugue no. 1, subject ing a strict five-voice texture (until the The second fugue is the allegro last fugue). This is, however, more likely movement and the most unabashedly another attempt at textural variety than virtuosic. It is also the only fugue in a contrapuntal ineptitude on Schumann’s triple meter, a trait of which Schumann part; by moving the bass line between takes full advantage through the use of the pedal and left hand, he is varying the hemiola. Its subject begins with a quick sound and texture even while maintain- dotted B-A-C-H before beginning a ing the same number of voices. sequence that is almost certainly taken As previously stated, the first fugue is from the fugue from Bach’s Toccata an accelerando, crescendo fugue. The and Fugue in D Minor for organ, BWV quintessential example of this, and likely 565. Schumann would have known this inspiration for Schumann, is the first work from Mendelssohn’s famous Bach movement of Mendelssohn’s Sonata No. recital at the Thomaskirche in Leipzig, 3 in A Major from his Six Organ Sonatas, which he enthusiastically reviewed in op. 65. Schumann’s subject comprises his Neue Zeitschrift für Musik (Exam- two bars, the first of which is the B-A-C-H ples 5 and 6).19 motive plainly stated, and the second of In measure 48, Schumann combines Example 4, Schumann, Fugue no. 1, measure 34 which includes the B-A-C-H motive in the subject with its augmentation in retrograde in its first, second, fifth, and the pedal. Then in measure 74, there disdainful of The Art of the Fugue for to contrast the movements. The work sixth pitches (Example 3). At the point is a rest for performer and listener being excessively cerebral.17 Part of this is framed by two large accelerando, at which Schumann indicates to begin alike when Schumann quietly strettos is probably due to what Schumann may crescendo fugues; the second fugue is crescendoing and accelerating, he com- the augmented B-A-C-H motive with have perceived as a lack of variety in The a virtuosic allegro; the third, serene and bines the B-A-C-H motive (or a variant occasional interruptions from the BWV Art of the Fugue. Since The Art of the lyrical; the fourth, a more austere study; thereof) in the pedal with a two-voice 565 motive. (These fragments of the Fugue is based on a single subject and and the fifth, a charming scherzo. In this stretto of the diminished form of the BWV 565 motive make the connection the Schumann B-A-C-H fugues are only way, the work is not just a compilation of subject in the manuals (Example 4). to Bach’s fugue even more obvious.) based on a motive, Schumann has con- fugues but also a suite of complementary The piece builds to a very exciting This motive gradually takes over the siderably more flexibility in his thematic movements. Schumann also provides homophonic climax, particularly when texture while crescendoing until the material. (Interestingly, this is not unlike tonal variety by including G minor and the performer has accelerated enough piece devolves into a virtuosic toccata, Bach’s use of the B-A-C-H motive in The F major movements into an overarching (Simon Preston starts at 92 beats per complete with double-pedal, arpeggios, Art of the Fugue. In Contrapunctus 8, the motive is masked with repeated notes and inversion; in Contrapunctus 11, he un-inverts it but retains the repeated notes. It is not until Contrapunctus 14 that Bach plainly reveals the motive, a PARSONS technique of which Schumann surely would have been proud.) PIPE ORGAN BUILDERS Schumann, like Bach, derives several distinct fugue subjects from the B-A-C-H motive. The first, third, and sixth fugues, Current & Upcoming Projects for example, all plainly feature the motive as the main substance of the subject. The 2020 fifth fugue, however, treats it just as the starting point for further elaboration. First Lutheran Church - Cedar Rapids, IA The fourth fugue also uses the motive III Manuals, 51 Ranks - New Organ overtly but changes its contour by leap- Mechanical Action ing down a sixth from A to C, instead of up a third. By modifying and developing Woodlawn Cemetery - Canandaigua, NY the theme, Schumann reveals and incor- I Manual, 4 Ranks - Historic Restoration porates one of his favorite compositional Hook & Hasting - Opus 2243 - 1910 genres: the character piece. John Dave- rio describes this important difference 2021 between fugues and character pieces St. James by-the-Sea Episcopal Church - La Jolla, CA by saying, “If the essence of a fugue is a IV Manuals, 79 Ranks - New Organ fixed subject, then that of the character piece is the transformation of an elo- quent motive.”18 By combining elements 2022 of these two genres, Schumann is not First Lutheran Church St. Benedict Cathedral - Evansville, IN just taking a neo-baroque diversion but Cedar Rapids, Iowa III Manuals, 57 Ranks - New Organ is “updating” the fugal form to include (Computer Rendering) the most modern musical trends. 585-229-5888 parsonsorgans.com Each of Schumann’s fugues also has specific tempo and dynamic indications

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 13 Organ works of Schumann

Example 9, Schumann, Fugue no. 1, measure 48

Example 7, Schumann, Fugue no. 4, measure 30, retrograde in pedal

Example 10, Schumann, Fugue no. 1, measure 59

Example 8, Schumann, Fugue no. 6, measure 95, combination of themes: B-A-C-H in pedal, second subject in alto, counter-subject in tenor and soprano octave doublings, and no hint of B-A- lyricism rather than intellect or virtuos- C-H. He then briefly alludes to the ity. It is also the only fugue in a minor Example 11, Schumann, Fugue no. 2, measure 48, pedal augmentation quiet B-A-C-H stretto passage again— key, G minor, but ending in a tranquil this time with neighbor-tones on the G major. B-flat—before a passage of triumphant The fourth fugue is the most austere homophony. There is one more fugal and perhaps the least accessible of the interruption before the chorale-style set. This is clear from the outset when writing returns and a hemiola passage Schumann uses a jagged version of the Example 12, Schumann, Fugue no. 3, subject with sforzando chords every two beats. B-A-C-H motive; instead of an ascending The movement ends with a coda over minor third between A and C, he writes to itself, retrograde being among the pre-thought. It is a refreshing relief a B-flat pedal that continues to use the a descending major sixth, meaning the more obscure contrapuntal techniques after the previous four movements BWV 565 motive while eschewing the subject outlines a pungent diminished (Example 7). which all employ the B-A-C-H B-A-C-H motive, a final confirmation of octave. This is one of Schumann’s clever- This movement continues to use motive so plainly. this fugue’s inspiration. est techniques: to utilize the B-A-C-H retrograde pervasively and eventually Nevertheless, the scherzo is still a The third fugue is the only one that is motive as a collection of pitch classes transitions into loud chordal writing contrapuntal tour de force. It includes entirely quiet; there is a piano indication with no specific contour rather than a with flashy pedal scales. Like the second augmentation, inversion, retrograde, and at the beginning with the description traditional theme with a set shape. fugue, it alternates between passages retrograde augmentation, and combines “Mit sanften Stimmen”—with gentle Schumann further adds to the com- of strict counterpoint and homophony. the augmented form of the subject with stops—and no further performance plexity and austerity of this movement by The passagework and homophony bring the original form and the augmented ret- instructions. This is the only fugue that introducing the retrograde of B-A-C-H what was an ascetic contrapuntal exer- rograde form with the plain retrograde, begins in two voices with the counter- for the first time and immediately cise—perhaps worthy of Schumann’s an astonishing amount of artifice for a subject present from the beginning. It is combining it with the subject’s normal own questionable criticism of The Art movement of less than three minutes. also the simplest and technically easiest form. The retrograde form of the subject of the Fugue—to a dramatic and excit- The technique, however, never hinders fugue. The B-A-C-H theme only occurs almost always has staccato markings on ing close. The climax in measures 96 the charm. This fugue demonstrates well in one form, and the emphasis is on the first and third notes to draw attention to 99 is particularly thrilling and one of Schumann’s outlook on fugal composi- the highlights of the whole work, as if to tion: “Anyway, this will always be the best apologize for the trials through which he fugue the public for instance regards as a has just put the listener. waltz by Strauss—in other words, where As an additional conciliatory gesture, the artificial rootage is covered like the Schumann placed his charming scherzo- roots of a flower so that we can see just fugue next. The presence of a scherzo— the flower.” For Schumann, artifice and an unusual template for a fugue—in this contrapuntal ingenuity were always sub- set is further proof that Schumann con- servient to beauty and emotion.20 ceived this set as a suite of complemen- The sixth and final fugue, the lon- tary pieces and not just miscellaneous gest of the set, is another accelerando, movements based on the same theme. crescendo fugue. It is also the only The fifth fugue is the only movement double fugue in the set, giving it more in F major and the shortest of the set. in common with the first movement of This movement’s subject begins with a Mendelssohn’s Sonata No. 3 in A Major, fleeting B-A-C-H that sounds almost op. 65, which, as previously mentioned, like a perfunctory after-thought—or is also a crescendo, accelerando, double The Diapason 2021 Resource Directory

• The only comprehensive directory for the organ and church music fields • Includes listings of associations, suppliers, and the products and services they provide

Reserve advertising space now! Deadline: November 1

www.ruffatti.com To reserve advertising space, contact Jerome Butera 608/634-6253; [email protected]

14 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM Just like in the first fugue, the relation- associate organist and choirmaster at the ship between fugues two and three may Cathedral of the Incarnation in Garden seem weak, but Schumann once again City, Long Island. confirms it by developing the tail of the A frequent competition prizewinner, third fugue subject in the tenor and bass MacKnight holds the Fellow and Choir- voices later in the second fugue (mea- master certificates from the American sure 135) (Example 13). Guild of Organists (having won the prize The connection between the fifth for top score for the latter) and is a mem- and sixth fugues is perhaps the most ber of The Diapason’s “20 Under 30” obvious. The fugue subject of fugue five Class of 2019. Upcoming performance has a five-note figure that occurs in the highlights include recitals in Ingelheim, second (C, B-flat, A, B-flat, C) and third Germany; Kingston, Jamaica; and at (G, F, E, F, G) measures of the subject Saint Matthew’s Cathedral in Washing- (Example 14). ton, DC. Colin MacKnight is represented Schumann later inverts this theme, in North America by Karen McFarlane so it also occurs in an up-down shape. Artists, Inc. For more information, The inverted form of this motive (the media, and a calendar of performances, aforementioned quotation of Valet will visit colinmacknight.com. ich dir geben, BWV 736) then becomes the countersubject to the final fugue Notes and is combined with both of the last 1. Helga Scholz-Michelitsch, “Robert Schumann and the Organ,” trans. Susanne fugue’s subjects. It is introduced in the Weber, The Franz Schmidt Organ Com- first exposition in measure 16 and is petition, http://orgelwettbewerb.kitz.net/ Example 13, Schumann, Fugue no. 2, measure 135 combined with both subjects in measure Franz-Schmidt-OrganCompetition/Robert_ 95 (see Example 8). Schumann.html. 2. Eric Frederick Jensen, Schumann (New On the surface, nothing could have York: Oxford University Press, 2001), 145. been more conservative in nineteenth- 3. Ibid., 145–146. century music than a set of six fugues 4. Scholz-Michelitsch, “Robert Schumann for organ. Further examination reveals, and the Organ.” 5. John Daverio, Robert Schumann: Her- however, how progressive Schumann’s ald of a “New Poetic Age” (New York: Oxford B-A-C-H fugues were. They were University Press, 1997), 308. Example 14, Schumann, Fugue no. 5, subject likely the first set of pieces to be based 6. Daverio, Robert Schumann, 306. entirely on Bach’s name, they constitute 7. Ibid., 307. 8. Scholz-Michelitsch, “Robert Schumann fugue. The three-bar subject begins with so characteristic of the fourth fugue’s a complementary “suite” of fugues—not and the Organ.” the B-A-C-H motive and ends with a subject (Example 9). just a collection of movements—and 9. Daverio, Robert Schumann, 306. short descending scale that is the source While this relationship by itself may there are connections and developments 10. Ibid., 307. of the second subject. The first section seem somewhat tenuous, Schumann ret- between the movements that fore- 11. Ibid. 12. Jensen, Schumann. 284. also prominently features a five-note roactively confirms it with what is prob- shadow Brahms’s developing variation. 13. Daverio, Robert Schumann, 307. motive as a counter-subject, beginning ably the most shocking harmony of this Schumann himself wrote, “I worked 14. Ibid. in measure 16. This motive, intention- fugue: the false ending at measure 60, on this set for the whole of last year in 15. Ibid., 308. ally or not, sounds like a quotation of the in which an F dominant-seventh chord order to make it somewhat worthy of 16. Jensen, Schumann, 289. 17. Ibid. 144. main motive in Bach’s chorale prelude resolves to a secondary-dominant ninth the exalted name it bears; [it is] a work 18. Daverio, Robert Schumann, 309. on Valet will ich dir geben, BWV 736. of the subdominant. What sounds like that will, I believe, long outlive my other 19. Scholz-Michelitsch, “Robert Schumann The descending scale that closes the first a dramatic change in register is actually works.”21 His prediction that his reputa- and the Organ.” subject becomes the second subject in the jagged contour of the fourth fugue’s tion would be based largely on these 20. Ibid. measure 58 and begins a new section that subject in the soprano! The soprano and fugues did not prove to be accurate, but 21. Daverio, Robert Schumann, 308. is marked Lebhafter and più forte. This tenor lines also continue to prominently it was surely right of him to hold them in section does not use the B-A-C-H motive feature leaps of sixths through the coda such high regard. Q Bibliography but instead develops the second subject, of this movement (Example 10). Daverio, John. Robert Schumann: Herald including stretto and inversion, and uses The second and third fugues are also Colin MacKnight is a C. V. Starr of a “New Poetic Age.” New York: Oxford University Press, 1997. the same five-note countersubject. connected by an allusion in the second Doctoral Fellow at The Juilliard School, Jensen, Eric Frederick. Schumann. New In measure 95, Schumann finally fugue to the third fugue’s subject. In New York City, where he also received York: Oxford University Press, 2001. combines the subjects and countersub- measure 48 of fugue two, the B-A-C-H his bachelor’s and master’s degrees. He is Scholz-Michelitsch, Helga. “Robert ject signaling the third and final part of motive appears in the pedal in augmenta- in the studio of Paul Jacobs and is work- Schumann and the Organ.” Translated by Susanne Weber. The Franz Schmidt Organ this fugue, the only instance of strict tion with three extra notes that together ing on his dissertation entitled “Ex Uno Competition. http://orgelwettbewerb.kitz. five-part counterpoint in the entire set with B-A-C-H will form the third fugue’s Plures: A Proposed Completion of Bach’s net/Franz-Schmidt-OrganCompetition/Rob- (Example 8). subject (Examples 11 and 12). Art of Fugue.” He currently serves as ert_Schumann.html. The strict counterpoint continues until measure 116 when Schumann switches to grand, fortissimo, chorale writing with a few quasi-contrapuntal interruptions. The homophonic texture allows him to compose abrupt and distant modulations that are unusual faculty in strict fugal textures: most notably, graduate study in organ performance Martin Jean the modulation to G major in measure 139 and back to B-flat in measure 142. at Yale Institute of Sacred Music and Yale School of Music Professor of Organ As in the second fugue, Schumann eventually eschews the B-A-C-H Craig Cramer motive (after measure 144 in the sixth Visiting Professor of Organ fugue), choosing instead to close the entire work not with either of the sub- Jeffrey Brillhart jects but with the counter-subject. Organ Improvisation As previously mentioned, Schumann “updates” the fugal form by incorporating Walden Moore elements of the character piece, which Liturgical Keyboard Skills he does by developing and transforming the B-A-C-H motive. By examining the different transformations of B-A-C-H, as degrees offered well as other motives, one can see cer- Master of Music tain relationships between movements Master of Musical Arts beyond the obvious thematic unity of a monothematic work. Specifically, the Doctor of Musical Arts movements can be organized into three Yale Institute of Sacred Music related pairs: movements one and four, 406 Prospect Street, New Haven, CT 06511 two and three, and five and six. Institute students receive full 203.432.9753 The first fugue is related to the fourth by tel tuition scholarships. Generous merit of the fact that it utilizes a counter- ism.yale.edu/musicprograms awards available to qualified subject, itself derived from the B-A-C-H [email protected] applicants. motive, which prominently features leaps of sixths, the same interval that is

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 15 Pipe organ builders

Creating a pipe organ Artisans at work, Part 2

By Steve Riskind

Voicing: John Peragallo, III, at the console and Anthony Peragallo at the pipes. The instrument at Saint Ste- Installing the corbel under the south case of Saint phen’s Episcopal Church, Armonk, New York, is a 1969 Casavant that was extensively rebuilt by the Peragallo John the Baptist, Paterson, New Jersey, chancel or- company in 2016. gan (Peragallo)

John Peragallo, IV, checking the plans Wiring the switching circuits inside the as he installs a tremolo motor on the Anthony Peragallo tuning a mixture organ case (Peragallo) wind reservoir Staining casework (Peragallo)

Editor’s note: the first part of this visual artists transforming their materi- essay and to find a second organbuilder Paterson, New Jersey, startup, American series is found in the August 2020 issue, als into works of beauty. In the case of who creates different kinds of pipe Master Organ Company. pages 12–13. artisan businesses, this transformation of organs. A. David Moore has built and After beginning work at the company’s materials is constrained by the need to restored tracker-action instruments for factory in Paterson, John, Sr., was then his is the second installment of a run a profitable operation. many years in North Pomfret, Vermont. assigned the job of installation foreman Tphotographic essay comparing two The first firm I photographed, Peragallo He describes his organbuilding aesthetic for a large theater organ in Butte, Mon- very different organbuilders. As a pho- Pipe Organ Company, located near my as late-nineteenth century. The instru- tana. The instrument was successful, but tographer, my goal is to show artisans and home in New Jersey, recently celebrated ments on which he works are always of unfortunately, the job, which had been its 100th anniversary and is an example mechanical action. bid very low, bankrupted the company. of a firm that has been able to meet both The founders of these two businesses Upon his return to Paterson, John Pera- economic and artistic goals. Members of learned organbuilding in their teens. gallo, Sr., was given the opportunity to take The Sound of Pipe the third and fourth generations of the John Peragallo, Sr., apprenticed with the over the bankrupt firm’s logo and some Peragallo family now guide the company. E. M. Skinner Company. Seeking greater of its factory equipment. The Peragallo Organs With the help of the staff of The advancement, he took a job as head of Organ Company was born in the spring of Diapason, I was able to expand this the electrical wiring department with a 1918. Its owner was 22 years old.1, 2 M. McNeil 191 pages hardbound Jacques Stinkens BACH AT NOON Orgelpijpenmakers B.V. now on sale at Amazon books sinds 1914 Grace Church in New York Flues - Reeds $29.95 Your personal wishes are in good hands www.stinkens.nl www.gracechurchnyc.org [email protected]

16 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM Cleaning a soldered pipe. The long, nar- row sink is designed for pipe cleaning.

David Moore tuning the wood pipes on a one-stop continuo organ Testing a wood pipe (Moore) PIPEORG-L listserv by Dave Schutt, April 13, 1998. 3. See “Organ in a Pomfret hay barn!,” Ver- mont Life, 1965, Summer, Volume XIX, No. 4, p. 31, for an account of David Moore and a fellow high school student’s adventure restor- ing a nineteenth century Stevens organ.

Steve Riskind is an independent photographer based in Ridgewood, New Jersey. He is best known for his portraits of classical musicians. In recent years he has concentrated on artisans and fine artists at work—capturing the relation- ship between these skilled creators and their materials. As a long time lover of pipe organ music, photographing organ- builders has been a wonderful addition to this project. Steve Riskind’s book “art | commerce: four artisan businesses grow in an old New Jersey city” has just Scraping metal that will become pipes. been published. The metal must be thicker at the base to properly support the weight of the pipe above. (Moore) All photographs by Steve Riskind. Author’s website: steveriskind.com Notes David Moore and his associate Lubbert Gnodde examine organ parts stored in one 1. “History of the Peragallo Pipe Organ Peragallo Pipe Organ Company of the barns on David’s farm. Cows were originally milked in this part of the barn. Company,” document provided by John Pera- Telephone: 973/684-3414 gallo, IV, dated September 6, 2017. Email: [email protected] 2. “The American Master Organ Com- pany Lives On,” by John Peragallo as told to A. David Moore, Inc. Dave Schutt in 1974. This history of the com- Telephone: 802/457-3914 pany was posted on the University of Iowa Email: [email protected]

Lubbert Gnodde, Moore’s associate, Cleaning the pallet box on a small organ For Sale polishing pins. The pins transmit the key under construction (Moore) presses from the trackers to the pallets that open and allow air into the pipes. The pins must fit snugly but move freely made from local materials on-site. David Exceptional original Baroque organ case with elegant through the openings in the windchest. Moore is quite capable of building an carvings (18th century) containing a well-conserved Romantic entire organ himself. Belgian organ (19th or 20th century) by Pierre Schyven. David Moore’s introduction to his At Peragallo, with four family mem- craft was quite different. In high school, bers and approximately a dozen employ- Two manuals and pedal; he and a friend learned organbuilding ees, there is far greater specialization. 17 stops, 18 ranks. Manual/ by restoring a circa 1850 Stevens tracker The Peragallo company relies much instrument from a then-closed church in more on outside vendors, and Peragallo’s pedal key compass 56/30. 3 ;ڍheight 15.5 ;ڍVermont. After a three-year apprentice- instruments make substantially greater Depth 10.5 ship with C. B. Fisk, Inc., he started his use of electronic components than do ڍown firm in 1973. He continues today to Moore’s. All of their instruments use width 15.3 work out of a large two-floor shop on his electric stop action and incorporate For sale, with family farm in Vermont. electronic combination action. In some A David Moore, Inc., is basically a instruments they use digitally sampled installation available. one-person company, though colleagues ranks to augment the organ pipes. are brought in as needed on larger Photographing at each organbuilder’s Inquiries: projects. Moore’s operation is highly shop, I have had much opportunity to [email protected] vertically integrated. Keyboards, track- think about the differences between Tel. 00 34 629 30 17 18 ers, windchests, metal and wood pipes, these two businesses. Despite these and cases are all fabricated in his shop. differences, the joy of being at each of Hardware is purchased from outside these places has been to watch skilled vendors, as are the components for artisans transforming raw materials into Pattern: bulbbright - stock.adobe.com electronic combination actions when pipe organs. Both of their approaches needed for larger instruments. Still, it is make it possible to create instruments of fascinating how much of an instrument is lasting beauty. Q

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 17 Cover feature

The Bales Chorale Fritts practice organ

Organ and Church Music at The University of Kansas, Lawrence, Kansas The twenty-fifth year of the Bales Organ Recital Hall and Hellmuth Wolff Opus 40

The Bales Organ Recital Hall and Hellmuth Wolff Opus 40 Organ study at the University of Kan- sas began in 1875. In 1898 the “Depart- ment of Organ Playing and Church Music” was founded. Since that time the organ and church music program at KU has grown to be one of the largest and most active programs in the coun- try. It now boasts twenty-five organ and church music majors studying across a variety of different undergraduate and graduate programs. A milestone in the history of the program occurred on October 9, 1996, when KU inaugurated the Bales Organ STAR series performers (Student Artist Recitals) World War II Memorial Campanile Recital Hall. This beautiful hall, with stained glass designed by Peter Thomp- music alumni are asked to relay their Degrees Curriculum son, boasts a 4.5-second acoustic. The contact information, a picture, and a KU offers the following degrees in the In the graduate organ curriculum, KU centerpiece of the hall is the 45-stop short biography to [email protected]. Division of Organ and Church Music: offers courses in: organ built by Hellmuth Wolff. Begin- • BM in organ and church music • Organ literature and design (four- ning this month, we will be celebrating Facilities • MM in organ semester sequence) the twenty-fifth anniversary year of this In addition to the Hellmuth Wolff • MM in church music with a concen- • Organ building wonderful organ and hall. concert instrument, KU has seven prac- tration in organ • Organ pedagogy tice organs, including organs by Fritts, • MM in church music with a concen- The graduate sequence in church The twenty-fifth anniversary Juget-Sinclair, Flentrop, Jaeckel (3), tration in choral conducting music includes: Alumni Conference and Reunion and Casavant. All of our instruments • MM in carillon • Improvisation (one semester of The culminating event in this year of are trackers. Students also practice at • DMA in organ German Baroque, and one semester of celebration will be a three-day alumni the 22-stop Andover tracker at the Saint • DMA in church music with a con- French symphonic; students all receive a conference held October 7–9, 2021. Lawrence Catholic Student Center on centration in organ private lesson and a class weekly) It will be led by KU organ and church campus. The organ and church music • DMA in church music with a con- • Choral conducting (two-semester music alumni, along with KU’s William academic classes are all taught in a lovely centration in choral conducting sequence) T. Kemper Artist-in-Residence, Olivier organ studio, which is set up as a confer- • Graduate certificate in organ • The history of church music (three- Latry. In preparation for this conference ence room with technology appropriate • Graduate certificate in church music semester sequence) and reunion, all KU organ and church to academic work. • Graduate certificate in carillon • The history of liturgy

Hellmuth Wolff Opus 40 (1996) Bales Recital Hall, University of Kansas, Lawrence, Kansas

GRAND ORGUE (Manual II) 2′ Flûte à fuseau 4′ Clairon COUPLERS 1 16′ Montre 1⁄3′ Larigot 8′ Voix humaine Récit–G.O. 8′ Montre Sesquialtera II Tremblant Positif–G.O. 8′ Flûte conique Fourniture IV Récit–Positif 8′ Flûte harmonique 8′ Cromorne PÉDALE 4′ Prestant Tremblant 32′ Soubasse Tirasse G.O. 4′ Flûte à fuseau 16′ Contrebasse Tirasse Positif 2 ′ 2⁄3′ Nazard RÉCIT EXPRESSIF (Manual III) 16 Montre (G.O.) Tirasse Récit 2′ Doublette 16′ Quintaton 16′ Soubasse 3 ′ ′ 1⁄5′ Tierce 8Flûte à cheminée 8Octavebasse Anti-secousses 1 ′ ′ Fourniture VI (5 ⁄3′ engaged with 16′) 8Viole de gambe 8Montre (G.O.) Solid mahogany case 8′ Trompette 8′ Voix céleste 8′ Bourdon 4′ Clairon 4′ Prestant 4′ Prestant Temperament: ninth-comma meantone 4′ Flûte octaviante Fourniture V POSITIF (Manual I) 2′ Octavin 16′ Trombone Mechanical key action (suspended) 8′ Montre Cornet V 8′ Trompette allemande Electric stop action 8′ Bourdon Plein-jeu V 8′ Trompette (G.O.) 4′ Prestant 16′ Basson 4′ Clarion (G.O.) 4′ Flûte à cheminée 8′ Trompette 2′ Doublette 8′ Hautbois

18 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM KU Tariverdiev Competition, 2019 Guy Bovet masterclass at Wolff Opus 40

Michael Bauer Elizabeth Egbert BerghoutJames Higdon Olivier Latry Kevin Vogt

• The Judeo-Christian tradition and Elizabeth Egbert Berghout performs Kevin Vogt, Lecturer in Organ and Round of the biennial Tariverdiev the arts carillon recitals at the Lawrence cam- Church Music International Organ Competition. The • Issues in religion and the arts pus each week. Many of her carillon Kevin Vogt, is music director for St. winners advance to Kaliningrad, Rus- • Children’s choirs students have passed the rigorous per- Michael the Archangel Catholic Parish in sia, to compete in the final rounds of • Handbells formance and certification exam offered Leawood, Kansas, and lecturer in organ the competition. • Liturgical chant by The Guild of Carillonneurs in North and church music at the University of America. Berghout lectures, teaches, Kansas, where he teaches organ impro- Bales Artist Series Undergraduate students have a four- and performs throughout North Amer- visation and service playing, classes in Each year KU sponsors guest organ- year curriculum in organ and a separate ica and overseas. A proponent of new organbuilding and design, organ litera- ists on the Bales Artist Series. Recital- four-year curriculum in church music. music, Berghout has commissioned and ture, liturgical chant, and a seminar on ists include university organ faculty premiered numerous works for carillon children’s choirs. He served previously as and international competition winners. The Bales Chorale and organ. director of music at the Roman Catholic Guest artists play, teach, and lecture The Bales Chorale is the resident cathedrals of St. Paul, Minnesota, and while they are at the university. Guest student choral ensemble at the Bales James Higdon, Dane and Polly Bales Omaha, Nebraska. artists have included Guy Bovet, Susan Organ Recital Hall. Its purposes are Professor of Organ Landale, Kimberly Marshall, Craig to sing great choral literature appro- James Higdon is Director of the Extra-Curricular Offerings: Cramer, Lynne Davis, Janette Fishell, priate to the superb acoustics of the Division of Organ and Church Music Conferences Martin Jean, Hans Davidsson, Roberta Bales Organ Recital Hall and to train at the University of Kansas. He recently Over the years, KU has presented Gary, John Grew, Jack Mitchener, Cath- graduate church music students in the released a recording of the complete many conferences on organ and church erine Rodland, Robert Bates, Daniel art of choral conducting. Performances works of Jehan Alain, performed at KU music. In 2017, KU hosted the AGO Zaretsky, Carole Terry, Emanuele Cardi, include premieres of new works by and on the Alain house organ at Roman- National Pedagogy Conference entitled Rachel Laurin, Richard Elliot, Charles students and faculty, and collaborative môtier, Switzerland. He has played “Organ and Improvisation Study in the Tompkins, and many more. performances with other regional cho- throughout Europe and America and French Conservatory System.” In 2019, ral ensembles. adjudicated at many international com- KU sponsored a conference entitled “Le The STAR series (Student Artist petitions including Chartres, The Cana- Grand Siècle: Organ Music and Culture Recitals) KU Organ and Church Music Faculty dian International Competition, and the in 17th-and 18th-Century France.” Each year, KU arranges recitals for Michael Bauer, Professor of Organ and Tariverdiev Competition in Russia. His Upcoming conferences will center on our students on significant instruments Church Music students have distinguished themselves the works of specific major French com- located in Kansas and surrounding Michael Bauer teaches organ, church with a host of accolades, including many posers with Olivier Latry as the featured states. Students play group recitals, solo music classes, choral conducting, and Fulbright and Rotary awards as well as artist and teacher. recitals, and split programs involving harpsichord at KU as well as overseeing winning multiple international competi- two players. the Bales Chorale. He has published the tions. In 1997, he was awarded the W. T. KU Students in Europe book Arts Ministry: Nurturing the Cre- Kemper Fellowship for Teaching Excel- From 2002–2016, KU sponsored Church Music Colloquium ative Life of God’s People (Eerdmans) lence at KU. seven KU European Organ Study Tours. KU sponsors church music colloquia and recorded several CDs, including Starting in 2016 KU’s European engage- that engage students in extra-curricular the Brahms organ works, and a recent Olivier Latry: William T. Kemper Artist ment changed. The university began to learning led by guest instructors. dedication CD for the new Juget-Sin- in Residence help our students attend the biennial clair organ in Fremont, Nebraska. Bauer Beginning in 2019, Olivier Latry, one Haarlem Organ Festival and Academy Application and Financial Aid has directed seven KU European organ of the world’s most renowned organists, a in the Netherlands. This evolved into KU offers graduate teaching assis- study tours and performed throughout titulaire organist at Notre Dame Cathe- a formal relationship, in which KU tantships and significant undergraduate Europe and America. In 2020 he was dral and Professor of Organ at the Paris became the first academic partner insti- and graduate scholarships. Situated awarded the Ned Fleming Award for Conservatoire, joined the KU faculty as tution with the Haarlem Organ Festival in Lawrence, Kansas, close to Kansas Excellence in Teaching at the University the William T. Kemper Artist in Resi- and Academy. City there are many churches that offer of Kansas. dence. He is in residence each semester employment opportunities to KU organ teaching private lessons, group lessons, Tariverdiev International Organ and church music students. For further Elizabeth Egbert Berghout, Associ- and masterclasses as well as performing Competition information about the organ and church ate Professor of Music and University and participating in conferences on dif- Beginning in 2011, every other music program at KU, write organ@ Carillonneur ferent aspects of French organ music. year KU hosts the North American ku.edu and visit music.ku.edu/organ. Q

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 19 Organ Projects

Console

Marceau Pipe Organ Builders, area and received new façade pipes of Inc., Seattle, Washington hammered lead, fabricated by Martin Cross of Christ Lutheran Pasi of Roy, Washington. Church, Bellevue, Washington A new electrical switching system Marceau Pipe Organbuilders has from Syndyne Corporation of Vancouver, Cross of Christ Lutheran Church, Bellevue, Washington completed tonal additions and an elec- Washington, was installed. This upgrade trical upgrade to Casavant Opus 3213, provides a complete combination action of location depending on specific needs built in 1974. The organ was originally that includes multiple memory levels. for music making. installed in the rear balcony; in 1984 the The console is connected to the organ via The tonal design was based on a simple, instrument was relocated to the chancel a small data cable, allowing for flexibility straightforward design of this production model from Casavant. All of the existing Casavant components were retained as is. Given the successful sounds of the Casavant pipework, no tonal regulation was required. Tonal additions include three new stops for the Grand Orgue division: 4′ Flute à Fuseau, 2′ Doublette (existing Récit stop), and 8′ Trompette. (The existing Récit 8′ Trompette will be repurposed in a future project.) The Récit divison received: 8′ Salicio- nal, 8′ Voix Céleste, 4′ Viola, 2′ Flute à Bec (located in the existing 2′ Doublette 1 space), 1 ⁄3′ Larigot, and 8′ Hautbois (located in the existing 8′ Trompette space). The Pédale was enhanced with a 16′ Bombarde, a 12-note extension of Pipework the Grand Orgue 8′ Trompette. In addition to the normal unison construction of all new windchests were couplers, sub couplers for the Récit completed in the Marceau shop. and Récit to Grand Orgue were added —Rene A. Marceau to increase the tonal flexibility of the Sean Haley instrument. The console upgrade and all Jim Van Horn

Casavant Frères Opus 3213 (1975); Marceau Pipe Organs Opus 39 (2019) Cross of Christ Lutheran Church, Bellevue, Washington

GRAND ORGUE (Manual I) 4′ Salicet (new chest) 56 pipes 8′ Montre (façade) 56 pipes 2′ Flute à Bec † 56 pipes 1 8′ Flute à Cheminée 56 pipes 1⁄3′ Larigot (new chest) † 56 pipes 8′ Salicional (Réc) † 8′ Hautbois † 56 pipes 4′ Prestant 56 pipes Tremblant 4′ Flute à Fuseau Récit au Récit 16 (new windchest) † 56 pipes 2′ Doublette (new chest) 56 pipes PÉDALE 2 2⁄3′ Cornet III 132 pipes 16′ Soubasse (ext G.O.) 12 pipes 1 1⁄3′ Plein Jeu III 168 pipes 8′ Montre (façade) 32 pipes 8′ Trompette (new chest) 56 pipes 8′ Flute à Cheminée (G.O.) Récit au Grand Orgue 16 8′ Salicional (Réc) † Récit au Grand Orgue 8 4′ Prestant (ext 8′) 12 pipes 16′ Bombarde (ext G.O.) † 12 pipes RÉCIT (Manual II, enclosed) 8′ Trompette (G.O.) † 8′ Bourdon 56 pipes 4′ Clairon (G.O.) † 8′ Salicional Grand Orgue a la Pédale 8 (new chest) † 56 pipes Récit a la Pédale 8 8′ Voix Céleste (TC, new chest) † 44 pipes † Marceau, 2019 4′ Viola (new chest) † 56 pipes 18 stops, 21 ranks, 1,140 pipes

20 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM Reviews Bert Adams, FAGO PATRICK ALLEN Park Ridge Presbyterian Church ′ New Organ Music Nasat , and 2 Waldfl ote) hovering over a Park Ridge, IL GRACE CHURCH 3. Orgelsymphonie “Biblische Tanze” calm three-note pedal point. Pickle Piano & Church Organ Systems (Orgelwerke Band 8), by Andreas “Davids Tanz vor der Bundeslade” NEW YORK Bloomingdale, IL Willscher (b. 1955). Dr. J. Butz (David’s Dance in front of the Ark of Musikverlag, Bonn, 2017, BU-2830, the Covenant) has a percussive effect €13. Available frombutz-verlag.de. created in a less-dissonant fashion than Renowned organist Carson Cooman in the fi rst movement, this time by triads Christopher Babcock Your artist spotlight can appear has championed the works of Andreas underscored by open fi fths that stand on The Diapason website for Willscher. In the notes Cooman includes front and center in the movement’s as little as $16 per month in his CD recording of Willscher’s Organ overall texture. Willscher’s chord pro- St. Andrew’s by the Sea, Contact Jerome Butera, Symphony No. 5 (“Of Francis’s Preach- gressions are a bit reminiscent of Jean Hyannis Port [email protected] ing about High Poverty”), Willscher’s Langlais (e.g., pieces from Hommage à works are described as “diverse, ranging Frescobaldi). Yet what makes this move- from large-scale post-tonal pieces to ment unique and highly engaging is the some that blend elements of the tradi- shifting time signatures and beat group- tional repertoire with contemporary jazz ings used throughout. Dean W. Billmeyer and pop infl uences” using forms condu- A return of the percussive chord clus- cive to “symphonic music, oratorios, as ters is found at the beginning and end of University of Minnesota well as cabaret and rock scores” (Divine the “Tanz der Tochter Jiftachs” (Dance Minneapolis 55455 • [email protected] Art, DDA 251500). A native of Ham- of Jephthah’s Daughter). A hint of con- burg, Germany, the composer provides trapuntal treatment occurs at measure additional information about his train- 39, but no formal fugue is attempted as ing, professional positions, and awards sometimes occurs in other organ sym- GAVIN BLACK earned on his website, www.willscher.de. phony movements by Willscher. Byron L. Blackmore Mr. Willscher’s 3. Orgelsymphonie Designed in ternary form, the “Tanz Princeton Early Keyboard Center Crown of Life Lutheran Church “Biblische Tanze” for solo organ was um das Goldene Kalb” (Dance of the 732/599-0392 Sun City West, Arizona composed in 2002–2003 and published Golden Calf) makes for an exciting and www.pekc.org in 2017. The fi ve-movement work is fi tting conclusion to this dance-inspired 623/214-4903 based on dances described in the Old symphony. Fun to play, it utilizes com- and New Testaments of the Holy Bible. positional techniques used in other Each movement is based on a scriptural movements that serve to unify this cycle passage suggested by the composer: of dances. French toccata fi gures show THOMAS BROWN Carson Cooman 1. “Tanz der Salome” (Mark 6: 22), up in this multimeter setting before and Composer and Concert Organist 2. “Tanz der Schulamitt” (Song of after a quiet middle section that incor- CHAPEL HILL, NORTH CAROLINA Harvard University Solomon 7: 1), 3. “Davids Tanz vor der porates two short jazz trumpet riffs in ThomasBrownMusic.com Bundeslade” (2nd Samuel 6: 5 and 14), the pedal. After an accelerating reprise, www.carsoncooman.com 4. “Tanz der Tochter Jiftachs” (Judges a brilliant coda, and a grand pause, the 11: 34), 5. “Tanz um das Goldene Kalb” piece ends abruptly with four short, (Exodus 32: 19). Of overall moderate heavily accented chords. diffi culty, all movements are reasonably Willscher suggests his “Biblical DELBERT DISSELHORST Your professional card brief in duration, with the outer move- Dances” can be played as a whole com- could appear here! ments being the longest in terms of position or as individual movements for Professor Emeritus Contact: [email protected] elapsed measures. Performance time of either concert or liturgical settings, and University of Iowa–Iowa City the entire work is 16 to 20 minutes. even as the basis for a ballet. A moderate- or 608/634-6253 The “Tanz der Salome” (Dance of sized two-manual organ with at least one Salome) is an arresting opening move- division under expression will suffi ce. ment. The whirlwind dance contains However, in the foreword to the score, STEVEN EGLER JOHN FENSTERMAKER tightly woven chord clusters that are the composer hopes the organ’s disposi- Central Michigan University rhythmically repeated. These insistent tion would include a number of reeds, TRINITY-BY-THE-COVE “drum like” timpani chords move about mutations, and color stops to allow the School of Music Mt. Pleasant, MI 48859 ever so slightly as the movement pro- performer to “experiment with imagina- NAPLES, FLORIDA gresses, underscored by sustained open- tive, even unconventional registrations.” [email protected] fi fth harmonies in the pedal. A melody This reviewer was surprised at how described by the composer as “oriental” much enjoyment was derived from study- in nature provides the dance’s melodic ing this score, fi nding it much easier to Norberto interest. As the middle section nears, the play than originally thought. It is indeed sinewy melody comes to a rest. Chord a visceral score that is effective without Susan Goodson Guinaldo clusters soon continue on a different man- undue complexity. To be sure, Willscher’s Emanuel United Church of Christ His Music ual with a quieter registration that grows Biblical dances have an improvisatory Manchester, Michigan See—Listen—Buy in dynamics and textural intensity: a slow- quality about them; due no doubt to the www.GuinaldoPublications.com moving harmonic fi gure is added to the shifting key centers in all movements, clusters, a sighing gesture, indicative of no key signatures are employed. Occa- the breathless frenzy of Salome’s dance. sional inconsistent use of sharp, fl at, and A Professional Card in A hypnotic climax of repeated chord clus- natural signs has crept into the score, STEPHEN HAMILTON ters leads to an abrupt “rest” (complete such as measures 49 and 51 in “Tanz der The Diapason with a fermata of indeterminate length). Schulammit” and measures 38 and 49 in For rates and digital specifi cations, recitalist–clinician–educator The provocative melody returns, bereft “Davids Tanz . . .,” for example. contact Jerome Butera www.stephenjonhamilton.com of the earlier strong dissonances in the If Andreas Willscher’s organ music 608/634-6253; [email protected] accompaniment, now consisting of a sin- is not part of your music library, his is a gle 8′ fl ute. The subdued anguish brought contemporary voice that surely deserves about by Salome’s “prize” eventually gives to be heard. An easily accessible survey way to quieter chord clusters. More rests of Willscher’s organ music may be experi- David Herman are encountered as the earlier energy enced and downloaded by visiting Carson gradually dissipates into silence. Cooman’s expansive website (carson- Trustees Distinguished Professor Emeritus of Music and University Organist The “Tanz der Schulamitt” (Dance of cooman.com). Andreas Willscher’s third the Shulamite) is a graceful movement organ symphony is recommended for The University of Delaware Q [email protected] marked “Andante,” a departure from both recital and pedagogical purposes, as the character of the other more assertive well as offering rousing material for post- movements. In simple triple meter, sev- ludes, especially if and when the scrip- eral four-measure melodic phrases (on a tural passages are a part of the service. Gail Archer Grand Cornet 16′) rest on traditional har- —Jeffrey Schleff monies. A lush progression follows with Gainesville, Texas organist careful use of dissonances in embryonic www.gailarcher.com LorraineSunghee Brugh, Kim, DMPh.D. clusters that begin to appear. Controlled Suite for Organ, by Clay Christian- Professor of Music agitation follows with forte/fortissimo sen. MorningStar Music Publishing, Vassar College University Organist octaves for the right hand over sustained 2019, MSN 10-498, $18. Available Barnard College, Columbia University double pedals and triadic chords on counts from morningstarmusic.com. [email protected] Valparaiso, Ind. (212) 854-5096 two and three, maintaining the piece’s In this multi-movement work, the valpo.edu waltz-like affect. A return to the quiet style of Clay Christiansen is reminis- Promotion 219.464.5084219-464-6796 opening occurs with fi nal staccato chords cent of other twentieth-century organ SOZO Media [email protected]@valpo.edu 2 and gap registration (16′ Quintadena, 2 ⁄3′ ³ page 22 [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 21 WILL HEADLEE ANDREW HENDERSON, DMA Reviews 1650 James Street Madison Avenue Presbyterian Church New York, NY ³ page 21 commissioning, promoting, and record- Syracuse, NY 13203-2816 composers such as Richard Purvis and ing Nordic organ music, of which there is (315) 471-8451 www.andrewhenderson.net Robert Hebble—works that are modern an immense repertoire, largely unknown in sound, well crafted, and impres- in North America. He has produced sionistic. The descriptive titles in these a series of compact discs of Nordic pages already signal expectations of their organ music, of which this one, Nordic Richard Barrick Hoskins Brian Jones various moods: “Tribute,” “Fugue,” “A Journey, Volume VIII, released in 2019, Director of Music & Organist Mother’s Lullaby,” “Scherzetto,” and concentrates on music connected with Director of Music Emeritus “Exaltation.” Like the aforementioned Nordic islands, such as Iceland, the St. Chrysostom's Church RINITY CHURCH composers, Christiansen directs his lis- Faroes, and Greenland. Chicago T [email protected] BOSTON tener’s attention not by regular phrase Hicks recorded this two-compact disc structure or defi nite cadences, but by set at Hallgrímskirkja, Reyjavík, Iceland. gently shifting to new tonal areas or This is the largest church in Iceland and towards a new section frequently by is in a most unusual architectural style KIM R. KASLING JAMES KIBBIE use of pedal point. The only excep- consisting of an amalgam of neo-Gothic tion occurs in “A Mother’s Lullaby,” and Art Deco features and shaped to be D.M.A. The University of Michigan which appears to be built over two chords reminiscent of Iceland’s mountains and Ann Arbor, MI 48109-2085 St. John’s University that “rock” the listener in peacefulness. glaciers. The church has a four-manual, 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 When heard in its entirety, the suite 72-stop Klais organ, inaugurated in 1992. email: [email protected] offers plenty of contrasting sounds that Hildigunnur Rúnarsdóttir (b. 1964) is highlight the composer’s impressionistic one of Iceland’s foremost female com- style. “Tribute” begins and closes with a posers. Commissioned by Dr. Hicks, David K. Lamb, D.Mus. her Fantasía um Ísland, farsælda Frón Karen Schneider Kirner majestic trumpet solo supported by bold Director of Music chordal accompaniment. “Scherzetto” (Iceland, beautiful island) is based on a Director, Notre Dame Handbell Choir employs the trumpet stop in its medium folk song of the same name. It emulates Trinity United Methodist Church Assistant Director, Notre Dame Folk Choir New Albany, Indiana to low range against fl ute stops. “Fugue” the Icelandic folk tradition of quint songs, University of Notre Dame 812/944-2229 and “Exaltation” layer colorful sounds tunes sung in fi fths. It commences with a that build to exciting conclusions. Only fanfare-like section registered with reeds “A Mother’s Lullaby” uses one color that and then progresses into a rhythmic maintains its serenity and stability. section on fl ues. Next is The Vikings, a The suite is designed for concerts movement from The Fenlands by Arthur and recitals, and movements 1, 3, and 5 Wills (b. 1926), who was for many years A.S.C.A.P. FELLOW, AMERICAN GUILD OF ORGANISTS are usable in church services as either the organist of Ely Cathedral in Eng- a prelude or a postlude. Organists will land. Wills originally wrote the work for 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 need some time to successfully perform organ, brass band, and percussion for (770) 594-0949 this work in its entirety, particularly in the performance in Ely Cathedral, but later fi nal pages of “Exaltation,” where active arranged it for organ solo in 1999. Then pedal passages demonstrate vividly the we hear a transcription for organ by Björn composer’s skill and high artistic level. Steinar Sólbergsson, who is the organist ANDREW PAUL MOORE LEON NELSON Clay Christiansen is organist emeritus of of the Hallgrímskirkja, of one of the best- CHRIST CHURCH Director of Traditional Music the Mormon Tabernacle in Salt Lake City, known twentieth-century Icelandic com- Southminster Presbyterian Church Utah, and it is to be hoped he will con- positions, Icelandic Dances of Jón Leifs SHORT HILLS Arlington Heights, IL 60005 tinue to publish his superb compositions. (1899–1968), originally written for piano. —David Troiano Pauli í Sandagerði (b. 1955) is a St. Clair Shores, Michigan composer from the Faroe Islands. The Faroes, I should explain, though closest to New Recordings Scotland, Iceland, and Norway, are self- LARRY PALMER Nordic Journey, Volume VIII: governing islands under the Kingdom PHILIP CROZIER Islands. James D. Hicks plays the of Denmark. Dr. Hicks commissioned CONCERT ORGANIST Harpsichord – Organ organ of Hallgrímskirkja, Reyjavík, Sandagerði’s work, A Sound of the Faroe ACCOMPANIST Iceland. Pro Organo, 2-compact disc Islands, and it was fi rst performed on the Professor of Music, Emeritus set, CD7287, $24.98. Available from magnifi cent organ by Danish organbuilder 3355 Queen Mary Road, Apt 424 proorgano.com. Christian Kruse in Tórshavn Cathedral, Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Disc One: Fantasía um Ísland, Faroe Islands, in 2017. This composition Canada farsælda Frón, Hildigunnur Rúnarsdót- skillfully weaves together three colorful tir; The Fenlands – i. The Vikings, Arthur melodies making use of a variety of inter- (514) 739-8696 Recitals — Lectures — Consultancies Wills; Íslensk Rimnadanslög (Icelandic esting and contrasting registrations. Kjell [email protected] Dances) – i. Allegretto, ii. Allegro, iii. Mørk Karlsen (b. 1947) is a Norwegian [email protected] + 214.350-3628 Allegro moderato ed energio, iv. Allegro musician whose primary interests are in vivace, Jón Leifs, transcr. Björn Steinar the study and performance of Medieval, Sólbergsson; A Sound of the Faroe Renaissance, and Baroque music. His Islands, Pauli í Sandagerði; Orgelsym- Third Organ Symphony draws inspira- foni nr. 3 (Sinfonia antiqua), op. 116 – i. tion from these interests to produce a $_;v|-@o=THE DIAPASON1om]u-|†Ѵ-|;v Fantasia, ii. Cantilena, iii. Toccata anti- skillfully crafted three-movement work. Ѵ;Š-m7;u;vŒѴ;u-v|_;‰bmm;uo=|_;bm-†]†u-Ѵ qua, Kjell Mørk Karlsen; Hinna Smiður The impressionistic “Toccata antiqua” u†;mv|;bm‰-u7ĺ (Heaven’s Maker), Sigurður Sævarsson; forms a very effective contrast with the Preludium og Fuge med Koralen “Kirken serene “Cantilena” it follows. den Er et gammelt Hus,” op. 2, Gottfried The next composition, Hinna Smiður Pedersen; Preludium och fuga a-moll, (Heaven’s Maker), was commissioned op. 49, Emil Sjögren; Tre Tonestykker, from Icelandic composer Sigurður op. 22 – i. Moderato, Nils W. Gade; Det Sævarsson (b. 1963) by James Hicks and hendte sig Jephtha (3 Folketoner fra fi rst performed on the Hallgrímskirkja A gift subscription to Åseral), Hans-Olev Lien; Nordic Varia- organ in 2018. It is based on a chorale of tions, Fredrik Sixten. the same name by Þorkell Sigurbjörns- Disc Two: Introduzione e Passacaglia, son (1938–2013) and was intended as a The Diapason Knut Nystedt; Hymn, Fredrik Sixten; memorial to him. It is a tranquil piece for The perfect gift for Who can sail without a wind?, Lars the softer stops of the organ and has an evocative, almost mystical, quality. Gott- + organist colleagues + choir directors Karllson; Refl exer i dalaton (Dalecar- lian Refl ections) – i. Hymn från norra fred Pedersen (1911–1941) was a Nor- + students + organ builders Dalarna, ii. Danslek, iii. Riddavisa, iv. Låt wegian organist involved in the resistance + teachers + clergy från Leksand, Nils Lindberg; Det dufter movement under Nazi occupation. His lysegront af grae and I østen stiger solen Preludium og Fuge med Koralen “Kirken Each month your gift will keep on giving by providing the op, Christian Præstholm; Variationer för den Er et gammelt Hus,” opus 2, makes important news of the organ and church music fi eld. Know that A, Claes Holmgren; Three Settings of use of Bach-style counterpoint to pro- your gift will be just right. Folksongs from Greenland – i. Umiaq, duce an original composition with a fugue For information, The Diapason, P.O. Box 300, Lincolnshire, IL ii. Qajaq, iii. Ajukutook, Kristian Blak; that builds up into an exciting climax. 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: Tre Stycken (Three Pieces) – iii. Toccata, Emil Sjögren (1853–1918) was a Swedish Romantic composer whose 847/763-4933. Or visit www.thediapason.com and click “subscribe.” Anders S. Börjesson; Praetorius Varia- tioner, Jesper Madsen. work is evocative of Max Reger in its $44 one year USA; $35 one year digital; $20 one year student James D. Hicks is active in Califon, use of contrasting massive passages New Jersey, and has made a specialty of alternating with quieter sections, though

22 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM A Professional Card in DEREK E. NICKELS, DMA Reviews The Diapason Church of the Holy Comforter For rates and digital specifications, his harmonies are more typical of the the first having already appeared on Kenilworth, IL 60043 contact Jerome Butera French Romantic tradition. His Prelude Nordic Journey V. Lindberg’s jazz back- 608/634-6253; [email protected] (847) 251-6120 • [email protected] and Fugue in A minor is said to have been ground is by no means apparent in these written as a memorial to his pet dog. charming and very accessible miniatures The Danish composer Niels W. Gade based on Swedish folk song tradition. (1817–1890) is too well known to require The next two tracks on the compact GREGORY PETERSON introduction, as are his Three Tone disc are taken up with two chorale pre- ANDREW PETERS Pieces of 1851. In the first of these Dr. ludes composed by Christian Præstholm Organ Recitals – Silent Movies – Hymn Festivals Professor of Music Hicks registers the piece to sound like a (b. 1972), who is organist of St. Mortens and College Organist fine mid-nineteenth-century organ such Kirke, Randers, Denmark. The first of www.AndrewJPeters.com Luther College, Decorah, Iowa as might have been built by E. & G. G. these, Det dufter lysegront af grae, con- Hook. After this we hear a short piece sists of a series of fugues on a melody by by Norwegian organist Hans-Olev Lien the Swedish composer Saldemar Åhlén. ANDREW SCHAEFFER (b. 1954), based on Jephtha’s Daughter, It starts quietly with a double fugue in Jeffrey Schleff, Ed.D. one of three folk songs from the Åseral the minor key and several fugues later Luther Memorial Church (ELCA) Organist/Director of Music district of Norway that Lien has made builds up to a magnificent climax in the Madison, Wisconsin into organ miniatures. Considering the major key at the end. The second cho- First Presbyterian Church gravity of the Biblical story that inspired rale prelude is on the Danish hymntune [email protected] Gainesville, Texas the folk song, it is a surprisingly sweet I østen stiger solen op (The sun rises Recitals — Hymn Festivals [email protected] and upbeat piece. The final piece on the in the east). It begins softly on the Vox first compact disc was written by Swed- Humana and gradually brightens up as it ish organist Fredrik Sixten (b. 1962) as a symbolizes dawn, but then becomes soft present for James Hicks on his sixtieth again and ends rather surprisingly in a STEPHEN SCHNURR birthday. It is a colorful set of six varia- jazz-like passage. tions played on contrasting registrations The next composer, Claes Holmgren Saint Paul Catholic Church Organogenesis Artists LLC and based on the Icelandic lullaby, Sofðu (b. 1957), is organist of the cathedral in Valparaiso, Indiana [email protected] Unga Ástin Mín (Sleep, My Young Love). Visby, on the Island of Gotland, Swe- The second compact disc opens with den. He wrote Variationer för A for his the Introduction and Passacaglia of student Anton Linnerhed. It is a series the Norwegian composer Knut Nysted of six miniatures: “Marche,” “Papillon,” ROBERT L. (1915–2016), a monumental work that “Miroir,” “Arabesque,” “Prière,” and clearly owes some inspiration to Max “Choral.” The sparkling “Arabesque” SIMPSON Mark Steinbach Reger’s Introduction and Passacaglia is particularly effective. Following this Christ Church Cathedral Brown University in D Minor. Nysted introduces original we hear the “Toccata” from Anders S. 1117 Texas Avenue touches of his own by employing modal Börjesson’s Three Pieces. The composer, Houston, Texas 77002 harmonies and making considerable use born in 1975, is organist of Mariestadt of parallel fourths according to a Nor- Cathedral in Sweden. “Toccata,” written wegian tradition. Then we hear another in 2015, is based on the hymn-tune Lobe THOMAS R. THOMAS ] of Fredrik Sixten’s compositions, a quiet den Herren. Its harmonies and rhythms Joe Utterback reflective piece calledHymn . Lars Karls- remind me somewhat of Jehan Alain’s Organist/Choirmaster

]] ] son (b. 1953) comes from the Åland Litanies. The final work on the record- St. Luke’s Episcopal Church www.jazzmuze.com Islands, a Swedish-speaking region of ing is the Praetorius Variations of Jesper Live Oak, Florida 32064 203 386 9992 Finland. Dr. Hicks commissioned Karls- Madsen (1957–1999), who was organist of [email protected] son to write Who can sail without the churches in Nykøbing Falster and Esjberg wind? especially for this recording. It is in Denmark. This composition, based on a lyrical neo-Romantic piece based on the a melody by Praetorius, is a six-movement melody of the folk song of the same name. work that is Madsen’s magnum opus. The Kevin Walters Nils Lindberg (b. 1933) is perhaps a earlier movements culminate in a brilliant David Wagner surprising composer to find on this com- “Toccata” in the French style. DMA M.A., F.A.G.O. pact disc. His primary focus is jazz, and he James Hicks has done a great service www.davewagner.net formerly toured with such famous figures in producing this series of compact discs Rye, New York as Duke Ellington, Mel Tormé, and Judy and in placing this repertoire before the Garland. Lindberg’s Dalecarlian Reflec- public. His playing is uniformly exem- tions, another piece commissioned by plary, and he also deserves great credit for Hicks, comprises “Hymn from Northern encouraging the composers, particularly Alan G Woolley PhD KARL WATSON Dalecarlia,” “Dancing Tune, A Knight’s in the works he himself commissioned. Musical Instrument Research FIRST PRESBYTERIAN CHURCH  Ballad,” and “Leksand Tune.” This is the —John L. Speller Edinburgh  second such suite Lindberg has written, Port Huron, Michigan WOODBRIDGE, NJ [email protected] 

DIAPASON Student Rate RONALD WYATT $20 one year Trinity Church 847/954-7989 Galveston WOW! [email protected] 2040 - Saint Louis . . . a celebration of the legacy of the famed organist of Notre Dame Cathedral, Paris, Louis Vierne, on the sesquicentennial of his birth (b. 10/8/1870). O A two-inch Professional Card in The Diapason 2041 - A Grand Organ Extravaganza! . . . a full helping C For information on rates and specifications, contact Jerome Butera: T of intriguing interpretive indulgence featuring David Briggs, Olivier Latry and Wayne Marshall in concert at [email protected] 608/634-6253 Philadelphia’s Kimmel Center. 2 2042 - Beauty in the Midst of Chaos . . . excerpts from the 0 American Guild of Organists’ Organ Fest 2020, featuring ArtistArtist Spotlights Spotlightspotlight s 2 compositions and performers scheduled for the cancelled 0 2020 AGO Convention in Atlanta. Artist Spotlights are available on Your professional card 2043 - AGO 2018 – A Potpourri With Premieres . . . additional The Diapason performances recorded during the American Guild of website and could appear here! Organists 2018 National Convention in Kansas City. 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 specifi 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 Q OCTOBER 2020 Q 23 Calendar

6 NOVEMBER 25 OCTOBER Jean-Baptist Monnot; Saint-Sul- This calendar runs from the 15th of the month of issue through the following month. The deadline Steven Ball; Cathedral of the Im- Rachel Laurin; St. John’s Benedic- pice, Paris, France 4 pm is the fi rst of the preceding month (Jan. 1 for maculate Conception, Springfi eld, IL tine Abbey Church, Collegeville, MN 3 Benjamin Alard; Cathédrale Saint- Feb. issue). All events are assumed to be organ 7 pm pm Étienne, Toulouse, France 4 pm recitals unless otherwise indicated and are grouped Christoph Tietze 8 NOVEMBER ; Cathedral of St. 22 OCTOBER within each date north-south and east-west. •=AGO Mary of the Assumption, San Fran- chapter event, • •=RCCO centre event, +=new organ Stefan Engels; Independent Pres- David Cassan; St. Margaret, Mu- dedication, ++= OHS event. byterian, Birmingham, AL 4 pm cisco, CA 4 pm (livestream) nich, Germany 8 pm Information cannot be accepted unless it (livestream) specifi es artist name, date, location, and hour in 1 NOVEMBER 23 OCTOBER writing. Multiple listings should be in chronological 10 NOVEMBER Durufl é, Requiem; Cathedral of St. Bart Jacobs, with orchestra, works order; please do not send duplicate listings. Oratorio Society of New York; Carn- Mary of the Assumption, San Fran- of Bach; Sint-Waldetrudiskerk, Heren- THE DIAPASON regrets that it cannot assume egie Hall, New York, NY 8 pm cisco, CA 4 pm (livestream) tals, Belgium 8 pm responsibility for the accuracy of calendar entries. 12 NOVEMBER 7 NOVEMBER 24 OCTOBER UNITED STATES Nathan Laube; Hillsdale College, Jeannine Jordan, with media artist; Christoph Bossert; St. Margaret, East of the Mississippi Hillsdale, MI 11 am convocation ser- St. Andrew Presbyterian, Iowa City, IA Munich, Germany 11:30 am vice; 7:30 pm recital Erwan Le Prado; Marktkirche, Han- 7 pm nover, Germany 12 noon 17 OCTOBER 13 NOVEMBER 10 NOVEMBER Isabelle Demers; St. John the Jack Mitchener, lecture/recital, Nicholas Schmelter, with piano; Evangelist, Islington, UK 7:30 pm works of Bach; White Oak Baptist, Christ Lutheran, Kokomo, IN 7 pm Isabelle Demers; Wichita State Greenville, SC 10 am University, Wichita, Kansas 7:30 pm 25 OCTOBER 15 NOVEMBER (livestream) Christian Bishof; St. Margaret, Mu- 18 OCTOBER • Jean Herman Henssler; United nich, Germany 11:30 am Ken Cowan, with Louisiana State Presbyterian Church, Binghamton, 15 NOVEMBER Martin Sturm; St. Margaret, Munich, NY 4 pm University A Cappella Choir, Durufl é, Crista Miller; Cathedral of St. Mary Germany 5 pm Isabelle Demers; Independent Requiem; First United Methodist, Ba- of the Assumption, San Francisco, CA Benjamin Alard, harpsichord, Presbyterian, Birmingham, AL 2 pm with soprano; Auditorium Cziffra, La ton Rouge, LA 4 pm 4 pm (livestream) and 4 pm Chaise-Dieu, France 4 pm 22 NOVEMBER 20 OCTOBER 20 NOVEMBER Jin Kyung Lim; Cathedral of St. 28 OCTOBER Musica Sacra: Cathedral of St. John Peter Latona; St. Paul Catholic Ca- Mary of the Assumption, San Fran- Johannes Trümpler; Kulturpalast, the Divine, New York, NY 7:30 pm thedral, Pittsburgh, PA 7:30 pm cisco, CA 4 pm (livestream) Dresden, Germany 8 pm Benjamin Alard, harpsichord; Hô- 21 OCTOBER UNITED STATES 24 NOVEMBER tel du Haut-Doyenné, Lisieux, France Nicholas Schmelter; Cathedral of West of the Mississippi Lynne Davis; Wichita State Uni- 12 noon St. John the Evangelist, Milwaukee, versity, Wichita, Kansas 5:15 pm WI 12:15 pm 4 NOVEMBER 14 OCTOBER (livestream) Lynne Davis; Wichita State Uni- Ulfert Smidt; Kreuzkirche, Dresden, 25 OCTOBER Germany 8 pm versity, Wichita, Kansas 5:15 pm 29 NOVEMBER Nicholas Schmelter, with piano; (livestream) Jonathan Kroepel; Cathedral of St. 11 NOVEMBER Brookfi eld Congregational (UCC), Mary of the Assumption, San Francis- Johannes Unger; Frauenkirche, Brookfi eld, WI 3 pm 18 OCTOBER David Hatt, Vierne, Symphonie co, CA 4 pm (livestream) Dresden, Germany 8 pm 1 NOVEMBER VI; Cathedral of St. Mary of the As- 15 NOVEMBER Scott Lamlein; St. John’s Epis- sumption, San Francisco, CA 4 pm INTERNATIONAL Benoît Mernier; Saint-Sulpice, Par- copal, West Hartford, CT 12:30 pm (livestream) is, France 4 pm 17 OCTOBER (livestream) 24 OCTOBER Benjamin Alard, harpsichord; Cha- Monica Czausz; Independent Jeannine Jordan, with media artist; Edgar Knapp; St. Margaret, Mu- pelle Notre-Dame de Compassion, Presbyterian, Birmingham, AL 4 pm First Congregational, Anchorage, AK nich, Germany 11:30 am Bulle, Switzerland 5 pm (livestream) 4 pm 18 OCTOBER 23 NOVEMBER Christian Bishof; St. Margaret, Mu- Benjamin Alard, harpsichord; Pa- nich, Germany 11:30 am lau de la Música Catalana, Barcelona, Spain 8 pm Stefan Engels; Evangelische Kirche, Murrhardt, Germany 7 pm 24 NOVEMBER Wolfgang Weis, with saxophone; Samuel Kummer; Frauenkirche, St. Margaret, Munich, Germany 8 pm Dresden, Germany 8 pm

CORNEL ZIMMER ORGAN BUILDERS Pipe Organ Builders Since 1915 11561 Edmonston Rd. FOURTH GENERATION BUILDER Beltsville, MD 20705 A NEW GENERATION IN 800/952-PIPE EXCEPTIONAL QUALITY CREATIVITY, AND INTEGRITY The Organ Clearing House RANDALL DYER 731 CROSSPOINT DRIVE PO Box 290786 & ASSOCIATES, INC. DENVER, NC 28037 Charlestown, MA 02129 PHONE: 704-483-4560 PIPE ORGANS OF QUALITY AND DISTINCTION BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 Ph: 617.688.9290 WWW.ZIMMERORGANS.COM [email protected]

[email protected] ◆ www.rdyerorgans.com www.organclearinghouse.com

GAN BUILDERS - EST E OR . 187 Subscribers can view the digital PIP 7 version of this issue (as well as selected past issues) at our website. Schoenstein SAN FRANCISCO Visit www.TheDiapason.com w to experience this! ww 58 .sch 47-58 oenstein.com - (707) 7 ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

24 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM Recital Programs

MATTHEW DION, St. Anne’s 19: Toccata, Adagio, and Fugue in C, mage à Frescobaldi), Suite médiévale en HAROLD STOVER, Basilica of Ss. Shrine, Fall River, MA, July 28: Grand BWV 564, Bach; Chaconne in f, PWC forme de messe basse, Langlais. Peter & Paul, Lewiston, ME, July 29: Plein Jeu (Livre d’Orgue, Suite du Pre- 43, Pachelbel; Allegro vivace (Sym- Chaconne in C, Fantaisie in g, Branle de mier Ton), Clérambault; Chromhorne phonie V in f, op. 42, no. 1), Widor; DALE ROGERS, Westminster Pres- Basque, L. Couperin; Chants d’Oiseaux sur la Taille (Messe pour les Couvents), Berceuse à la mémoire de Louis Vierne, byterian Church, Springfield, IL, June (Livre d’orgue), Messiaen; Andante, Fi- Couperin; Dialogue (Troisième livre Cochereau; Carillon de Westminster (24 12: Tuba Tune, Cocker; Praeludium in nal (Sonata IV in d, op. 61), Guilmant. d’Orgue), Marchand; Fountain Reverie, Pièces de fantaisie, Troisième suite, op. E, Lübeck; Herzlich tut mich verlan- BENJAMIN STRALEY, St. John Epis- Fletcher; Prelude and Fugue in a, BWV 54, no. 6), Vierne. gen (11 Chorale Preludes, op. 122), copal Church, West Hartford, CT, June 7: 543, Bach; Première Personne: La Père Brahms; Sonata IV in B-flat, op. 65, no. Prelude in E-flat, BWV 552i, Allein Gott (Trois Méditations sur la Sainte Trinité), TOMMASO MASSOLETTI, Ca- 4, Mendelssohn; Scenes on the Downs, in der Höh sei Her, BWV 676, Christ, Pasticcio (Organ Book), Langlais; Clair thedral, Lausanne, Switzerland, July 3: Wood; Clarinet Tune, Oxley; Triumphal unser Herr, zum Jordan kam, BWV 684, de lune (24 Pièces de fantaisie, Deux- Sonata Cromatica, Arpa Notturna, Rap- March, Buck. Fugue in E-flat, BWV 552ii, Bach. ième suite, op. 53, no. 2), Vierne; Hymne sodia Italiana, Canto Elegaico, Sonata d’Actions de grâces “Te Deum” (Trois Romantica, Yon. EDWARD LANDIN SENN, Bryn RICHARD M. WATSON, carillon, Paraphrases Grégoriennes), Langlais. Mawr Presbyterian Church, Bryn Mawr, Mary M. Emery Memorial Carillon, MONICA MELCOVA, Stiftskirche, PA, June 10: Pièce d’orgue, BWV 572, Mariemont, OH, June 7: I Bind Unto KLAUS GEITNER, Cathedral, Laus- Stuttgart, Germany, July 17: Suite du Bach; Cantabile (Symphonie VI in g, op. Myself Today, trad. Irish; Hornpipe I, anne, Switzerland, July 31: Entrata, Bos- quatrième Ton, Boyvin; Fantaisie sur Une 42, no. 2), Widor; Prelude on the Caril- Air, Menuet I, Menuet II, Hornpipe si; Two Voluntaries, Pattison; Chaconne, jeune fillette, Matter; Menuet sur le nom lon d’Alet, Phillips; Praeludium, Decker. II (Water Music), Handel, transcr. Lo- dine; Three Scottish Folksong Preludes, Eckelt; Pièce d’orgue, BWV 572, Bach; d’Haydn für Orgel, Ravel, transcr. Mel- Barnes; Andante (Sonatine II), van Chansons für ein Kathedrale, Willscher; cova; Improvisation, Melcova; Concerto JOHN W. W. SHERER, Fourth Pres- Balkom; Toccata X, Franco; Bergerette: Prayer in Darkness, Cooman; Grand in d, BWV 972, Vivaldi, transcr. Bach. byterian Church, Chicago, IL, June Que ne suis-je la fougére, transcr. Cham- Choeur, Sabin. 26: Voluntary in A, Eddy; Tuba Tune, berlain; All the Pretty Little Horses, JEAN-BAPTISTE MONNOT, Stifts- Lang; Chanson du Matin, Elgar, transcr. Myhre; Air with Variations in Classic ANDREAS JOST, Stiftskirche, Stutt- kirche, Stuttgart, Germany, July 24: Brewer; Elegy, Archer; Tune in E, Style, Price; Our Father by Whose Name gart, Germany, July 10: Sinfonia: Wir Overture (Macbeth, op. 84), Guillou; Thalben-Ball; Master Tallis’s Testament All Fatherhood Is Known, Edwards; danken dir, Gott, wir danken dir, BWV Elégie (24 Pièces en style libre, op. 31, (Six Pieces), Howells; Caprice, Harris; Abide with Me, Monk. 29, Bach, transcr. Dupré; Jesu bleibet book 2, no. 10), Vierne; Pièce héroïque Marche Heroïque, Brewer. Mary M. Emery Memorial Carillon, meine Freude, BWV 147, Bach, transcr. (Trois pièces pour grand orgue, no. 3, Mariemont, OH, June 14: God Save the Duruflé; Intermezzo, Alain; Salve Regi- M 37), Franck; Deuxième Symphonie, JOSHUA STAFFORD, St. Peter’s Queen, Arne; Prelude (Sonata No. 3), na, Meyer; Prélude et fugue sur le nom op. 26, Dupré. Episcopal Church, Morristown, NJ, June Arne, transcr. Hunsberger; Rule, Brit- tania!, Arne; Trumpet Voluntary, Clarke; d’Alain, op. 7, Duruflé. 17: Fantasy and Fugue on Ad nos, ad sal- Overture, Bourée, The Peace, Menuet I, THOMAS OSPITAL, Cathedral, utarem undam, S. 259, Liszt. Menuet II, The Rejoicing (Royal Fire- ANDREW KREIGH, Cathedral of Lausanne, Switzerland, July 17: Fanta- works Music), Handel, transcr. Buchan- St. John the Evangelist, Milwaukee, WI, sia in f, K. 608, Mozart; Ma mère l’Oye, ROLAND MARIA STANGIER, Ca- an; Four English Folk Songs, Barnes; July 15: Prelude and Fugue in G, BWV cinq pièces enfantines, Ravel; Suite, op. thedral, Lausanne, Switzerland, July 26: Trumpet Voluntary, Purcell; Three Eng- 541, Bach; Alleluias sereins d’une âme 5, Duruflé. Sinfonia, Wir danken dir, Gott, wir dan- lish Folk Songs, Barnes; Jerusalem, Par- qui désire le ciel (L’Ascension), Mes- ken dir (Cantata 29), Bach; Andante con ry; Abide with Me, Monk. siaen; Air, Hancock; Final, op. 21 (Six CHRISTA RAKICH, pedal piano, Ra- moto (Italian Symphony), Mendelssohn; Mary M. Emery Memorial Carillon, pièces pour grand orgue, no. 6), Franck. kich residence, live-stream, June 17: Pas- Choral Song and Fugue, Wesley; Choral Mariemont, OH, July 19: The Star- sacaglia and Fugue in c, BWV 582, Bach. (Symphonie II in e, op. 20), Vierne; Vari- Spangled Banner, Smith; Grote Klokken, SCOTT LAMLEIN, St. John’s Epis- ationen über ein geistliches Volkslied, op. Kleine Klokken, Bigelow; Four Old Eng- copal Church, West Hartford, CT, June MARTINE REYMOND, Cathedral, 33, Hoyer; Cortège et Litanie, op. 19, no. lish and French Dances, Barnes; Three 24: Prelude and Fugue in C, BWV 547, Lausanne, Switzerland, July 19: Dia- 2, Dupré; Improvisation, Stangier. Folksongs, Price; Pastorale and Toccata Gaia, Franco; Pavane (Suite Archaïque), Bach; Méditation, Choral Varié on Veni logue, Marchand; Adoration, Langlais; o Clément; Passacaglia, Koraal, en Fuga, Creator Spiritus, Duruflé. Tiento de 2 tono por G sol re ut, Bruna; TIM STELLA, harpsichord, Stella Franssen; O Täler weit, O Höhen, Men- Ave Maris Stella, de Grigny; Tres glosas residence, live-stream, June 10: Over- delssohn, transcr. Westcott; Méditation BENJAMIN LaPRAIRIE, St. Paul sobre el canto llano de la Immaculada ture in French Style, BWV 831, Bach; (Thaïs), Massenet; A Little Fantasy and Catholic Cathedral, Pittsburgh, PA, July Concepción, de Arauxo; Fantaisie (Hom- Pavana Dolorosa, Phillips. Fugue, Harty; Abide with Me, Monk.

0LOQDU2UJDQ &RPSDQ\

1HZ,QVWUXPHQWV²8VHG3LSHV²5HVWRUDWLRQV • +LOO5RDG(DJOHYLOOH71 610-970-9817 pjmorgans.com ZZZPLOQDURUJDQFRP [email protected]

sound INSPIRATION Experience the new website DIAPASON Student Rate for THE DIAPASON! Acoustical Design & Testing • Organ Consultation & $20 one year Inspection • Organ Maintenance & Tuning • Sound & Video 847/954-7989 System Design, Evaluation & Training WOW! www.riedelassociates.com • (414) 771-8966 [email protected] email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202

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 is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black finish; 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 members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classified ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 25 Classified Advertising

PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Largo “From the New World,” by From Fruhauf Music Publications: Certified appraisals—Collections of Raven, in collaboration with the Antonin Dvorak, is known by many as Johann Sebastian Bach’s Sinfonia organ books, recordings, and music, Friends of the Wanamaker Organ, “Going Home.” This transcription by the from Cantata S. 29, “Wir danken dir, for divorce, estate, gift, and tax pur- has released a video DVD and audio great Pittsburgh organist, Caspar Koch, Gott” is offered in an arrangement poses. Stephen L. Pinel, Appraiser. CD in a 2-disc set, Symphonic Splen- is unusual because, unlike the other for organ (two or three manuals with 629 Edison Drive, East Windsor, NJ dor: Masterworks for Organ and transcriptions, it contains every mea- pedal). The obbligato right-hand solo 08520-5205; phone: 609/448-8427; Orchestra, with Peter Richard Conte sure of the orchestral score. 704/567- alone presents a daunting challenge, email: [email protected]. at The Wanamaker Organ and the 1066, michaelsmusicservice.com to which has been joined a carefully orchestra known as Symphony in C pruned left-hand accompaniment conducted by Rossen Milanov. Filmed Consoliere Classic Series for Organ: and pedal part, both drawn from the and recorded at a live concert given Raven imports for sale in America Complete Set of Six Books. An out- original orchestral instrumentation. in 2014 at the Philadelphia Macy’s Primal Light (Urlicht), The Symphonic standing collection compiled from This transcription (just one of many department store, the concert includes Organ, a program of transcriptions World Library Publication’s extensive for S. 29) provides numerous technical Saint-Saëns, Symphony No. 3 (Organ); played by Kensuke Ohira on the 119- organ library. A must for any church challenges and will require a com- Poulenc, Concerto in G Minor for rank organ built in 2014 at the cathedral organist. 003067, $54.00, 800/566- bination of determination, virtuosity, Organ, Stings, & Timpani; Elgar, Cock- in Hildesheim, Germany, by the famed 6150, Wlpmusic.com. Seifert firm of Kevelaer. Works include and stamina, but it will also generate aigne Overture; Elgar, Pomp & Circum- Mendelssohn, mvt. 4 “Ein feste Burg” a clear and refreshing contrapuntal stance March No. 4. Raven OAR-159 from Symphony No. 5 Reformation; texture when performed. Please visit Raven has published a 32-page cata- DVD/CD $29.95 postpaid in the U.S. Liszt, Orpheus Symphonic Poem; www.frumuspub’s home page Bulletin log of CD recordings and DVD videos, from RavenCD.com 804/355-6386 or Mahler, mvt. 2 “Urlicht” (Primal Light) Board to access a complimentary PDF mostly produced by Raven but with a $26.95 plus postage and handling from from Symphony No. 2 Resurrection with booklet file of the score, posted as part few items produced by Fugue State Friends of the Wanamaker Organ, also alto singer Seda Amir-Karayan; Liszt, of FMP’s 2020–2021 gratis listings. Films and others. The catalog is free from Amazon, E-Bay, etc. Phantasie und Fuge Ad nos; and Bach, upon request to RavenCD@RavenCD. Chorale Prelude Erbarm dich mein, o com or 804/355-6386. PIPE ORGANS FOR SALE Herre Gott, BWV 721. Kensuke Ohira is The Tracker—The Organ Historical organist of the Stiftskirche in Stuttgart Society quarterly journal includes and winner of the 2016 Johann Pach- news and articles about the organ and The new Nordic Journey series of CD Exceptional original Baroque organ elbel Prize of ION-Musica Sacra. He is its history, organ builders, exemplary recordings reveals premiere record- case with elegant carvings (18th a graduate of Tokyo University of Arts organs, and regional surveys of instru- ings of symphonic organ music—much century) containing a well-conserved and studied at the Musikhochschule ments. Both American and European of it still unpublished—from Nordic Romantic Belgian organ (19th or Würzburg and the University of Music organ topics are discussed, and most composers, played by American 20th century) by Pierre Schyven. Two and Drama in Munich. His teachers issues run 48 pages with many illustra- organist James Hicks on a variety of manuals and pedal; 17 stops, 18 ranks. include Christoph Bossert, Bernhard tions and photographs. Membership in recently restored Swedish organs. It’s Manual/pedal key compass 56/30. Haas, Masaaki Suzuki, Hiroko Asai, the OHS includes a subscription to The a little bit like Widor, Reger, and Karg- Depth 10.5′; height 15.5′; width 15.3′. and Rie Hiroe. Ambiente ACD-3044, Tracker. Visit the OHS Web site for sub- Elert, but with a Nordic twist. Check it For sale, with installation available. $16.98 postpaid in the U.S. from scription and membership information: out at www.proorgano.com and search Inquiries: [email protected]. RavenCD.com 804/355-6386. www.organsociety.org. for the term “Nordic Journey.” Tel. 00 34 629 30 17 18.

A gift subscription to The Diapason The perfect gift for + organist colleagues + teachers + organ builders + students + choir directors + clergy Each month your gift will keep on giving by providing the important news TOTAL PIPE ORGAN RESOURCES of the organ and church music field. Know that your gift will be just right. For information, THE DIAPASON, P.O. Box 300, Lincolnshire, IL 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: 847/763-4933. Or visit th 2320 West 50 Street * Erie, PA 16505-0325 www.thediapason.com and click “subscribe.” (814) 835-2244 * www.organsupply.com $44 one year USA; $35 one year digital; $20 one year student

Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, contact Jerome Butera, For advertising information contact: 608/634-6253 THE DIAPASON [email protected] 608/634-6253 voice Send a copy of THE DIAPASON to a friend! [email protected] e-mail Contact THE DIAPASON at 608/634-6253; [email protected]

PIPE ORGAN BUILDERS, LTD. LAKE CITY, IOWA 51449 (712) 464-8065

5R\5HGPDQ PEEBLES-HERZOG, INC. 5HGPDQ3LSH2UJDQV//& 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 JL Weiler , Inc. 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders Museum-Quality Restoration www.peeblesherzog.com Member, International Society of Organ Builders of Historic Pipe Organs jlweiler.com e-mail: [email protected]

3030 W. Salt Creek Lane ph 847/954-7989 fax 847/390-0408 THE DIAPASON Suite 201 e-mail [email protected] Arlington Heights, IL 60005 web www.TheDiapason.com

26 Q THE DIAPASON Q OCTOBER 2020 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES

Bosch Opus 518 (1968) for sale. Zoller home pipe organ (1985) for Releathering all types of pipe Tracker action, 16 ranks, 12 stops, sale. One manual and fl at pedalboard, organ actions and mechanisms. Hauptwerk, Schwellwerk (expres- cherry case with doors, bench. Six Highest quality materials and work- sive), Pedal. Excellent condition. stops divided at middle C: 8′ Stopped manship. Reasonable rates. Colum- Detached console. Buyer to remove Diapason, 8′ Krummhorn, 4′ Flute; bia Organ Leathers 800/423-7003. from Seattle, Washington by 2/26/21. 2-2/3′ Nazard, 2′ Principal, 1-3/5′ www.columbiaorgan.com/col. New subscribers and gift subscriptions Best offer. Contact for pictures and Tierce (no pipes). $15,000 or best can receive one free Raven CD for a details: Howard Wolvington, howard@ one-year subscription, two free CDs for offer, buyer to remove, located New- utemple.org, 425/761-4729. Aeolian/Robert Morton-style a two-year subscription, and three free castle, Maine. 207/563-5679. maroon leather is now available CDs for a three-year subscription. from Columbia Organ Leathers! 1954 Walcker, 2 manuals and For details and to begin your pedal, 8 stops, tracker action. Great Recent studio or antiphonal organ Highest quality. 800/423-7003, (2008), 2/6 + Mixture. Beautiful custom www.columbiaorgan.com. new or gift subscription, condition, excellent voicing, well visit www.thediapason.com/subscribe. maintained. Free standing oak case. pipework, OSI chests, Peterson relay, Suitable for home or chapel. $18,000 additions available $5,000. André CT ANNOUNCEMENTS or best offer. Contact: Julio Blanco- 860/664-0046 [email protected] Eccleston: [email protected], THE DIAPASON E-Newsletters are 703/582-8308. Pfeffer and Debierre organs. Circa e-mailed monthly to subscribers who The 2021 Resource 1860 Pfeffer eight-rank organ, available sign up to receive them. Don’t miss the Two-manual, 11-rank pipe organ rebuilt and custom fi nished. Also 1884 latest news, featured artists, and classi- Directory will arrive with with unit chests; also mixture III and choir organ by Louis Debierre. Both are fi ed ads—all with photos—some before your January 2021 issue. aeoline (no chests). Wicks console, pictured on the Redman website: www. they appear in print! Visit www.TheDia- blower, reservoir. Some casework. redmanpipeorgans.com. pason.com and click on Subscribe to Do you need to add your business to our $2,000. Includes trumpet, oboe, wald- our newsletter. For assistance, contact listings? Update your contact information? horn reeds. Roller relay board. Extra Stephen Schnurr, 847/954-7989, Reisner magnets. Denver area. Buyer MISCELLANEOUS FOR SALE Send updates to [email protected]. removes. [email protected] [email protected]. Excellent used pipes, moderate Advertising opportunities are available by contacting [email protected]. Aeolian-Skinner, 1962. III/50. scales and wind pressures, very clean, Postal regulations require that mail to THE like new, 1/4 to 1/3 cost of new pipes. DIAPASON include a suite number to assure $45,000. For more information, visit Advertising deadline is November 1. https://www.organclearinghouse.com/ Specifi cations and photos available. delivery. Please send all correspondence to: THE DIAPASON, 3030 W. Salt Creek Lane, Suite organs-for-sale#/2997-aeolianskinner- 615/274-6400, dennis@milnarorgan. 201, Arlington Heights, IL 60005. new-york-city. com, www.milnarorgan.com

Advertise in THE DIAPASON Visser Pipe Organ Co. For information on rates and digital specifi cations Quality Craftsmanship, Creativity & Integrity contact Jerome Butera New Organs–Restorations–Additions–Relocation All Actions & Tonal Styles • 713-503-6487 • [email protected] 608/634-6253, [email protected]

Like THE DIAPASON on Facebook:

WICKS ORGAN LLC www.Facebook.com/ www. wicksorgan.com TheDiapason 618-654-2191

3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 CLASSIFIED THE DIAPASON 608/634-6253 • [email protected] ADVERTISING RATES Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): Regular classifi ed advertising is single T January T February T March T April T May T June T July T August T September T October T November T December paragraph “want ad” style. First line only of each ad in bold face type. Category ______T Regular T Boldface Display classifi ed advertisements are set PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website T of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 33.00 ______Display Classifi ed, per word 1.40 Display Classifi ed minimum 42.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 28.00 ______($40 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $5.00 per issue desired with their payment. Name ______Phone ______

THE DIAPASON reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2020 Q 27 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 Stephen Buzard Chelsea Chen Aaron Tan 2018 AGO National Competition Winner Available 2018-2022

Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Katelyn Emerson

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2022

Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood* David Higgs

Choirs Available

Christ Church Cathedral Oxford, United Kingdom (April 2021)

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Colin MacKnight Amanda Mole Saint Thomas Church Fifth Avenue, New York City (October 2021) New College Oxford, United Kingdom (Spring 2022) Trinty College Cambridge United Kingdom (September 2022) Alan Morrison James O’Donnell* Thomas Ospital* Daryl Robinson Daniel Roth* Jonathan Ryan

Celebrating Our 99th *=Artists based outside Season! the U.S.A. Todd Wilson Christopher Young