JANUARY 2013 St. Mark's Episcopal Cathedral Minneapolis, Minnesota

THE DIAPASON JANUARY 2013

St. Mark’s Episcopal Cathedral Minneapolis, Minnesota Cover feature on pages 30–31 'DYLG%DVNH\¿HOG James David Christie Peter Richard Conte Lynne Davis Isabelle Demers Clive Driskill-Smith Jeremy Filsell

S. Wayne Foster Christopher Houlihan David Hurd Paul Jacobs Martin Jean Huw Lewis Bruce Neswick

Raúl Prieto Ramírez Jean-Baptiste Robin John Rose Herndon Spillman Carole Terry Konstantin Volostnov Bradley Welch

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Due Solisti Duo MusArt Tin Pan Alley Alive Peter Fletcher Paul Bisaccia Steinbach & Helvey True North Brass THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fourth Year: No. 1, In this issue Whole No. 1238 Among the offerings in this issue of THE DIAPASON, JANUARY 2013 Jonathan Hall revisits the question of the authorship of BWV Established in 1909 565—the famous Toccata and Fugue in D Minor, long attrib- Jerome Butera ISSN 0012-2378 uted to J. S. Bach. His article summarizes and critiques key 847/391-1045; [email protected] points of that debate, taking the position that J. S. Bach is not www.TheDiapason.com An International Monthly Devoted to the Organ, the composer, and suggests a possible candidate composer: the Harpsichord, Carillon, and Church Music Cornelius Heinrich Dretzel of Nuremberg (1697–1775). departments of news, reviews, new organs, an international David Spicer reports on the 15th annual Albert Schweitzer calendar, organ recital programs, and more. Organ Festival, which took place in September 2012. Robert CONTENTS August offers a report on the 2012 national convention of the In preparation American Guild of Organists, which took place in July 2012 In the coming months, we will be publishing articles on organs FEATURES in Nashville, Tennessee. The cover feature is Foley-Baker’s in Poland, reports on the national convention of the Organ His- American Guild of Organists National Convention 2012 renovation of the organ at St. Mark’s Episcopal Cathedral torical Society, the Second East Texas Pipe Organ Festival, and Confessions of a Puritan in Minneapolis. the University of Michigan Conference on Organ Music, Copen- by Robert August 20 John Bishop devotes his column “In the wind . . .” to the hagen’s Orgelsamling, interviews, and much more. Albert Schweitzer Organ Festival repurposing of churches and the disposition of the organs that Fifteenth Anniversary are no longer needed or desired. Gavin Black offers part four of New look by David Spicer 23 his organ method, fi nishing off the Introduction with a descrip- We continue to receive many phone calls and e-mail messages BWV 565: tion of various organ stops and pitches and the means used to about the redesign of THE DIAPASON. I welcome responses Composer Found?* by Jonathan B. Hall 24 control them, including couplers, tremulants, expression and to the new look. To help us continue to evaluate and refi ne our crescendo pedals. He begins the method’s Chapter 1 with an new layout and design, we will be sending out a survey to all NEWS & DEPARTMENTS introduction to pedal playing. Brian Swager offers an install- our readers via e-mail. I hope you will take the time to fi ll in the Editor’s Notebook 3 ment of “Carillon News.” This is in addition to our regular survey and let us know how we are doing. Q Letters to the Editor 3 Here & There 3, 4, 6, 8, 10 Appointments 10 Letters to the Editor Nunc Dimittis 11 Carillon News by Brian Swager 10 Gustav Leonhardt memory in that it can store and retrieve data in the form of In the wind . . . by John Bishop 12 On Teaching by Gavin Black 14 Jan-Piet Knijff’s excellent interview with Gustav Leonhardt binary numbers (representing piston combinations), none of (The Diapason, November 2012) harks back to our years in these binary numbers represents (coded) computer instruc- REVIEWS Amsterdam, where, over 50 years ago, my brother Felix and I, tions (a program) to be retrieved and executed by a central Music for Voices and Organ 16 both in our early twenties, worked in Gerard de Graaf’s organ processing unit. In the absence of both a program and a CPU, New Recordings 16 shop. (The shop was situated in the middle of a small red-light the answer to John’s question, alas, is no. New Organ Music 17 district, facing a Catholic church and rented by the priests, who In contrast, Charles Babbage’s (1791–1871) difference Book Reviews 17 preferred the sight of organ models to other models in the win- engine does qualify as a user-programmable computer. NEW ORGANS 30 dow across the narrow street, called Korte Korsjespoortsteeg. . . .) Although mechanical in operation, it had separate memory CALENDAR 31 After a fi rst harpsichord had just been completed in our shop, for data and program and a processing unit that Babbage Mr. Leonhardt visited the new instrument, but, much to the evocatively called “the mill.” As to the world’s fi rst commer- ORGAN RECITALS 34 dismay of our boss and George Zahl, his newly appointed harp- cially produced computer, my vote goes to the Ferranti Mark CLASSIFIED ADVERTISING 36 sichord maker, Leonhardt’s comment was: “This instrument 1 delivered in February of 1951 and based on the Manchester 2012 in Review—An Index 38 has very little to do with real harpsichords!” Mark 1 developed by Tom Kilburn and F.C. Williams at the However, Mr. Leonhardt was very kind towards us, and University of Manchester in 1948. invited my brother, a cabinetmaker converting to instrument John Coenraads THE DIAPASON making, and me to visit his collection of harpsichords. Among Victoria, British Columbia, Canada JANUARY 2013 other plucked instruments was a virginal by Hubbard & Dowd (possibly a fi rst order coming from Europe!), a Skowroneck, Call from Haarlem for materials and a Kirkman harpsichord, of which we were even allowed to On the occasion of the 50th edition of the Haarlem Inter- take the measurements. We appreciated the honesty and the national Organ Festival in July 2014, an English-language friendliness of this great artist, who kept on seeing us and our book will be published by Musikverlag Dr. J. Butz (Bonn). instruments over the years. Prominent authors from a number of countries will write on Hellmuth Wolff many aspects of ‘Haarlem’—the town, its organs, the compe-

St. Mark’s Episcopal Cathedral Minneapolis, Minnesota Cover feature on pages 30–31 Laval, Quebec, Canada tition, the summer academy—and on more general matters concerning the organ and its repertoire. The chief editor is COVER New design of THE DIAPASON Paul Peeters (Göteborg). Foley-Baker, Inc., Tolland, Connecticut; The redesign of The Diapason is very good, and the new Since the very fi rst improvisation competition in 1951 and St. Mark’s Episcopal Cathedral, color format and stock most appealing. Congratulations for the fi rst summer academy in 1955, many thousands of young Minneapolis, Minnesota 28 making a welcome and thoughtful publication even more so. organists have visited the Haarlem festival. A considerable Craig Smith amount of memorabilia is probably spread around the world— Albuquerque, New Mexico documents, photographs and suchlike—that could be of Editor & Publisher JEROME BUTERA signifi cance for the anniversary publication. If you have such [email protected] Skinner combination action material in your possession you are kindly invited to contact the 847/391-1045 John Bishop raises a provocative issue when he asks whether festival secretary Stephen Taylor via [email protected] Associate Editor JOYCE ROBINSON Skinner’s combination actions qualify as “user-programmable without delay. [email protected] computers” (“In the wind,” November 2012). Although the Stephen Taylor 847/391-1044 combination action in question would qualify as a computer Utrecht, the Netherlands Designer DAN SOLTIS

Contributing Editors LARRY PALMER Here & There Harpsichord

JAMES MCCRAY Events 1/27, Sounding Light choral group; Gary; February 5, Marilyn Ossentjuk; Choral Music Shadyside Presbyterian Church, February 3, Haydn, Mass in G; 2/24, 2/19, Irene Beethe; March 5, Rhonda BRIAN SWAGER Pittsburgh, Pennsylvania, continues the Christ Church Schola; March 29, Bach, Edgington; 3/19, Suzanne Tiemstra; Carillon 20th anniversary season of its music St. John Passion; April 21, Easter Les- April 2, Barbara Dulmage; 4/16, Chris series: January 6, Pittsburgh Camerata; sons & Carols; 4/28, afternoon at the Dekker; 4/30, Ian Sadler; May 14, James JOHN BISHOP February 1, Pittsburgh Gospel Choir; opera; May 19, choral and orchestral R. Metzler. For information: 616/459- In the wind . . . 2/24, Chanticleer; March 3, Evensong; music of Handel. For information: 3203 x24; www.parkchurchgr.org. GAVIN BLACK May 5, Four Choirs Festival. For infor- www.christchurchgp.org. On Teaching mation: www.shadysidepres.org. St. Thomas Church Fifth Avenue, Park Congregational Church, New York, continues its series of organ John L. Speller Reviewers Christ Church, Grosse Pointe Grand Rapids, Michigan, continues its recitals, Sundays at 5:15 pm: January 13, Jay Zoller Farms, Michigan, continues its music fall concert series on Tuesdays at 12:15 Tom Bell; 1/20, John Richardson; 1/27, Anton Warde series: January 6, Epiphany Procession; pm: January 8, Peter Kurdziel; 1/22, Joel ³ page 4

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1045. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2013. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 3 Here & There

³ page 3 Pavel Kohout; May 5, Scott Atchison Harry van Wijk; February 3, Dexter 30th-anniversary concert; 5/19, spring The University of Michigan will Kennedy; 2/10, John Scott; 2/17, Kevin concert; July 24, Olivier Latry. For infor- celebrate the centennial of Hill Audi- Kwan; 2/24, Frederick Teardo; March mation: www.prumc.org. torium and its Frieze Memorial Organ 3, Sergio Militello; 3/10, Harold Stover; with a concert for the University 3/17, Kenneth Miller; 3/31 (2:30 pm), First Church of Christ, Wethers- Musical Society’s Choral Union Series Frederick Teardo and Kevin Kwan; fi eld, Connecticut, presents Super on January 13. The Detroit Symphony, April 7, Alvin Blount; 4/14, Giampaolo di Bell XXI on January 27 at 4 pm. The Leonard Slatkin, conductor, with Rosa; 4/21, Ulrike Wegele-Kefer; 4/28, program features the handbell choirs organ soloists Peter Richard Conte, Robert Knupp; May 5, John Scott; 5/12, of First Church, with both ensemble David Higgs, and James Kibbie and Mark McClellan; 5/19, Joshua Stafford. and individual ringing; guest director is the Choral Union, Jerry Blackstone, For information: David Harris. Ensembles include Carol, director, will perform works of Barber, www.saintthomaschurch.org. Laudate, Campanella, Belles & Beaux, Bolcom, Khachaturian, MacMillan, and Soli Deo Gloria handbell choirs, the and Bach/Stokowski. The Frieze Second Presbyterian Church, Kristal Bell Ringers, and the Henderson Memorial Organ was built in 1893 St. Louis, Missouri, continues its 2013 Quartet. For information: 860/529-1575, by Farrand & Votey, then rebuilt by Couts Music Series: January 13, St. x209; www.fi rstchurch.org. Hutchings in 1913 as the centerpiece Louis Symphony Orchestra members of architect Albert Kahn’s design for perform Messiaen’s Quartet for the End The Cathedral of the Holy Angels, Hill Auditorium. It was subsequently of Time; February 3, Bosman Twins jazz Gary, Indiana, continues the 20th sea- rebuilt and enlarged by E.M. Skinner concert; March 10, Andrew Peters with son of its Cathedral Arts Concert Series: in 1927 and Aeolian-Skinner in 1955. tenor Derek Dahlke; April 21, Earth January 27, Stephen Schnurr at St. Mary Day hymn festival, featuring brass from of the Lake Catholic Church (celebrat- Frieze Memorial Organ, Hill Audito- the St. Louis Symphony Orchestra and ing the 50th anniversary of Casavant rium, the University of Michigan organist Andrew Peters. For informa- Op. 2740); April 7, James Clouser at the tion: 314/367-0367; cathedral. For further information: www.secondchurch.net. www.garycluster.org/hac.

Christ Church, Bradenton, Florida, Presbyterian Homes, Evanston, Illi- continues its music series: January 13, nois, continues its Elliott Chapel Organ Sarasota-Manatee Bach Festival II; 1/20, Recitals: January 28, Scott Montgomery; Frederick Teardo; February 3, Schubert, February 25, Jackson Borges; March 18, Mass in G Major; 2/8, Sarasota-Manatee Katie Minion; April 22, Simone Gheller; Bach Festival III; 2/14, Richard Ben- May 20, Wolfgang Rübsam; June 24, edum and William Holt; 2/17, Florida Margaret Martin. For information: Voices; 2/21, Steven Strite; 2/24, brass 847/733-7390; quintet from the Florida Orchestra; www.presbyterianhomes.org. 2/28, Mary Mozelle; March 7, Carol Hawkinson; 3/14, Matthew Woods; 3/17, Camp Hill Presbyterian Church, Jonathan Dimmock; 3/21, Ann Stephen- Camp Hill, Pennsylvania, continues son-Moe. For information: its music series: February 6, Helen www.christchurchswfl a.org. Anthony; March 6, Anthony Ciucci; April 3, Deborah Dillane. For information: First Presbyterian Church, Arling- 717/737-0488; www.thechpc.org. ton Heights, Illinois, continues its music series: January 13, Alliance Brass; Febru- St. Mary’s Episcopal Cathedral, ary 10, 28th annual Organ Fest; March Memphis, Tennessee, continues its 10, Barrington Children’s Choir; April 21, 2012–13 concert series: February 8, spring choral concert. For information: Tom Trenney accompanies the silent www.fpcah.org. fi lm Hunchback of Notre Dame; April 26, Scott Elsholz. For information: Paul Jacobs with students and composers St. Peter in Chains Cathedral, Cin- 901/527-6123; cinnati, Ohio, presents its Great Music [email protected]; Juilliard organists, under the direction of department chair Paul Jacobs, per- in a Great Space series: January 18, The www.stmarysmemphis.org. formed works by Juilliard composers, past and present, in Paul Hall on October 23. Westminster Choir; February 12, The The sold-out program featured four world premieres and included works by Vincent King’s Singers; March 3, choral concert; California Lutheran University, Persichetti (Juilliard faculty member from 1947–87), current Juilliard faculty mem- 3/27, Offi ce of Tenebrae; April 12, Chan- Thousand Oaks, California, continues bers Samuel Adler, Philip Lasser, and Wayne Oquin, and student composers. ticleer. For information: 513/421-2222; the Orvil and Gloria Franzen 2012–13 www.stpeterinchainscathedral.org. organ program series: February 8, Kyle Johnson; March 8, Eric Kinsley and Kyle Reading Town Hall (UK) contin- Johnson, organ duets and works for two ues its series of lunchtime concerts on organs. For information: 805/493-3332; Wednesdays: January 23, Peter Holder; www.callutheran.edu. March 13, William McVicker; May 15, Christopher Nickol; July 3, student Bryn Mawr Presbyterian Church, player from Eton College. The series Bryn Mawr, Pennsylvania, continues of celebrity organ recitals takes place its music series: February 10, Stephen at 7:30 pm: May 2, Robert Quinney. Buzard, music of Maurice Durufl é; For information: 2/24, March 3 and 10, Lenten Choral www.readingarts.com. Evensong series; 3/24, Keenan Boswell; 3/29, Arvo Pärt, Passio; April 21, Morten The Cathedral Church of the Lauridsen, Lux Aeterna, and Ola Gjeilo, Advent, Birmingham, Alabama, contin- Sunrise Mass. For information: 610/525- ues its music series: January 25, Atlanta 2821 x8836; www.bmpcfi nearts.org. Guitar Trio; February 24, Choral Even- song for Lent; March 17, Charles M. St. Andrew Lutheran Church Kennedy; April 19, Red Mountain The- (ELCA), Mundelein, Illinois, continues atre Company; 4/21, Choral Evensong. its music series: February 10, Ivy St. For information: 205/226-3505; John; March 24, Michael Burkhardt, www.adventbirmingham.org. hymn festival; April 21, Dennis Koletsos; May 19, Jeffrey Schleff; June 2, festival Peachtree Road United Methodist music program. For information: Church, Atlanta, Georgia, continues its www.standrewmundelein.com. University of Georgia student recital music series: January 26, Nicole Marane, with narrator and percussion, Prokofi ev, Crescent Avenue Presbyterian The Organ Department of the University of Georgia presented a studio Peter and the Wolf; February 10, Scott Church, Plainfi eld, New Jersey, contin- recital at Grace Episcopal Church, Gainesville, Georgia, on November 11, 2012. All Atchison; 2/16, Georgia Boy Choir Fes- ues its music series: February 10, young six students study organ with David Burton-Brown at UGA. The students performed tival; March 5, George State University artists showcase; March 10, Joseph a variety of works, representing various levels of achievement at both undergraduate Singers and University of Georgia Arndt, Vincent Carr, Preston Dibble, and graduate levels. Left to right in the picture are Mark Hadden, David Burton- Hodgson Singers; April 14, South City and Mark Pacoe; 3/29, Good Friday Brown, Merinda Paige, Hope Foskey, Geneva Stonecipher, Javier Miranda, and Winds; 4/21, Benjamin Rollings; 4/23, ³ page 6 Benjamin Rollings.

4 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Paul Cienniwa Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Concert Harpsichordist Indiana University Montevideo, Uruguay Battipaglia, Italy Paris, France Ann Arbor, Michigan Boston, Massachusetts

Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Milwaukee, Wisconsin Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama

Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Professor of Organ Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California Yonsei University, Korea

David K. Lamb Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Conductor Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana New York City SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois

Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Organist/Harpsichordist University of Kansas Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Spartanburg, South Carolina

Timothy Tikker Michael Unger Elke Voelker Eugeniusz Wawrzyniak Jeffrey Cohan Duo Majoya Organist/Composer/Improviser Organist/Harpsichordist Organist/Musicologist Organist Concert Flutist Organ/Piano/Harpsichord Kalamazoo College, Michigan Rochester, New York Mannheim, Germany Charleroi, Belgium Seattle, Washington U of Alberta, King's UC www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Assistant Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 25th year of operation Here & There

³ page 4 Tenebrae; April 13, Crescent Choral Society; May 19, Crescent Singers. For information: www.crescentonline.org.

Rosary Cathedral, Toledo, Ohio, continues its music series: February 10, Vox Choralis; March 10, Toledo Symphony Orchestra; 3/27, Tenebrae; May 6, World Organ Day Concert, 850th anniversary of Notre Dame Cathedral, Paris. For information: 419/244-9575; www.rosarycathedral.org.

The Pistoia Organ Academy “Giuseppe Gherardeschi” presents its spring courses: April 2–4, Bach, Cla- vierübung III, with Ludger Lohmann; April 3–5, music of Arauxo, Heredia, Cabezon, Bruna, and Cabanilles, with Guy Bovet. For information: www.accademiagherardeschi.it.

The Westfi eld Center for His- torical Keyboard Studies presents its spring conference, “Continuo Above: Young Organist Collaborative second year scholarship recipients: Clayton for Harpsichordists and Organists,” Jacques, Christopher Shek, Joseph Stevens, Nathan Pace, Christopher Thompson April 4–6 at Pacifi c Lutheran Univer- sity, Tacoma, Washington, with post- Left: Richie Gress conference events on April 7. Presenters include Gregory Crowell, Charlotte Mat- The Young Organist Collaborative recently awarded Hampshire. Gress was selected by a panel of three organ- tax, Ed Parmentier, Byron Schenkman, Richie Gress the inaugural C. Pennington Brown Memo- ist judges—Barbara Owen, Rick Gremlitz, and Wendell and Stephen Stubbs on harpsichord/ rial Scholarship for Advanced Organ Study. The scholarship Purrington. Gress has played at St. Patrick’s Cathedral in organ, assisted by vocalists and other was established in 2012 to support the ongoing education New York City and St. Peter’s Cathedral in Morristown, instrumentalists, among others; Amanda of advanced Young Organist Collaborative organ students. New Jersey; he has given recitals locally and received an Forsythe, Pacifi c Lutheran University’s Gress is the fi rst advanced student to receive this recogni- honorable mention in the Granite State piano competition Choir of the West, Ingrid Matthews, Jen- tion. The collaborative, which supports the musical educa- in 2012. nifer Rhyne, Svend Rønning, and Doug- tion of children ages 10–16 by providing scholarship money The collaborative awarded fi rst year scholarships to Kasey las Williams. For information: http:// for organ lessons, also awarded eleven fi rst and second year Mann, Ben Blumenscheid, Iara Manchester, Abigail Stein- westfi eld.org/conferences/tacoma2013/. scholarships for the 2012–2013 school year. hauer, Jacob Golas, and Adam Peet; and fi ve scholarships to Richie Gress is in his sixth year of organ lessons and second year organ students: Clayton Jacques, Christopher The Charleston International currently studies with Bruce Adami, organist and interim Shek, Nathan Pace, Christopher Thompson, and Joseph Festival of Choirs takes place April director of music at Christ Church in Exeter, New Stevens. For information: http://www.stjohnsnh.org/music. 11–14, 2013, with guest conductor Rollo Dilworth. The schedule includes workshops and concerts at various loca- www.tcago.org must be submitted with Sustaining Ministry Growth (Thomas Dvorak’s Mass in D for choir and organ tions in Charleston, South Carolina. For the composition. Deadline for submis- Winninger), and Liturgical Art and and two pieces for organ by Louis information: 800/624-0166; sion is April 1, 2013; the winner will be Environment (Pauline Altermatt and Vierne. The concert was held at South www.music-contact.com. announced May 1, 2013. Submit entries Douglas Anderson). A voice recital was Congregational Church in Springfi eld. to: AGO Composition Contest, 239 performed by Antonia Felix, accompa- The historic sanctuary had just been The Twin Cities AGO chapter Selby Avenue, St. Paul, MN 55102. nied by Lynn Trapp, and Loralee Cul- reopened for use, following the devastat- announces a competition for an unpub- bert, music intern at St. Olaf. As partici- ing tornado that struck the city in 2011. lished, newly composed work for solo St. Olaf Catholic Church in Min- pants ate lunch, they learned about the The Mass was performed by the Choir of pipe organ in the form of a prelude or neapolis hosted the fi rst interdenomi- Christian-based dramas of Minneapolis’s Boys and Adults from the Cathedral of postlude suitable for worship that must national Upper Midwest Conference Open Window Theatre from its director, St. Michael the Archangel in Springfi eld. quote or be based upon an existing hymn on Worship, Music, and Homiletics on Jeremy Stanbary. Dr. Klaus Becker was the guest conduc- tune or a melody from the repertoire of September 28 and 29, 2012. Lynn Trapp, tor and the choir’s music director, Ladis- Gregorian chant. A single prize of $1,500 director of worship/music at St. Olaf, Canta al mar, the new Interkultur law Pfeifer, served as organist. The organ will be awarded to any composer of any directed the program, and Anne Susag choir competition in Calella, Spain, took used for the concert was a three-manual age residing or studying in the United served as the conference administrator. place October 17–21, 2012. A total of 80 Austin, behind an original Hook case. States, for a work that is a minimum of The conference included 14 workshops, choirs from 35 countries participated. four minutes in length. The submission with sessions on choral (David Mennicke Diplomas in 13 categories were pre- Ocean Grove Auditorium, Ocean may have been previously performed, and Matthew Culloton), organ (Lynn sented to the choirs. There were eleven Grove, New Jersey, received major dam- but must be unpublished and cannot Trapp and Kathy Borgen), piano (Jeffrey category winners, who were awarded age from Hurricane Sandy during the have won a prize in any other composi- Patry), vocal (Wendy Zaro-Mullins), and a golden diploma; they went to choirs last week of October. A large portion of tion. If, in the opinion of the judges, no other solo instruments (Mark Lawson). from Sweden, Croatia, Norway, Indone- the roof of the historic 7,000-seat struc- entry is worthy of the prize, it shall not Other workshops included Sacred sia, Russia, and Switzerland. The inter- ture was blown off during excessively be awarded. The offi cial entry form at Music Composition (James Callahan), national jury also awarded a conductor high winds that engulfed the entire New prize to Ulrike Heider from Sweden. Jersey coast. The jury awarded a total of 41 golden, Fortunately, according to resident 56 silver, and six bronze diplomas. The organist Gordon Turk, the 189-rank golden diploma enables the choirs to auditorium organ sustained no damage. participate at the Champions Competi- The roof over the organ chambers and tion of the World Choir Games or the unenclosed divisions was not affected World Choir Championships. The next by the high winds nor did the storm competition in Spain will be October surge damage the blowers located below 23–27, 2013. For information: street level. The auditorium organ is the http://bit.ly/RjCoBi; www.interkultur.com. centerpiece of Ocean Grove’s summer music program and is used extensively The Springfi eld Massachusetts to accompany choral and orchestral con- AGO chapter opened their season on certs as well as semi-weekly recitals and September 30 with a performance of Sunday worship services. the original 1887 version of Antonin ³ page 8

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³ page 6 Michael Radulescu, and at the Conser- fi eld, the SuperNova Series also allows is also listed among the classical stations Temporary roof repairs were begun vatoire National Supérieur in Paris, with undergraduate music students at Pied- in the iTunes player. immediately in order to safeguard the Olivier Latry and Michel Bouvard. She mont College to interact with young While tuned in, listeners can view 118-year-old structure until permanent received the Diplôme d’honneur at the professionals and learn more about the the work and composer being played, repairs can be made. According to Dr. Festival in Bruges in 1997, the audience possibility of graduate study in music album artwork, links to purchase the Turk, while the damage to the audito- prize at the Festival in Zilina in 1997, and concert careers. album and MP3 fi le if available, and rium was extensive, it was minimal in and the special prize of the Unesco in information about the organist, all from comparison to the devastation of other Lisbon in 2000. Recordings the station’s website. In addition, links New Jersey shore communities. Since 2008 Melcova has taught impro- The Organ Media Foundation to purchase sheet music of the work visation at Musikene University of Music announces the availability of Positively being performed and often to libraries People in San Sebastian. She was a member Baroque, their newest organ music of public domain sheet music are pre- of the jury for the International Organ stream. Positively Baroque is an Internet sented, allowing the listeners to follow Competition–Grand Prix de Chartres audio station that plays uninterrupted along with the music or to print the 2012. For information: and commercial-free organ music of scores for themselves. For information: www.monica-melcova.net. the Baroque period 24 hours a day. This www.positivelybaroque.com. broadcast is free. The broadcast library The opening of this station coin- Andrew Scanlon plays recitals consists of an ever-growing collection of cides with the ninth anniversary of the this winter and spring: February 8, St. more than 600 albums of organ music, beginning of the foundation’s primary Paul’s Episcopal Church, Greenville, from new releases to classic LP tracks. broadcast project, Organlive. Like North Carolina; March 10, Holy Trinity The audio stream is available in a num- Positively Baroque, Organlive is a non- Lutheran Church, Greenville, Pennsyl- ber of formats and bitrates, and can be stop stream of organ music, but with an vania; April 19, Westminster Presbyte- heard on computers, smartphones, and extensive library of more than 15,000 rian Church, Charlottesville, Virginia; other Internet audio devices. The station ³ page 10 May 5, Cathedral of St. John the Divine, New York City. Faythe Freese Scanlon is organist-choirmaster at St. Paul’s Episcopal Church and instructor Faythe Freese, professor of organ at of organ and sacred music at East Caro- the University of Alabama, will premiere lina University. He previously served in a solo organ work, The Freese Collection, Pittsburgh as a member of the organ in three concerts January 23–25 as part faculty at Duquesne University, director of the 25th anniversary celebration of of music at First Presbyterian Church, the Moody School of Music Concert Hall and conductor of the Pittsburgh Com- 86-rank, four-manual Holtkamp organ. pline Choir. He formerly held positions Dr. Freese commissioned the work by at St. Paul’s Cathedral (Buffalo), Christ composer Pamela Decker, professor of & St. Stephen’s Church (New York City), organ and music theory at the University and Marquand Chapel at Yale Divinity of Arizona in Tucson. The University of School. He holds a bachelor’s degree Alabama’s dance professors Cornelius from Duquesne University and master’s Carter, Sarah Barry, and Rita Snyder, degree from Yale University. and company members of the Alabama Dance Program will choreograph and dance during the premiere concerts, which also feature organ music by Charles Tournemire and Stephen Pau- lus. January 25 also marks the opening Raymond Chenault, Elizabeth Chenault, Melinda L. Clark, and GMTA president, festivities of the tenth annual Alabama Keith DeFoor (photo credit: Natalie Hardy) Church Music conference. The Freese Collection was inspired by Elizabeth and Raymond Chenault played the premiere of An American Suite three original works of art held in Faythe by Melinda Lee Clark for the Georgia Music Teachers Association Conference on and Gerald Freese’s collection that were November 2 at Young Harris College, Georgia. The organ duet was commissioned created by Nall, a UA alum and a pro- by GMTA and will be submitted for the MTA National Competition. The duet, writ- tégé of Salvador Dali: 1. Nall Violin; 2. ten for two performers at one organ, comprises four movements: I. “On the Road,” Iris and Poppy; and 3. Organ Cross. On II. Appalachian Air,” III. “Two to Tango,” IV. “Carnival Toccata.” Atlanta composer January 23 Nall will mount a visual arts Melinda Clark is organist and director of music and arts at North Avenue Presby- show in Moody School of Music Lobby. terian Church, Atlanta. Having commissioned and premiered over 40 organ duets, the Chenaults have been organists and choirmasters of All Saints’ Episcopal Church Monica Melcova will play recitals in Katie Timm since 1975. They are represented by Phillip Truckenbrod Concert Artists. Japan: February 6, St. Marien Church, Tomakomai; 2/7, masterclass, Sapporo As part of the SuperNova Concert Organ Academy; 2/10, Kitara Concert Series at Piedmont College, organist Hall, Sapporo; 2/14, Suntory Hall, Katie Timm presented a recital on Tokyo; and 2/15, masterclass, Musashino September 30 in the Piedmont College Academy, Tokyo. Chapel. Ms. Timm is a doctoral student Melcova studied piano and organ at at the Jacobs School of Music, Indiana the conservatory in Kosice, Slovakia, at University, in the studio of Christopher the University for Music and Performing Young. Conceived as an opportunity Arts in Vienna with Hans Haselböck and to showcase rising talent in the organ

Kimberly Kempf-Leonard, Gail White, Rita Cheng, Alan Morrison, Lynn Trapp, and Marianne Webb

Alan Morrison performed the annual recital of the Marianne Webb and David N. Bateman Distinguished Organ Recital Series in Shryock Auditorium at Southern Illi- AUSTINORGANS.COM nois University at Carbondale, September 21, 2012. A pre-concert talk for the audi- t8PPEMBOE4U)BSUGPSE$5 ence was hosted by Alan Morrison and Lynn Trapp, principal artistic director of the series. Pictured left to right are Kimberly Kempf-Leonard (dean), Gail White (artistic director), Rita Cheng (chancellor), Alan Morrison, Lynn Trapp, and Marianne Webb.

8 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM The people who work for Monarke are passionate about building organs. A team of designers, cabinet makers, sound engineers and musicians harmo- niously create unique instruments time and time again.

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Appointments Paul Cienniwa has been named chorus master of the New Bedford Symphony Orchestra for the 2012–13 season. He worked extensively with local choral groups in preparation for the NBSO’s performance of Handel’s Messiah at St. Anthony’s Church on November 25. In addition to his chorus master duties, Cienniwa performed to rave reviews as harpsichord Paul Cienniwa soloist in Bach’s Brandenburg Con- certo No. 5 at the NBSO’s “A Concert of Concertos” at Wickenden Chapel. The NBSO Chorus is made up of over 125 members from area choirs. A resident of Fall River, Massachusetts, Cienniwa is director of Sine Nomine choral ensemble and choral director at Framingham State University. As organist and conductor, he is music director at First Church in Boston, where he leads the professional First Church Choir and can be heard weekly on WERS (88.9 FM) Boston. As a harpsichordist, Cienniwa performs as a soloist, record- Schoenstein descendents at open house ing artist, and ensemble player. Cienniwa studied piano at the American Conservatory of Music in Chicago Schoenstein & Co. held an open house celebrating the completion of two new and completed his bachelor’s degree at DePaul University. In 2003, he received organs for Fordham University in New York City. The event drew an estimated 200 the DMA from Yale University. He been awarded Belgian American Educa- visitors, including 21 members of the Schoenstein family representing the fourth, tional Foundation and Fulbright grants, and his musicological articles and fi fth, and sixth generations. The group included the eldest Schoenstein organ builder, reviews have appeared in American and European journals, including Early Bertram, age 95, shown front center with company president Jack Bethards (third Music, Ad Parnassum, and Early Music America. His article, “Dear Harpsi- from right), and 20 Schoensteins including six of Bert’s siblings and cousins. Ford- chordists: Why Don’t We Play from Memory?” appeared in The Diapason, ham is a leading Roman Catholic university, and the event was of special interest September 2011. He has taught at the Yale University School of Music, Salve to members of the family, two of whom are members of Roman Catholic religious Regina University, and Mount Ida College. He continues to teach at the Uni- orders. The two organs are destined for the renovated University Church on the Rose versity of Massachusetts Dartmouth and Framingham State University. Paul Hill campus in the Bronx. The two-manual, 14-rank organ will be in the sanctuary, Cienniwa is represented by Concert Artist Cooperative. For information: www. the three-manual, 35-rank instrument will be in the gallery. Both are encased and paulcienniwa.com and www.concertartistcooperative.com. Q free-standing. For information: www.schoenstein.com.

³ page 8 The Organ Historical Society money for its completion; timeline for tracks. Organlive also plays a number announces new items available from fi nishing is May 2013. For information: of organ-accompanied choral anthems its catalog: The Auditorium Organ, by www.tohearthemusic.com. and vocal solos, primarily on Sundays. David Pickering ($19.95); Jan Lehtola In addition, listeners can browse the Plays Works of Kalevi Aho ($16.98); entire library and make requests, as Organ Collection: Signum Classics Carillon News well as rate and comment on individual Anniversary Series ($17.98); and Pro- works and albums. Organlive is also cessional Grand March, for organ and commercial-free, as both stations are brass quintet, by Samuel Brenton Whit- supported by the listeners during an ney ($22). For information: annual fundraising campaign. For infor- www.ohscatalog.org. mation: www.organmedia.org. Organ Builders Publishers Dobson Pipe Organ Builders, The Church Music Association of Ltd., has released the fall 2012 edition America announces the release of the of The Organbuilder. The newsletter Parish Book of Psalms, by Arlene Oost- includes stories on the fi rm’s Opus 91 Zinner. This collection of a cappella (III/52) for Merton College Chapel, Responsorial Psalm settings, already Oxford, England; Opus 37/38 (III/36) at widely used through the Chabanel the Church of St. Stephen the Martyr, Psalms project, is easy and accessible Complete Organ Music of Charles Ives Edina, Minnesota; the 20th anniversary for congregations, and provides a way of Opus 55 (II/32) at St. John Lutheran to introduce plainchant in English in Theodore Presser Company Church, Storm Lake, Iowa; a profi le of the average parish. The volume includes announces the release of the Com- Patrick Thieszen; new contracts; record- psalms for the complete three-year plete Organ Music of Charles Ives ings on Dobson organs; and additional lectionary cycle of Sunday and holy day (443-41003, $29.99). Featured are two news. For information: 712/464-8065; Masses according to the liturgical calen- critical editions of the Variations on www.dobsonorgan.com. dar for the USA. The 450-page hardback “America,” shedding light on both the is priced at $18. Antiphons are carefully familiar 1949 edition and the original “The Opus 139 Project: To Hear the structured to refl ect the text and are draft from 1892. Over a dozen more Music” is a documentary entering its Robin Austin not diffi cult to sing. The verses are all unfamiliar works are presented, along fi nal editing stage that celebrates C.B. notated. For information: with historical and critical notes. For Fisk, Inc. It is a fi lm about the creation Robin Austin was appointed as caril- www.MusicaSacra.com/pbp. information: www.presser.com. of the fi rm’s Opus 139 for the Memo- lonneur of the Thomas Rees Memorial rial Church at Harvard University, and Carillon in Washington Park, Springfi eld, includes stories of founder Charles Illinois. A native of Pennsylvania, Austin Brenton Fisk, and the workshop in earned a Bachelor of Arts degree from action, creating, installing, and voicing West Chester University and a Master of the new organ, culminating in the inau- Social Service degree from Bryn Mawr gural concert. The project is three years College. He began carillon studies with in the making, and continues to raise Frank Pechin Law and in 1981 passed the advancement recital examination of the Guild of Carillonneurs in North CLAYTON ACOUSTICS GROUP America. He studied carillon further 2 Wykagyl Road Carmel, NY 10512 with Jacques Lannoy, director of the 845-225-7515 [email protected] www.claytonacoustics.com French carillon school. He leaves a position as Princeton University Caril- CLAYTON ACOUSTICS AND SOUND SYSTEM lonneur, which he held since 1993. As a ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP fundraising professional, Austin also has held a variety of leadership positions at Recording for the Blind, Children’s Hos- pital of Philadelphia, and most recently, he served as senior principal gifts offi cer at the Philadelphia Museum of Art.

Bok Tower Gardens in Lake Wales, Florida, has announced the appointment

10 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM Here & There

Nunc Dimittis and the Incorporated Society of Musicians. He was knighted in 1999. After Philip Ledger died November 18, 2012, at retiring in 2001 Ledger continued to compose. His last two major works were the age of 74. He was the youngest cathedral his Requiem in 2007 and The Risen Christ in 2011. This Holy Child, a set- organist in the country when he was appointed to ting of the Christmas story with fi ve original carols, received its premiere on Chelmsford in 1961, and later became a collabo- December 16, 2012. rator with Benjamin Britten, before succeeding In 1963, he married Mary Erryl Wells, a principal soprano at the Royal Opera David Willcocks as director of music at King’s House, Covent Garden, whom he had met while he was conducting the European College, Cambridge. premiere of Copland’s The Tender Land in Cambridge. She survives him, as do a Philip Stevens Ledger was born at Bexhill-on- son and a daughter. Sea on December 12, 1937, and educated at the local grammar school; he took a fi rst in music at Edward Mondello died on November 21, 2012 at the age of 88. Mondello King’s College, Cambridge. From there he went served as university organist at the University of Chicago, where his recitals to Chelmsford Cathedral to succeed Derrick attracted large audiences. Paul Hume, music critic for the Washington Post, wrote Cantrell as master of the music. In 1965 he was after hearing him in recital, “Mondello played with power and beauty.” He toured appointed director of music at the University of Philip Ledger the U.S. and Canada and played private organ recitals for Sir George Solti and East Anglia, and in 1968 was asked to serve as Charles, Prince of Wales. Mondello also played organ continuo for many years joint artistic director at Aldeburgh, appearing as both conductor and keyboard with the Chicago Symphony under the batons of Jean Martinon, Antonio Janegro, player over a number of years. Morton Gould, and Margaret Hillis, and performed with such musicians such as Ledger was director of music at King’s College, Cambridge from 1974 to 1982 trumpeter Adolph Herseth and oboist Ray Still. and conductor of the Cambridge University Musical Society from 1973 to 1982. Mondello earned a B.M. from Kansas State College with a major in piano and He was subsequently principal of the Royal Scottish Academy of Music and Drama M.M. from the University of Chicago with a major in musicology. Prior to setting 1982–2001. In addition to numerous recordings, compositions and performances, up his private studio, Mondello taught piano for twenty years to graduate students Ledger edited The Oxford Book of English Madrigals (1978) and several books on in the University of Chicago’s Department of Music. His students include Thomas composers, including Byrd and Handel. Weisfl og, who recently succeeded him as the University of Chicago Organist, and He acted as chairman of the examining board of the Associated Board of pianist Conley Johnson, who has appeared as piano soloist with local orchestras the Royal Schools of Music and president of the Royal College of Organists including the Chicago Symphony Orchestra. Q

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 11 In the wind...

Loft apartments Yet another committee Massachusetts (across the town square We’re all familiar with the traditional from the former Woburn Unitarian Built on the Rock the church doth stand, Even when steeples are falling; list of church committees: Memorials, Church), where there is a three-manual Crumbled have spires in every land, Flower, Property, Finance, Education, E. & G.G. Hook organ built in 1860 Bells are still chiming and calling; and Music. Lots of church members (Opus 283). Organbuilder George Boze- Calling the young and old to rest, think that the Nominating Committee is man was the titulaire. Mentors George But above all the soul distressed, Longing for rest everlasting.1 the worst assignment, because you spend Bozeman and John Skelton both made your three-year stint listening to people sure that I was aware of the quality Choir loft, that is explaining why they have to say “No.” and signifi cance of organs like that. In Elizabeth Bolton, a Coldwell Banker But I think the worst assignment for a 1972, Bozeman-Gibson & Company residential real estate broker in Cam- church member is the Dispersement relocated a terrifi c two-manual, 17-rank bridge, Massachusetts, has launched a Committee. (Spellcheck says there’s Hook organ (Opus 538, 1870) from Our website called Centers and Squares. On no such word—but I’ve worked with Saviour Methodist Church in Boston to the home page, under the headline Con- several such groups, so I know it’s true.) the United Parish in Auburndale, Mas- dos in Renovated Churches, she writes: These are typically the last members sachusetts. John Skelton (my private standing, the most loyal, diehard people organ teacher) took me to the dedication Churches and synagogues converted to condos often result in dramatic spaces with in the pews. By the time the Disperse- recital. That was a landmark project— soaring ceilings, beautiful oversized win- ment Committee gets down to work, the organ is of the highest pedigree, it dows, and preserved architectural details. the work of the Dissolution Committee was the fi rst project of the fl edgling fi rm, A number of former churches have been is complete. The corporation has been and just recently the church celebrated turned into condos in Cambridge, Somer- ville, and Watertown. Loft buyers will ap- closed, the denominational leaders have Hook & Hastings Opus 2344, Christ the fortieth anniversary of the installa- preciate the wide-open spaces in these followed the rules of deconsecrating the Church, South Barre tion of the organ. reused buildings. property, the last service has been held, the building has been put on the market, closed its doors, and most of the remain- Scroll down the page and you fi nd photos the congregation has found new spiritual ing parishioners transferred their mem- of eight different former church build- homes (or not), and all that’s left to do is berships to St. Francis Church in nearby ings, with accompanying listings: empty the building. Holden. The Diocese of Western Massa- Anyone who’s been involved with the chusetts contacted us to place the organ The church at 101 Third Street in East Cambridge is one of the oldest church life of a church can picture the list: in a new home, and after only a few brief buildings in Cambridge. Built in 1827 as • 533 hymnals conversations, someone had a bright a Unitarian Church it became the Holy • 346 pew bibles idea. The outdated and malfunctioning Cross Church in 1940. In 2000 it was con- • 7 rolling coat racks with Christmas electronic instrument in the chancel at verted to four luxury condos. The condos range in size from 1300 to 3160 sq.ft. and pageant costumes St. Francis Church needed only a little sold for $585,000 to $1,300,000. • 26 adult choir robes, 33 child choir push to make way for the quick installa- robes tion of the lovely 1910 Hook & Hastings Other features noted in Ms. Bolton’s • 433 monogrammed teacups with organ (Opus 2344). How bittersweet for listings include “heated indoor garage,” saucers the members of Christ Church to be and “ceiling heights soar to 60 ft.” in one • 275 ten-inch dinner plates (ivory welcomed into a new congregation with of the units. The trouble with ceilings with green edge stripe) the opportunity to bring a beautiful and that high is that the Christmas tree costs • grand piano living piece of their church with them. fi ve grand. But what a great place for a • 4 upright pianos (one blue, one It took a little more than three weeks radio-operated helicopter—the ideal black, two white) to make the move, and as I write, the Christmas gift for a kid (or daddy) living • 58 small bottles Elmer’s glue relocated organ is to be dedicated in a in a converted organ loft. One of the • 6 framed 8x10 “Smiling Jesus” recital by Robert Barney the Sunday properties is called “Bell Tower Place,” • 7 boxes elbow macaroni, 2 cans gold after Thanksgiving. another is “The Sanctuary Lofts.” spray paint Some 20 years earlier, the First Unitar- Hook Opus 538, Auburndale In my work with the Organ Clearing • 3 step ladders (6-foot, 8-foot, ian Church in Woburn, Massachusetts House, I’ve been in and out of count- 12-foot) closed. The three-manual 1870 E. & My fi rst organbuilding experiences less buildings destined to become • 1 Aeolian-Skinner pipe organ, 49 G.G. Hook organ (Opus 553) was sold to were in the workshops of Bozeman- loft apartments. Having seen quite a ranks, 1937 (G. Donald Harrison) a church in Berlin, Germany. The money Gibson during the summers of 1975 few of these completed projects, I can It all seemed so essential a few years from that sale was entrusted to church and 1976, and several of the projects on tell you that it takes a really skillful ago. Now it’s a pretty forlorn collection. member Charley Smith, who salted it away the books then came through the Organ architect to make usable comfortable When a church has reached this stage, confi dent that a good use for the funds Clearing House. Among others, there living spaces from old church buildings. about the best thing that can happen is would come up someday. And in 1995, the was a small two-manual organ (I think by I’ve seen the top fi ve feet of a large a crew arriving to dismantle the organ. Stoneham (Massachusetts, two miles from George Ryder) being installed in a Salva- gothic stained-glass window rising from When the organ has been sold and reno- Woburn) Unitarian Church closed. The tion Army Chapel in Providence, Rhode a dining room fl oor—The Ascension of vation has been planned, the members two-manual 1868 E. & G.G. Hook organ Island (the arrangement for meals was a Christ from the navel up. I’ve seen a of the Dispersement Committee take (Opus 466) was placed in storage, and little sketchy), and an E. & G.G. Hook 10-by-10-foot home offi ce with a wood solace in knowing that some last breath advertised in a U.U.A. District Newsletter organ going to a Roman Catholic Church ceiling sloping from 20 feet high on one of their beloved church will blow its as available, “free to a good home.” in Marine City, Michigan. side to 24 on the other. Changing the inspiration across another congregation. The Follen Community Church (UUA) Fifteen years later when I joined battery in the smoke alarm is an ordeal. Often, when we arrive to dismantle the in Lexington, Massachusetts (fi ve miles the Organ Clearing House as execu- And I’ve seen a fourth-fl oor bathtub organ, committee members comment in the other direction from Woburn) was tive director, those memories were placed in what was the top eight feet of that for just a few more days there’s real contemplating the future of the home- refreshed, and I looked forward to being an apse. activity in the building. They arrive in built instrument in its historic sanctuary able to help with preservation of won- About ten years ago, a grand stone the morning with family photos they’ve when their minister noticed the bit about derful organs across the country. It didn’t church building in Meriden, Connecti- taken off the walls in their homes—pho- the Hook organ and handed it off to the take long for me to realize a couple hard cut was purchased by a comedian whose tos of their parents’ weddings and funer- chair of the committee. It didn’t take truths: Not all organs are worth preserv- vision was to create a comedy club. The als, their children’s baptisms and confi r- long for the arrangements to be made ing, and many organs worth preserving belly-gripping name of this inspirational mations, or an empty sanctuary decked and the Bishop Organ Company was will be lost. venue: “God, That’s Funny!” (I’m not out in Christmas fi nery. In each photo, engaged to renovate and install the organ Without identifying organbuilders, it’s kidding.) The magnifi cent three-manual that organ is standing proudly in the in Lexington. Charley Smith in Woburn simple enough to say that there are thou- 1893 Johnson Organ (Opus 788) has background, a monument to a century or got wind of all this, and presented the sands of non-descript two-manual nine- been on the OCH website for years. In more of parish life—celebrations, trag- Follen Church with the funds from the rank electro-pneumatic organs strewn response to a recent inquiry, I tried to edies, triumphs, and disappointments. sale of the Woburn organ to support the across the country. They all seem to have track down the owner, who was of course As we thunder through the nearly organ’s maintenance and to assist in the the same stoplist (Diapason, Dulciana, long gone. (I guess God didn’t think abandoned building setting up scaffold- presentation of annual organ recitals. Melodia, Octave, Stopped Diapason, it was funny.) A few calls around town ing, building pipe trays, and unpacking Charley passed away before the project Viole, Harmonic Flute, Oboe, Bourdon), revealed that two different worshipping tools, taking down the fi rst façade pipes, was complete, but his widow and several and each is presented as huge, rare, and communities had subsequently pur- we see people sitting quietly in the past members of the Woburn church world-class. chased the building. I drove through that rear pews with tears streaming down were in attendance when the Stoneham I’ve come to understand that not all town last Saturday hoping to track down their cheeks. organ was dedicated in its new home. organs can be saved. When an organ like the present owners to see if the organ is Two organs, three Massachusetts towns, this is discarded—and they often are—I still intact. There was a fancy electronic A movable feast one European city, and a lot of good will feel that it’s justifi able. There is a fi nite sign out front, fl ashing information about Through the disappointment and sad- in the face of disappointment. amount of money available to be spent weather, time and date, bible study, and ness of the loss of a church, the organ § on pipe organ projects of any description Sunday “Praise!”, but no phone number. lives on, and it’s fun to be able to share a in the United States in a given year. I A Google search revealed a phone num- couple stories in which the relocation of The Organ Clearing House was an think it’s important to avoid squandering ber that rang endlessly with no chance to an organ brought a little light to a story. active presence in Boston in the 1970s. any of it on projects destined for a medi- leave a message. I guess I should go by In the middle of 2011, Christ Episcopal I was in high school then, and was assis- ocre result. If a church owns an organ on a Sunday morning. Church in South Barre, Massachusetts tant organist at a church in Woburn, like that I describe, loves it, and wishes

12 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM By John Bishop

Above all, this cartoon speaks of irrel- evancy. To many modern Americans, the church is irrelevant. To many modern churchgoers, the pipe organ is irrelevant. Is the instrument truly a symbol of yes- terday, or is it a modern, vital, thrilling, inspiring part of our heritage, just as appropriate in the 21st century as it was in the 16th? If we really believe that, are we using it to its fullest as a 21st-century vehicle for expression? Of course, the pipe organ made the transition very well from Baroque to Classical to Romantic, and into the unique language of the twentieth century. In 1976, jazz pianist Keith Jarrett the music. Think of your favorite grand made a recording, Spheres, of improvi- organ case (Haarlem, Sydney, Lübeck, sations on the venerable organ by Josef or the Mormon Tabernacle) and picture Gabler in the Abbey church at Otto- that crew of painters, caps on backward, © Ziegler / The New Yorker Collection / www.cartoonbank.com Collection Yorker The New © Ziegler / beuren (available on Amazon.com), but approaching with ladders and buckets. I don’t think we can claim that the organ What you are doing to ensure the has been used as fl exibly or as imagina- future of the pipe organ? Q to keep using it, I’m a big champion of of condominium ceilings with white tively as the piano. Why not? developing as economical a renovation paint that conceals sacred frescos and I’ve seen an ornate Victorian organ Notes project as possible. But in my opinion, architectural decoration. Having seen a case with stenciled façade unceremo- 1. Nikolai F. S. Grundtvig, in Sang-Vaerk til den Danske Kirk, 1837 (Kirken Den Er it’s hard to justify leaping in ahead of the lot of church buildings in the throes of niously spray-painted sky blue (along Gammelt Hus); translated from Danish to wrecking ball to scoop up an organ, and de-consecration, I can tell you, this is not with the sanctuary walls) because the English by Carl Døving, 1909, and Fred C. encouraging a small church to purchase, a great stretch. rector felt threatened by the power of M. Hansen, 1958. renovate, and relocate it when organs of excellent pedigree are equally available.

The Sistine Condos The New Yorker magazine is a huge read. Each week, a new issue appears, chock full of commentary, fi ction, news, poetry, investigative reporting, and a Seamless ... comprehensive view of the arts and culture in New York City. As a newly settled New Yorker, I think I understand how critical the New York view of the arts Blending Old & New is to the rest of the country. Nowhere else is there such a concentration of performance spaces, museums, theaters, speakeasies, galleries, and arts festivals of every description. Any American who is interested in or depends on the arts would do well to read the fi rst ten pages of each issue, “Goings on About Town,” which lists by category everything that’s going on. There are comprehensive listings of concert programs from the New York Philharmonic to organ recitals, and the listings, synopses, and reviews of cinema are unsurpassed. Each issue includes new original fi ction and poetry, and each includes original artwork in the form of cartoons and the eloquent commentary of the drawn cover art. Any tourist in Times Square will recognize the ubiquitous double-decker tour buses, run by rival companies, that roar up and down the avenues providing in-depth exposure to this most complex of cities. One New Yorker cover showed two rival buses as battling square-rigged frigates, unleash- ing broadsides at one another. Another cover showed Aesop’s Hare climbing into a taxi while the tortoise plodded quietly into the subway. (The subway always gets there faster.) In the September 10, 2012 issue of The New Yorker, I was startled to fi nd a cartoon that depicted “New coat of paint at the Sistine Condos.” I see two painters, none too skilled or too careful, rubbernecking white paint across Trinity Lutheran Church, Sheboygan, Wisconsin. Buzard Organ Opus 41-R, now Michelangelo’s masterpiece, and I see in production, incorporates pipes and casework from the Church’s former Organ. the dome of St. Peter’s in the background. I’ve asked several friends who know Rome well if they recognize the building on the left in the background, Visit www.buzardorgans.com but none seem to think it represents an actual identifi able building. (Please be in touch if you know it.) I see here comment on what would be the ultimate church closure, and the ultimate desecration of the artistic and John-Paul BUZARD Pipe Organ Builders architectural heritage of the church. 112 West Hill Street • Champaign, IL • 61820 • (217) 352-1955 • (800) 397-3103 I’ve mentioned the top fi ve feet of the Ascension of Christ. There are plenty

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 13 On Teaching

Organ Method IV is an octave higher than the 8′ stop. English-speaking countries have key- usually quite easy to change the combi- This follows directly—without a Play a few notes in the octave below board names in other languages, with nations, the ones that you fi nd have not break—from the last sentence of last middle C, then play a few notes on an words such as Hauptwerk, Oberwerk, necessarily been there very long, and are month’s column. The fi rst part of this 8′ stop in the octave above middle C. Rückpositiv, Brustwerk, Récit, Grand not necessarily intended to be used very month’s excerpt is again aimed at the Try some other 4′ stops—alone and in Orgue, and various others. On some much or for very long. The proprietor of student who is new to the instrument, pairs or larger groupings if there are organs—usually smaller ones—the key- the organ that you are using can show and I am trying to explain enough to enough 4′ stops to make this possible. boards have numbers rather than names. you how to set combinations of your own enable that student to start to practice Pay attention to all of the different There is a lot to say about the history if and when that becomes relevant. and learn, without making anything too sonorities, noticing that, as long as and meaning of these names and naming A stop control that is labeled “Tremu- complicated for the earliest days at the you are only using 4′ stops, the pitch practices. Some of this can be found in lant” or some variation of that word does console. Everything here is presented in level of everything that you play is one later chapters of this book, along with sug- not bring on an organ sound of its own. a simplifi ed way that I hope is neither octave above unison. gestions for further research. However, Instead, it gives a vibrato-like quality over-simplifi ed nor inaccurate. The sec- 6) Draw out an 8′ stop and a 4′ stop for now you just need to note the names to the stops that are drawn. (There are ond part of this column is the beginning together on the same keyboard. Listen of the keyboards on any organ that you several different mechanisms for making of the chapter on pedal playing. to this sound, then try other combina- are using, and correlate that name with this happen.) A tremulant may apply to tions of 8′ + 4′, both on that keyboard that keyboard’s group of stop controls. the whole instrument or to one division. The best way for any keyboard player and on others. Along with the stop knobs—or tabs, Many organs have pedals that are not new to the organ to begin to understand 7) Draw out an 8′ stop along with any- or buttons, or whatever it is—there keys on a keyboard, that are set above the organ sounds—organ stops—and there- thing higher-pitched, in any amount and are controls, similar in look to the stop pedal keyboard itself, and that more or 2 fore to begin to feel comfortable with combination: 4′, 2 ⁄3′, 2′, etc. Play some controls, that do things that are a little less resemble gas pedals in cars. These organ registration is indeed to pull stops notes, chords, or passages, changing the bit different. Some knobs or tabs are have two main functions, both intended out essentially at random and to listen. In higher-pitched component of the sound labeled with something like this: “Swell to alter the sound that the instrument is order to do this effi ciently and to get the from time to time. As you do this, the to Great” or “II/I” or “CH to GT,” that making. The more common type of pedal most out of it you should start by follow- sonority will change, but the sense of is, with names, numbers or abbreviations is called the swell pedal—or sometime ing a few guidelines: pitch level should not. Then, remove the that refer to whole keyboards. These are the “expression pedal.” It makes sounds 1) Make sure that you know which 8′ stop. When you do this, the pitch level couplers, and they are one of the ways louder or softer. On a pipe organ, this can group of stop controls applies to of what you are playing will jump up to in which stops proper to one keyboard only be accomplished by enclosing pipes which keyboard. (See below about the level of the lowest-pitched stop that can be shared by a different keyboard. in a box, and creating a setup for open- keyboard names.) remains in the stop combination that you What they mean, specifi cally, is usually ing and closing that box. Many organs 2) Start by drawing one 8′ stop—on have drawn. dictated by common sense. If a knob says have this arrangement for some or, less any keyboard—and playing a few notes. Beyond these specifi c suggestions, “Swell to Great,” then drawing that knob commonly, all of the divisions. On an (For this purpose, it doesn’t make the however, you can simply play around causes any stops that are drawn on the electronic organ, the loud/soft technol- slightest difference what you play: if with stops in any way that occurs to Swell keyboard to be playable also from ogy is analogous to the ordinary volume you are an absolute beginner, just play you or that you discover at random. It the Great keyboard. There are couplers control on a stereo. When the swell pedal separate individual notes; if not, play is only important, at this stage, that you bringing the stops of manual keyboards is all the way up—the top of it as far from something short and simple that you be aware of the pitch designations: know to the pedal keyboard—“Swell to Pedal” the player as it goes—the sound is at its are comfortable with—a bit of a scale, whether you are playing an 8′ stop alone, or “I/Ped,” for example. Couplers loudest, the same volume that it would chords, a passage from a piece, etc. something higher (or lower: 16′), or some bringing the pedal stops to a manual have if there were no swell pedal. When Elaborate or fast passages are not better combination. As I have said, very little keyboard—“Pedal to Great,” say—are it is all the way down—the top as close to for this purpose, by any means.) about the organ is “always.” However, extremely rare, though not impossible the player as possible—the sound is at its 3) Draw a different 8′ stop on the the pitch numbers are: what they mean or unheard of. Most organs have several softest. Some organ music explicitly calls same keyboard. Play a few notes. Listen is very specifi c and concrete, and it is couplers, but do not have all of the cou- for the use of the swell pedal; much of for the sound: how does it compare to always the same. In the later chapter on plers that might be possible in theory. the repertoire does not. the fi rst stop that you tried? Is it very dif- registration, I will discuss the more elas- Couplers are sometimes controlled by The other sort of pedal that affects ferent, somewhat different, or surpris- tic situation regarding the stop names toe studs or pedals of some sort. There the sound of the instrument is the ingly similar? and the relationship of those names to is also sometimes duplication: a coupler crescendo pedal. This is a device that 4) Draw these two 8′ stops together. sonorities and to musical applications. will be controlled both by a button or brings on combinations of stops in a pre- The combined sound will be louder than Once you feel comfortable pulling out knob of some sort and by a toe stud. This determined order, quiet to loud. If the either of the two stops by itself, though stop knobs, knowing that you can fi nd is just for convenience. Don’t be worried crescendo pedal is all the way down, it not necessarily very much louder. It will sounds that are coherent and at the right by it: if two controls appear to do the has no infl uence on the sound. As it is create a different sonority. Does this pitch, you are close to being ready to start same thing as each other, they are prob- moved towards the up position, it brings combined sonority sound more different practicing organ. That is, you are almost ably meant to do so. on more and more stops. When it is all from one of the separate stops than from ready to turn to Chapter 1 and beyond. Many organs have rows of buttons— the way at the top, it has engaged a loud the other? However, there are just a few more things usually between the keyboards—and/or registration. The order in which stops (Of course you can do this same exer- that you need to know about fi rst. toe studs—above the pedal keyboard— are brought on is set either by the organ cise with further 8′ stops from this same First of all, manual keyboards on that are numbered with Arabic numer- builder or by someone else, prior to the keyboard, if there are any, and then with most organs have names. The most als. These are combination pistons. They player’s sitting down to play. There is 8′ stops from other keyboards.) common names in English are prob- operate to turn on pre-selected groups of some organ music that expressly calls for 5) Draw a 4′ stop from any keyboard. ably Great, Swell, Choir, and Positive (or stops, turning off all of the other stops. the use of crescendo and diminuendo Play a few notes. Notice that this stop Positif). Some organs in predominately When you fi rst sit down at an organ, try made by adding or subtracting stops in pushing the combination pistons one the manner of a crescendo pedal: most at a time. Observe the stop controls organ music does not. Many organs do going on and off as you do so, and try not have a crescendo pedal. out the resulting sounds. It is likely that To a large extent, the point of learn- any organists who use this instrument ing a little bit about these features and regularly have set up the pistons to bring devices as you fi rst sit down at the organ on combinations of stops that they have is to make sure that they do not confuse found particularly useful, though as it is you as you begin to practice and to

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14 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM By Gavin Black become adept at the basics of actually actually fall over. However, a wobbly the manual keyboards. The height of playing organ. For example, if you are bench makes playing more diffi cult, and the bench—that is, of the player sitting certain that you have only one quiet stop can lead to physical tension for the player on the bench—above the pedal keys is drawn, but you are hearing a very loud, who has to struggle to remain in the right important. It is diffi cult to play the pedal brash sound, you should know to check orientation to the keyboards. keyboard comfortably if that height is whether the crescendo pedal is really all If the bench seems all right, sit down wrong. If it is too low, then you have to the way off. If you think the sound you and look towards your feet! hold your feet and legs up artifi cially in are playing should be loud, but it is in order to avoid playing notes by accident. fact rather soft, check the swell pedal. Chapter 1: Pedal Playing This is a great source of tension, and it is If you move your legs around a bit, and Organ playing that includes pedals very important not to let it happen. If you suddenly the position of all of the stop involves the whole body. It is one of the are sitting too high, then it can be hard to knobs change, you might suspect that most athletic of musical performance reach notes easily with simple, comfort- you have accidently hit a toe stud com- activities, and therefore it is especially able gestures of the feet, especially with bination piston. important that it be carried out comfort- the heels. This can also destabilize your For the earliest stages of practicing ably, without tension. It is important, in manual playing, since it can lead to a and learning the organ, you need to other words, that it be done correctly. slight but annoying sense that you might other while trying to play. However, it work directly with the stop controls and However, it is important to understand be about to fall forward. is also neither necessary nor healthy to the keyboards. That is not to say, by any that it has to be done in a way that is However, on the whole, sitting too sit in a way that is stiff or artifi cially tall, means, that you can’t experiment with correct for each player, and that this will high is usually less of a problem than or with the shoulders, back, and arms the swell pedal, couplers, and all the not necessarily be the same for everyone. sitting too low. You will discover, as you under any tension, or with your legs or rest. However, it is as you get to know the Different bench heights, postures, posi- play more and more, what bench height knees so close together that you need to instrument better and better, and start to tions of the legs and feet, and, to some is best for you. Initially, you should adjust work to maintain the position. work on organ repertoire, that you will extent, technical practices will be right the bench in such a way that if you relax As soon as you have sat upon the organ explore all of this and more in greater for different students. This is true even your legs entirely—especially the big bench in what you think of as a good and greater detail and complexity. before we think about differences in muscles above the knees—the bottoms position, with the bench at a good start- One more thing: the bench itself. musical goals, since it arises at least in of your toes just barely touch the tops ing height, take a few deep but relaxed An organ bench should be adjustable part out of the differences in physical of the natural keys, and your heels don’t. breaths. Then look down at the pedal in two directions: up and down, and back type of different people who want to This is just a starting point. You will see, keyboard. Notice what note appears to and forth. I have never seen an organ play organ. Those differences in musi- as the process of learning pedal play- be directly below your nose. Notice what bench that couldn’t be slid back and cal goals also play a part in determining ing proceeds, how to determine what note appears to be directly below each of forth at least a bit. Some benches can be aspects of the type of pedal technique changes to make in this, if any. your feet. For the purpose of learning to moved up and down with a crank or other that a player needs to develop. However, You should start out centered on the play pedals, this should be the last time device that is built in. Others are, so to a student new to the instrument cannot bench—along the left-to-right (or bass- that you look down at the pedal keyboard speak, solid. These should be provided yet (or at least probably should not yet) to-treble) axis—and positioned on the or at your feet while playing the organ. with blocks. There are clever organ bench know exactly what those goals are going front-to-back axis in such a way that you I will end here, for reasons of space. block designs that build different heights to be or where his or her involvement feel stable. (This may also be essentially Next month I will continue with the dis- into the same blocks oriented differently. with the instrument may lead. centered, but it need not be. This will cussion of pedal playing, and introduce Some organ benches have multiple blocks On any given organ the distance depend on the depth of the bench, as beginning pedal exercises. Q that can be used separately or together. It between the pedal keys and the manual well as the way that the size of the bench is extremely important that blocks, and keys is fi xed by the builder long before relates to your own size.) You should Gavin Black is director of the Prince- the bench as a whole, be stable: not rick- anyone sits down at the instrument. This sit comfortably. This is extraordinarily ton Early Keyboard Center in Princeton, ety or inclined to wobble. If they are, this distance is important, since it determines important. It is neither practical for play- New Jersey. He can be reached, to offer should be fi xed. It is unlikely, though not the way in which your height above the ing nor healthy for the player to slump thoughts about the column or for any impossible, that an organ bench would pedal keys affects your orientation to far forward or to lean to one side or the other purpose, at [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 15 Reviews

Music for Voices and Organ Week; the common genre to perform Great Is Thy Faithfulness, arr. Ovid The Shadow of the Cross (A Contem- by James McCray is a Requiem Mass or a cantata. Other Young. SATB, piano, and fl ute, Augs- porary Tenebrae Service), arranged frequently performed works are the burg Fortress, 978-1-45114-2397-6, and composed by Lloyd Larson. Lent and Holy Week Stabat Mater, or some form of the Seven $1.90 (M). SAB, narrator, and keyboard, with Last Words of Christ. Clearly, the most The piano music is far more challeng- optional fl ute, oboe, French horn, Faith is to believe what we do not see; the reward of this faith is to see what we popular work that is sung in concerts or ing than that for the choir or fl ute; it and cello, Hope Publishing Co., believe. services is the brief setting of Mozart’s includes busy, fl owing lines, sometimes #8157, $7.95 (M). Saint Augustine Ave Verum Corpus. in both hands, and is soloistic. Choral There are nine movements; most are 354–430 A.D. The reviews below are works for parts are on two staves, with some pas- original music, but some are arrange-

Be thou faithful unto death. these two seasons of the church year. sages of divisi. This great hymn will ments of previous tunes, such as When Revelations 2:10 All are short (anthem length), except be a favorite with the congregation, I Survey the Wondrous Cross, which Lloyd Larson’s contemporary Tenebrae and Young’s arrangement will be espe- closes the service. The narrator is used From the winter darkness of Ash Service, The Shadow of the Cross, which cially uplifting. throughout and often speaks above Wednesday (February 13) through is a multi-movement work, 64 pages in instrumental music. Also available for the resplendent brightness of an early length. Next month’s column will feature Holy Week SATB (#8151), there are suggestions Easter (March 31), the journey through music for Easter. Jesus Riding on a Donkey (Hymn for performance and use in services. Lent and Holy Week is one of emotional for Palm Sunday), Harold Silves- The choral writing is not diffi cult, with turbulence. For Christians, this period is Lent ter. SA(T)B and piano, Augsburg frequent unison passages. Very useful for a challenge to our faith, so it is good to be O Master, Let Me Walk With Thee, arr. Fortress, 978-1-4514-2072-2, choirs wanting to do something special reminded of the worlds of Harriet Tub- Mark Hayes. SATB and piano, Beck- $1.75 (M). during Holy Week. man, the Underground Railroad hero, enhorst Press, BP 1944, $1.50 (M). The piano part is very busy and more who said: “‘Twant me, ‘twas the Lord. Typical of Hayes’s arrangements, taxing than that for the choir. With O Sacred Head, Now Wounded, I always told Him, ‘I don’t trust you. I this has a solidly emphatic piano part syncopations, arpeggios, and pulsating Michael Larken. SATB and piano, don’t know where to go or what to do, that adds drama to the setting. Most chords, it contrasts with the vocal lines. Augsburg Fortress, 978-0-8066- but I expect you to lead me.’ And He of the choral music is easy, except for a An interesting feature is the insertion of 9734-5, $1.60 (M-). always did.” few brief divisi measures that draw on the melody of “The Wayfaring Stranger,” Left-hand arpeggios are often used in That would seem to be good advice surprising harmonies. The music moves sung by men in unison. Elements of that the piano part, while the choir, on two even today. The road through Lent through numerous dynamic changes tune appear in the original basic theme staves, sings long, syllabic lines. There and Holy Week travels through diverse and has a moderate, yet free, tempo. used earlier in the fi rst verse. Tenor are three verses, with the fi rst for unison places such as the desert, the Garden Highly recommended. music is limited and consists of just a few women. The fi nal verse rises to a louder of Gethsemane, Jesus’s trial, Golgotha, chords. Highly recommended for small dramatic character before dissolving into and the ineluctable conclusion of the Held in the Shelter of God’s Wing, church choirs. a quiet Amen. tomb. During these forty days of Lent, Kathy Powell. SAB and piano texts tend to focus on a balance of tra- with optional guitar and C instru- Throw Open the Gates!, David Lantz Crucifi ed, Craig Courtney. SATB ditional Biblical messages (past) and ment, GIA Publications, G-7156, III. SATB and piano, Beckenhorst and piano, Beckenhorst Press, BP messages of personal needs (the pres- $1.80 (M-). Press, BP 1956, $1.95 (M). 1953, $1.95 (M). ent). A special effort is put on the les- The C instrument part is not in the Although the cover has a picture of Here is the work for Good Friday: sons of Christ, and this seems to blend choral score; it is separate, on the back Christ on a donkey, the text of the set- another effective Courtney setting that the two areas. cover; the guitar chords are above the ting is generic enough that this could be will be used year after year. The piano part The end of Lent is sometimes called keyboard part. Much of the anthem is in used as an anthem at other times of the begins with pulsating chords that later Passiontide (Holy Week). Passiontide unison or two parts, with limited SAB. year. There are extended unison choral evolve into fl owing right-hand passages of is tragic in character; each incident is Pragmatic music that will be useful for sections that contrast with some divisi sixteenth notes. The last section is espe- teeming with emotion as the wearisome small church choirs. passages. The keyboard part is not dif- cially dramatic, with a solo climax on the chain of occurrences unfolds. Each day fi cult but helps drive the music. piano before dissipating into a quiet coda has an assigned Passion Gospel to be Walk By Faith!, Joel Raney. SAB and for unison choir. Highly recommended. considered or read, although they are piano with optional rhythm instru- God So Loved the World, arr. Edward less observed musically than in the past. ments (C5653R), Hope Publishing Eicker. Unaccompanied SATB and New Recordings Assigned texts are: Co., C 5789 (M). solo, GIA Publications, G-7368, Eastern Treasures: A Collection of Passion Sunday: Matthew The music has a strong rhythmic pulse $12.80 (M). Asian Folk Songs for Organ and Holy Wednesday: Luke that is like a march; this is driven by the The soloist sings throughout, always Violin. Chelsea Chen, organ; Lewis Holy Thursday: Mark keyboard material. The choir, often in above the choir, whose music is on Wong, violin. Garland organ of Bent- Good Friday: John unison, also contributes to the rhythmic two staves and generally not diffi cult. wood Trail Presbyterian Church, However, with the offi cial church character with syncopation, frequent Syllabic and legato in style, this quiet Dallas, Texas; Casavant organ of calendar, which changes each year, the rests, and wide contrasting dynamics setting is meditative. The choral parts Aula Simfonia, Jakarta, Indonesia. order of these texts sometimes is altered. fi lled with accents. The vocal music, on could be quietly played on organ to Con Brio Recordings CBR21141; Musically, many churches hold a concert two staves, would be especially useful for assist with the intonation of unaccom- www.ConBrioRecordings.com. of sacred music during Lent or Holy a youth choir. panied singing. Rice Dumplings, Zang Qiu-Dong Song, arr. Chelsea Chen; Spring Breeze, Den Yu-Xien; Three Children’s Songs, traditional, arr. Lewis Wong; Jasmine, traditional, arr. Chelsea Chen; Three Taiwanese Folksongs, arr. Chelsea Chen—1. Four Seasons, Deng Yu-Xien, 2. The Cradle Song, Lu Quang Sheng, 3. The Country Farmer, Su Tong; Tai- wanese Suite, arr. Chelsea Chen—1. Hills in the Springtime, Chen Qui-Lin, 2. Moonlight Blue, Deng Yu-Xien, 3. Mountain of Youth, Su Tong; Melodies from Japan, arr. Yui Kitamura—1. Springtime Has Come, Teichi Okano, 2. Hazy Moon, Teichi Okano, 3. Song of the Seashore, Tamezo Narita, 4. Red Autumn, Hideo Kobayashi, 5. Winter Scenery, Anonymous; Memories, Yui Kitamura; Jasmine Fantasy, Chelsea Chen; Arioso, J. S. Bach. In some ways, the centers of culture and civilization seem to be moving eastward at present, away from Europe and North America and toward China, Taiwan, Korea, and Japan. The organ seems to be becoming an increasingly

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16 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM Reviews popular instrument in Asia, particularly recorded at a live performance in the does show his grasp of composition and triplets accompany the text “For he in secular contexts, so perhaps this Aula Simfonia in Jakarta, with Chelsea unique ideas. I fi nd it to be a quite ser- that is Mighty . . .” Repetitious eighth delightful recording is portentous of Chen playing the Casavant organ. The viceable piece of music. notes follow, leading back to the chords the future history of the organ in the fi nal piece on the recording is a “bonus of the beginning. At the conclusion of next century. The Wong-Chen Duo, track” of Chelsea Chen and Lewis Wong Three Essays for Organ, by Calvin the text, Hampton ends the music with represented by Karen McFarlane Art- playing the well-known Arioso from Hampton (1957). Wayne Leupold three melismatic phrases on “Ah” with ists, Inc., comprises Juilliard graduates Bach’s Cantata No. 126. Editions, Inc., WL 700039, www. imitations in the organ. It is an impres- violinist Lewis Wong and Taiwanese I commend this compact disc to wayneleupold.com. sive setting of the Magnifi cat and not organist Chelsea Chen. On this record- readers of The Diapason as a very These three pieces form a triptych diffi cult for organist or soloist. ing they are playing compositions for pleasant recording of music for organ and were also written while Hampton organ and violin based on mostly twen- and violin, played by two extremely was a student at Oberlin. The three In Praise of Humanity, by Calvin tieth-century folksongs from Taiwan fi ne artists. It represents an interesting movements are tone poems contemplat- Hampton (1981). Wayne Leopold and Japan in arrangements by Chelsea synthesis of western music with eastern ing The Crucifi xion, The Mourning, and Editions, Inc., WL 700002, www. Chen, Lewis Wong, and Japanese com- melodies, harmonies, and rhythms, The Ascension. With no time signature, wayneleupold.com. poser and fellow Juilliard graduate Yui and is a musical style that could well or indeed key signature, The Crucifi xion Hampton took the third section Kitamura. Chelsea Chen’s name will become normative during the rest of moves slowly, with melodies that sound from his own Suite in Five Movements already be familiar to many readers the twenty-fi rst century. Gregorian in their origin, beginning very (1976) to fulfi ll a commission from of The Diapason as one of the more —John L. Speller softly and building to large forte chords The Reverend Ronald Miller of Christ brilliant young recitalists of the current St. Louis, Missouri over the slow-moving pedal. & St. John Lutheran Church, West generation, but though the names of The Mourning, again with no time or New York, New Jersey. Toccata-like, Dr. Wong and Ms. Kitamura are new New Organ Music key signature and moving even more in a daunting 10/16 meter, this piece to me, they seem from this music to be Some time ago I wrote a review of slowly, uses melodies similar to those is a kaleidoscopic scherzo with wild equally worthy of notice. Jonathan B. Hall’s book, Calvin Hamp- that appear in the fi rst movement. splashes of color and rhythm. Strictly The repertoire on this compact disc is ton, A Musician without Borders (see the Free movement with repetitions of the indicated swell box directions will make recorded on two separate organs in very March 2012 issue of The Diapason). melodic fragments adds to the feeling of this dance come alive, but expect much different parts of the world. All but one Hall’s book is certainly worth reading for dejection and mourning, which practi- hard work. Three manuals are needed, of the tracks are played on the organ of anyone interested in Hampton’s music, cally drips from every note. two with swell boxes. Diffi cult, but well Bentwood Trail Presbyterian Church, and also for the vast amount of material Similar melodic themes are developed worth the effort. Dallas, Texas, a 4/46 instrument built about Hampton’s life and work. Now, I in The Ascension, which builds gradually —Jay Zoller by Garland Pipe Organs of Fort Worth, have the opportunity of reporting on to a triumphant ending. These three Newcastle, Maine Texas in 2004. The remaining track— some of his music—works that span his “essays” not only show a young composer Chelsea Chen’s Jasmine Fantasy—was entire working life. with a prodigious talent, but are also an Book Reviews part of a performance recorded live in indication of his more mature music to Die Orgelbauerfamilie Steinmeyer the Aula Simfonia in Jakarta, Indonesia. Consonance, by Calvin Hampton come. The essays are effective music in Oettingen, by Hermann Fischer. This 1,200-seat concert hall is part of a (1957). Wayne Leupold Editions, and should be played as a unit, whether Berlin: Pape Verlag, 2011, 627 megachurch called the Reformed Mil- Inc., WL 700038, $8.00, in a liturgical setting or a concert. I can pages. ISBN: 9783921140901; www. lennium Center Indonesia, founded www.wayneleupold.com. imagine them serving well during Lent pape-verlag.de. by evangelist and theologian Stephen This is an early work, commissioned or Holy Week. All three pieces are more Travelers on Bavaria’s “Romantic Tong, who is also the conductor of the by fellow classmate, Larry Palmer, diffi cult than Consonance. Road,” which runs from Würzburg in Jakarta Simfonia Orchestra. Ms. Chen while they were students at Oberlin. the north to Füssen in the south, pass at dedicated her Jasmine Fantasy to Ste- Palmer wanted an offertory for a sum- The Magnifi cat (from Christmas Nördlingen within eight miles of Oettin- phen Tong’s daughter Rebecca, who is mer service and Hampton came up Oratorio) for soprano and organ, gen, a scenic town in its own right. Today’s also a prominent Indonesian conductor. with this short three-page “Cantabile,” by Calvin Hampton (1963). Wayne Wikipedia article on Oettingen lists but The 3/57 organ in the Aula Simfonia is which he called Consonance. On the Leopold Editions, Inc., WL 700028, one industry in the town: a brewery. Casavant Opus 2684 of 1967, originally title page he drew the word Consonance www.wayneleupold.com. Among all bottled beers, however, Oet- built for the First Church of Christ Sci- above its mirror image Dissonance and I’ve tried this piece with a tenor tinger Bräu is said to rank fi rst in sales entist, Lakewood, Ohio, and relocated added this description of the work: “a rather than soprano and it seems to throughout Germany. Yet for most of the to Jakarta in 2008 by San Diego organ- free style study in modern counterpoint work well. A declamatory rendition of past two centuries, across four genera- builder Robert Knight. and false relations of chords.” Of only the Magnifi cat text is set against a vary- tions of the town’s best-known family, it The music ranges from the ebullient moderate diffi culty, it features a meaning accompaniment, which calls for 8′ was not beer that Oettingen exported to to the enchanting, with a distinctly east- dering melody over slightly dissonant Flute Celeste with later additions of all corners of the land and beyond. It was ern fl avor. Some of the works are for solo chords moving in the same note values. strings. The soft chords at the beginning pipe organs built by the fi rm of Georg F. violin or organ, while others feature both A center section, without the solo, are complex, often made up of chords in Steinmeyer (1819–1901) and his descen- instruments. Thus the Three Children’s moves along in the same vein and the different keys used against each other; dants, Johannes Steinmeyer (1857– Songs feature a brilliant performance by piece ends with a recap of the opening for example, G major and D major 1928), Hans Steinmeyer (1889–1970), Lewis Wong on the solo violin, while the material. In some regards, it is not one together; B-fl at and C major; E-fl at and Fritz Steinmeyer (1918–2008). following track, Jasmine, is a quiet gentle of Hampton’s more striking pieces, but and F major, and so forth. Descending ³ page 18 piece for solo organ. Chelsea Chen’s Three Taiwanese Folksongs also feature solo organ, and the third of them, The Country Farm, ends with a well-crafted LONDON fugue. The fi rst movement of Chen’s AN ORGAN FOR MANSION HOUSE, Taiwanese Suite, entitled Hills in the Springtime, is probably her best known composition, having also appeared on her other compact discs, Chelsea Chen We have been commissioned to build a two manual and pedal organ live at Heinz Chapel and Reveries. Once by the City of London Corporation. This instrument will reside in more this suite features the composer on Mansion House for a number of months. It will then be presented as a gift solo organ. We return to organ plus violin with to commemorate the 60th anniversary of the Coronation of Her Majesty Yui Kitamura’s Melodies from Japan, the Queen and will be set up in the Lady Chapel at Westminster Abbey. which show a remarkable eclecticism, combining the Japanese melodies with The casework has been designed loosely along the lines of 18th century elements drawn from the classical, English chamber organs. The instrument will have wheels to enable it to romantic, folk, and even gospel idioms. The piece that follows, Memories, is be moved in both the Mansion House and Westminster Abbey. It is due rather similar and again features the to be completed early in the New Year. organ and violin together. The last piece based on an Taiwanese folk song is Chelsea Chen’s Jasmine Fantasy, featuring the Jakarta Simfonia Orches- tra, conducted by Rebecca Tong, again with Lewis Wong on solo violin, and was ³ St Peter’s Square - London E 2 7AF - England ³[t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 ³[e] [email protected]

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³ page 17 any lap for long—turns out to be less an open market in the region for his tribute composed for special company Between 1847 and 2000, the Stein- the story of a family, notwithstanding its version of the Walcker innovations. And occasions to reviews of new instru- meyer shop built 2,396 new pipe organs, title, than a wide-ranging compendium so he did. In the course of the following ments upon their opening. This section restored or rebuilt countless others, of information about the company and decades, the fi rm of Steinmeyer came concludes with its own little scholarly and shipped thousands of harmoniums its instruments, gathered primarily from to “own” Bavaria and to extend its reach biography. Last but not least, of course, to countries around the world. Both the archives of the fi rm and incorporated far beyond. With employees number- comes a complete Steinmeyer opus tonally and visually, the design of Stein- either verbatim or as facsimile. ing as many as 150 at times, Orgelbau list. Since it is arranged alphabetically meyer pipe organs generally refl ected The context may be Bavarian (and the Steinmeyer grew to become—and to by location, instead of chronologically, the taste and technology of their times. text German), but the volume neverthe- endure—as one of Gemany’s largest and any given location—like Augsburg with That is to say, they ranged from “provin- less presents in the example of Stein- most respected builders. its 40 Steinmeyer builds—becomes cial romantic” instruments at the start, meyer a sweeping cross-section of pipe In 1924, for example, as bids were a hodgepodge of opus numbers. A through full-blown romantic ones in the organ development in German-speaking being considered for a monumental straightforward numerical list by date 1890s, to “universal” Kompromisorgeln Europe from the early 19th century new cathedral organ in Passau, consul- of completion would be more instruc- in the 1920s, to “somewhat Baroque” onward. Fischer begins by crediting tant Arthur Piechler identifi ed three tive for historians, but the alphabetical dispositions in the 1960s, to modern Eberhard Walcker, in whose shop Stein- German fi rms with the capability and arrangement does make it easy to look trackers of balanced tonality in the meyer trained, with essentially inventing experience to build such an instrument: up the details of a particular instrument. company’s fi nal decades. the German romantic organ. Walcker’s Walcker of Ludwigsburg, Sauer of Like other builders of the region in Of course, Steinmeyer has been only introduction of cone-valve windchest Frankfurt on-the-Oder, far to the east, the second half of the 19th century, one of several organ-building dynasties (Kegellade) in 1842, which assigned to and Steinmeyer of Oettingen. Writing Steinmeyer at fi rst employed exclusively in German-speaking Europe, most of each pipe in every register its own valve, as a Bavarian Catholic, Piechler coyly Walcker-school windchests with cone which continue to do business in some rather than a single larger pallet valve tipped the choice toward the home team: valves actuated by wooden trackers. form to this day. Still active and still more for all the pipes of a given note in all the “Regarding the fi rm of Steinmeyer, I After 1890, Steinmeyer adopted tubular- or less in family hands, we have (with registers of a windchest, enabled new should mention that it is unfortunately pneumatic action for the same valves claimed dates of their fi rst instrument) tonal combinations, and made possible a Protestant fi rm—and yet I must note but soon moved to “membrane” valves, Walcker (1780), Jehmlich (1808), Sauer the wealth of wind-hungry foundation that 70% of its work force is Catholic, Taschenventile, patented by Weigle and (1835), Laukhuff (1823), Weigle (1845), stops of the German romantic instru- and that with its roughly 100 employees refi ned by Steinmeyer, whereby a leather Rieger (1845), Späth (1862), Eule (1872), ment. The result: the pipe organ could it is the largest fi rm of Germany and also pouch infl ates or, via vacuum, more rap- Schuke (1894), and Klais (1882). Even develop in grand new ways for the of Bavaria.” He went on to note that the idly collapses to serve as the valve itself Steinmeyer lives on in a sense: a decade industrial age, becoming its own ver- other two were Protestant, as well, add- under each pipe. From 1910 through after closing its doors as a business, its sion of a modern technical wonder after ing, “and fi ttingly so, given the impor- the 1950s, electric or electro-pneumatic archives remain a resource curated by decades of quiet retreat. tance of the organ in Protestant musical action predominated; and fi nally, in the Orgelbaumeister Paul Steinmeyer; and For 19-year-old Georg Friedrich tradition.” Fischer devotes an extended second half of the 20th century, slider- the family not long ago established a new Steinmeyer, organbuilding began in and fascinating section to the history chest instruments with mechanical play- web presence at http://www.steinmeyer- 1838 when, in the course of apprenticing of debate in the planning, construc- ing action. orgeln.de/willkommen.htm. as a carpenter with his uncle in Oettin- tion, and reception of the Passau organ After providing a nicely illustrated It is easy to understand why multi- gen, he entered upon a second, parallel (IV/208); and he cites its ultimately architectural survey of Steinmeyer generational organ-building families apprenticeship with a local organbuilder, comprehensive tonal resources as typi- prospect-styles—beginning with His- might develop. How lucky the youngster Aloys Thoma, who shared shop space cal of the fi rm’s general preference for a toricism’s sequence of Neo-Gothic, who grows up in a household with the with his uncle. Five year later, Stein- golden mean, even in this case a gigantic Neo-Renaissance, and Neo-Baroque wonders of an organ shop just beyond meyer was fortunate enough to continue one. With its fi ve divisions disposed cases; continuing after the turn of the the kitchen door! Imagine the supply his training with the fl ourishing fi rm of throughout the cathedral’s vast Baroque 20th century with striking Jugendstil of playthings: at fi rst wooden shapes of Walcker, in Ludwigsburg. After four space, this instrument represents the designs; then the clean geometry of free- every size, scraps of leather and metal of years with Walcker, Steinmeyer decided apogee of the German romantic plus standing pipes in the 1930s, and fi nally every thickness; later a world of magical to set up his own shop back home. Not “Baroque” Universalorgel. the four-square Werkprinzip cases after tools with no shortage of requests from lost on him was the advantage of Oet- Fischer’s book includes chapters on 1960—Fischer then doubles back for a adults to lend a hand with them. Even tingen’s location on Bavaria’s fi rst north- Steinmeyer’s playing action, console more granular survey of selected instru- if it were not for the European conven- south rail line, running from Lindau to design, prospect design, winding sys- ments from the tenure of each Stein- tion of primogeniture, how could any Hof, construction of which was nearing tems, registration and swell actions, meyer. These four sections constitute fi rstborn son of an organbuilder not tend completion. Oettingen also happens to dispositional trends, plus Steinmeyer the main body of the book, presenting to follow in his father’s footsteps? stand almost on the boundary between “Salon-, Haus- und Privatorgeln” and specifi cations and images of 40 organs Hermann Fischer’s substantial book Catholic Bavaria and Protestant Baden- Steinmeyer reed organs. Numerous by founder Georg Friedrich Steinmeyer, from Pape Verlag, co-authored by the late Württemberg, the perfect location for an vintage photographs (monochromatic 40 by Johannes, 51 by Hans, and 17 by Theodor Wohnhaas (to whom Fischer organbuilder who would naturally hope and some quite fuzzy) are included, as Fritz. Fischer purposely includes several dedicates it), completes some 40 years of to appeal to Protestants and Catholics well as a section entitled, “Steinmeyer instruments of interest lost forever to the the authors’ attention to the Steinmeyer alike. Furthermore, since Walcker’s in Literature”: sixty pages of published bombs of WWII. fi rm. The impressively heavy volume— “hegemony” ended at the Bavarian commentary on the company and To tourists in Passau, the pictur- too weighty to be held comfortably on border, Steinmeyer knew he could fi nd its work, ranging from droll verse of esque town in eastern Bavaria at the confl uence of the Danube and two of its tributaries, the name Steinmeyer may mean nothing more than “builder of the world’s largest church organ,” Thousands of titles, top-tier publishers... the instrument completed in Passau Cathedral in 1928, and the boast of that city ever since. Cognoscenti of historical organs, however, will honor the name Steinmeyer for a very different gift to the organ world: the fi rm’s pioneering restorations, in 1914 and 1922, of the 18th-century organs of Josef Riepp in the Rococo basilica of Ottobeuren. Johannes Steinmeyer’s “change nothing” OneLicense.net approach, unprecedented in its rever- ence for what was original, essentially defi ned “best practice” in the preserva- forSUNDAY ANNUAL and ONE-TIME tion of historic organs decades before it BULLETINS, became the rule. CHURCH COPYRIGHT The contrast between these two very WEDDINGandFUNERAL different kinds of organ project in the same era, one the apotheosis of grand PROGRAMS, organ-building in the modern age and PERMISSIONS the other a model of attention to the PROJECTION, values of the incipient Orgelbewegung, SPECIALSERVICE gives an important clue to what made the Steinmeyer fi rm special. Fischer BOOKLETS, repeatedly suggests that Steinmeyer, Log on and take the tour today! perhaps more than any of it peers, PRACTICE TRACKS, sought to pursue a “best of both” version and PODCASTS of excellence. That was the aim of the “balanced” approach at Passau after the 800.663.1501 full-fl edged Walckerian-romantic character of its early instruments; and it was

18 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM Reviews the nature of instruments like the chief that has endured it all. Yet, aside dressed men of course—in the com- Steinmeyer, namesake of the company’s U.S. example of Steinmeyer’s work, opus from a promising if ultimately not pany’s Hof on the occasion of the fi rm’s founder, who in 1954 and 1955 guided 1543 (IV, 62) of 1931 (essentially con- very revealing Exkurs on the politi- hundredth anniversary in 1947.) In its E. Power Biggs on his earliest Columbia temporaneous with the Passau extrava- cal dance performed in the 1930s by fi nal decades, headed by fourth-gen- recording trips through Germany and ganza), in the Cathedral of the Blessed Hans Steinmeyer and other leaders of eration Fritz, who assumed leadership Austria. Georg Steinmeyer’s recollec- Sacrament in Altoona, Pennsylvania. the Orgelbauerverband in an effort to of the company in 1967, the fi rm built tion of these adventures contributed Jonathan Ambrosino has offered this keep their guild as independent of the contemporary trackers of conservative much to my series, “E. Power Biggs in speculation about the infl uence of this Nazi machine as possible, we get little design, while concentrating ever more Mozart Country” (The Diapason, July, organ—a “pilgrimage” instrument to this information about what the two World on restorations. The 1980 Steinmeyer August, September, and October 2006). day—on Skinner’s G. Donald Harrison: Wars had really meant for the company instrument in the Heilig-Geist-Kirche Despite his having worked for more or for the family. Third generation in Heidelberg (Opus 2354, III/61) than a decade in the family’s business In principle, the full ensemble of the Hans Steinmeyer, who assumed the and the 1987 Tonhalle organ in Zurich (supervising, for example, renovation Steinmeyer organ resembled the [Brit- leadership of the company in 1928, had (Opus 2383, IV/68), the latter a Jean of the winding system for the remote ish T. C.] Lewis ideal, in that mixtures, been lucky enough to spend the whole Guillou design that Steinmeyer com- Kronpositiv in the spectacular Gabler not reeds, dominated the manuals. But in the Steinmeyer, reeds tended to defi ne of World War I in America. In 1913, at pleted in partnership with the fi rm of organ at Weingarten), and despite his the Pedal. And unlike the Lewis ideal, the age of 24, he had traveled to Boston Detlef Kleuker of Bielefeld, stand as having headed the pipe organ division the Steinmeyer upperwork was far larger to study fi rst-hand the application of particularly signifi cant new instruments of Estey from 1955 until Estey closed its in scale and broader in tone, creating a electricity to organ actions then being from the fi rm’s penultimate decade. doors in 1960, this Steinmeyer is granted starchy sort of chorus that tended to leave advanced by Hook & Hastings and E. M. Again, despite the “family” in its title, only this single dismissive sentence in the melody perhaps slightly less distinct, Skinner. When war broke out in Europe this book is much more about things Fischer’s 627-page book: “A second but that brought out the inner voices in in 1914, he found employment with the than people. And so it is meant to be. son, Georg, who later emigrated to the even higher relief—signifi cantly, no matter U.S. branch of the (German) Welte & Fischer’s purpose is not to write the United States, was born in 1924.” how loud the registration. The large-scale Sons organ company in New York City biography of a family but to produces In an elegiac fi nal section, Fischer mixtures gave the full ensemble an entirely different vowel color, more “ah” than and eventually, after Welte’s folding, set a tribute to its achievements and con- suggests that there may something of a “ee.” The Steinmeyer balance structure up his own shop in Toledo, Ohio. He tributions. The obituary-style sketches natural law that limits the arc of a family’s was fairly traditional, with a dominating returned to Oettingen in 1920, bring- of the principal players convey little of business to no more than three or four Great, a subordinate Swell, and a colorful ing an American wife and a young son their personalities, much less any hint generations—as if a laming weariness but restrained Choir. . . . Increasingly un- and daughter. A second son, Georg, was of how they related to each other in sets in that ultimately brings sleep. If we happy with any sort of shrill treble, and yet born in 1924, but by old-world tradition human terms. We get fl at summaries of speculate that the late Fritz, according determined to include more mixtures and it would be Fritz, the senior of the two each principal’s success as a business- to a cliché of popular psychology, may to create a more interesting sort of chorus by six years, who would be groomed to man, memberships in organizations, have been, as the older brother, the and ensemble, Harrison surely found an in- lead the family’s business in the second accolades as a pillar of the community, more “disciplined” of the two, we may triguing way forward in the Altoona organ. The likeness to Steinmeyer’s approach to half of the 20th century. Fritz’s training and honors in the profession. Perhaps nevertheless quietly wonder whether the chorus design is too similar to what Harri- would have to wait for nearly a decade, my dismay at the dearth of humanity in ebullient and energetic Georg, had the son would later develop to be coincidental, however. In 1939, just as the 21-year-old all this stems from the privilege of my leadership of his father’s fi rm fallen to and the example was to be found nowhere was completing his mandatory two years own acquaintance with the robust and him, might have matched the post-1960s else in America than in this instrument. of military service, Hitler marched the charming Georg Steinmeyer, second vitality of organbuilders like Klais and (“Ernest M. Skinner and G. Donald Harri- country off to war, adding six years of son of Hans—the one who, as a younger Rieger, two multi-generational fi rms, son: Retrospective & Review,” lecture, Na- harrowing Kriegsdienst to the military brother, would not inherit leadership of still very active, that have continued to tional Convention, Organ Historical Soci- career of Fritz. Of course we can only the family’s company, and who, instead of produce a cascade of remarkable instru- ety, Boston, Massachusetts, August 2000.) imagine the effect of those years on his staying in Oettingen, eventually to work ments—for Germany, for Europe, and younger brother Georg, aged only 15 at for his brother, took an administrative for the world. Beyond the expected biographical the start of the war and 21 at its end. job in 1955 with the Estey Company of —Anton Warde sketches of the chief organ-builders Like other German organ companies, Brattleboro, Vermont. It was this Georg Cape Elizabeth, Maine of the family, beginning with patriarch Steinmeyer manufactured chiefl y muni- George Friedrich, whose two marriages tions crates in World War II, after organ- produced a total of 19 children, Fischer building became offi cially banned. Pro- lists more than one hundred notable duction of doors and windows followed, employees of the company during its then basic items of furniture, until short- long existence, among them Ludwig ages of materials eased enough to enable Eisenbarth, Emil Hammer, Otto Jehm- the company to begin to fi ll the spate of lich, Hans Klais, Paul Ott, Georges orders fl owing in for organs to replace Schwenkedel, and Albert Späth, all of the many destroyed by war. Fortunately whom went on to become signifi cant for the Steinmeyer shop, Oettingen builders in their own right. Included, had been spared any serious bombing too, are sketches of the various Bavarian damage; and after the war, while in the Orgelsachverständigen, the arbiters of east the Russians were plundering what organ aesthetics who sought to infl uence remained of the shops of Sauer, Schuke, the tonal design of new instruments and Eule, shipping every scrap of useful 2013 and to pronounce their verdict on com- material home to Russia, the western pleted ones. Major players in this were Allies would soon be doing all they could Johannes Mehl, Arthur Piechler, Walter to encourage a return to capitalist nor- E. POWER BIGGS Supper, Karl Straube, and, of course, malcy in their zones of occupation. In Albert Schweitzer. When Schweitzer March of 1946, less than one year after FELLOWSHIP visited the Steinmeyer household in V-E Day in Europe, Hans Steinmeyer 1929, he came ostensibly to praise the could report to the membership of his HONORING A NOTABLE ADVOCATE FOR fi rm for its meticulous restoration of guild, “Already for months we have been the Riepp instruments at Ottobeuren, building organs and harmoniums again, examining and understanding the pipe but equally to lobby for a return to the with a staff nearly the size of before. Our organ, this year’s E. Power Biggs Fellows building of slider windchests. A full-page backlog of contracts is unprecedented.” photograph of Schweitzer on the bench The Wirtschaftswunder of the will attend the OHS 58th National of the Trinity Organ at Ottobeuren, with 1950s followed, but it led the company Convention in Vermont, June 24–29, 2013. Hans Steinmeyer at his shoulder, faces to expand its facilities in Oettingen Hear and experience a wide variety of pipe an equally large, autographed photo beyond what the market for pipe organs of Schweitzer seated at a classic Dutch would continue to support. (One of organs in the company of professional organ. On the photograph, Schweitzer the book’s visual treats is a series of musicians and enthusiasts. has written, “Greetings to Hans Stein- photographs and schematics showing meyer from the slider-chest, with its the development of the fi rm’s physical The Fellowship includes a two-year prophet Albert Schweitzer, May 29.” plant, which came to include a large, membership in the OHS and covers these DEADLINE FOR APPLICATIONS The drama of German history gothic-windowed, erecting hall, vis- convention costs: inevitably adds special interest to the ible in one fascinating photograph of is February 28, 2013. Open to women chronicle of any German company the assembled personnel—all formally x Travel x Meals and men of all ages. To apply, go to x Hotel x Registration www.organsociety.org. 2012 FELLOWS LAURA CARRASCO MAYU HASHIGAYA ORGAN HISTORICAL SOCIETY JONATHAN GRADIN ROBERT WELCH JONATHAN GREGOIRE JOSHUA ZIEMSKI WWW.ORGANSOCIETY.ORG CACTUS SAM HARRIS SAMUEL BAKER CHAIR

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 19 Convention Report

Wilma Jensen Raúl Prieto Ramírez Cherry Rhodes American Guild of Organists National Convention 2012 Confessions of a Puritan

By Robert August

uring my doctoral studies at Bos- a hectic year, looking forward for things programming, but I hit the ground run- recital at beautiful West End United Dton’s New England Conservatory, to slow down during the summer. When ning on Monday, July 2. With my carry- Methodist Church. Wilma Jensen I had the privilege of serving as organ the time came to register for the 2012 on still in hand I arrived at the Nashville played Vierne’s Étoile du Soir, Tour- scholar and assistant university organist AGO National Convention in Nashville Convention Center to hear Jayne nemire’s Choral-Improvisation on “Vic- and choirmaster at Harvard University’s I was reluctant to do so. Just thinking Latva’s presentation on Schumann’s timae paschali,” Fugue by Honegger, Memorial Church. I fell in love with the of all the masterclasses, services, and Six Fugues on B-A-C-H, Op. 60. Dr. and Thierry Escaich’s Five Versets on city and thoroughly enjoyed its many concerts made me tired, wanting to curl Latva’s lecture was refreshing and inspir- “Victimae paschali.” Conductor Don riches. Balancing work and academics up in a ball and go to sleep. To make ing. She introduced several new and Marler, Andrew Risinger (Grand was trying, though, and I often felt like matters worse, the convention’s pro- insightful angles on the matter, and her Orgue), Gregg Bunn (Petit Orgue), an underachiever, never having enough gramming included a number of Great- piano background was instrumental in and the West End United Methodist time to do everything as well as I would est Hits concerts—some performed on connecting some missing dots regard- Church Chancel Choir performed have liked to do. Simply put, I was electronic organs! ing Schumann as composer, organist, Vierne’s Messe Solennelle and Widor’s busy, and I could not possibly imagine a Indeed, the puritan in me rebelled and pianist. At the conclusion of this Messe à deux choeurs et deux orgues—a busier life. It was around that time that against all this nonsense. But remind- presentation I felt recharged; I was glad program well suited for the 1983 V/136 one of my teachers said: “If you think ing myself of the very successful 2010 to be at the convention and was eagerly Möller organ. you are busy now . . . just wait till you national convention softened my spirit, anticipating the upcoming week. To say Matthew Dirst presented a mas- get out of school.” so I went ahead and registered—reluc- that my expectations were met would be terclass on performance issues in the Fast forward to the spring of 2012. tantly though—for this year’s conven- an understatement. Baroque repertoire. Dirst used several Just as my teacher had predicted, life tion. Because of scheduling confl icts Several of Nashville’s own were fea- samples of Handel and Monteverdi was more than busy, and I was tired from I was unable to attend the weekend tured at a collaborative pre-convention scores to demonstrate solutions to

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20 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM commonly encountered problems in this music. This kind of problem solving was very interesting and served as a medium towards critical thinking in future performance issues. Spanish organist Raúl Prieto Ramírez played with great fl air at St. Henry Catholic Church. The program included Saint-Saëns’ Danse Macabre and Liszt’s Mephisto Waltz, sandwiched by Bach’s Prelude and Fugue in G Major, BWV 541, and Guilmant’s Sonata No. 1 in D Major, Op. 42. Mr. Ramirez’s positive, energetic style was quite infectious and his arrangement of Liszt’s Mephisto Waltz was very well received. Cherry Rhodes’s recital at Nash- ville First Baptist Church included the American premiere of Yuankai Bao’s Young Girl Carrying Water on a Shoul- der Pole. Originally written for piano in Tom Trenney 1963, Bao arranged the piece for strings, added an allegro section, and included it as a movement in his China Sight and Sounds Orchestral Suite. The work was Sophie-Véronique Cauchefer-Choplin transcribed by organist Weicheng Zhao, a former composition student with Bao, texts pose numerous problems, and both and currently an organ student with presenters explained the how-and-why Cherry Rhodes. process of their editorial efforts. The A special feature of this year’s conven- combined efforts of the research team tion was the Choir of Trinity College, resulted in more than interesting fi ndings Cambridge, conducted (with a pencil) and performance possibilities, as is evi- by Stephen Layton. The choir—its dent in the new Leupold Bach editions. appearance made possible through Leo H. Davis, Jr. offered a glimpse a generous gift by Peter and Lois into the realm of lesser-known organ Fyfe—presented an exquisite program repertoire: organ music by composers with impeccable precision and clarity. of African descent (including but not The fi rst set of anthems (Arvo Pärt’s limited to African-American compos- Bogoróditse Djévo and John Tavener’s ers). Davis negated the general miscon- Mother of God, here I stand) was per- ception that most African organ music formed without conductor (!), and one is based on the Negro spiritual, and could hear a pin drop in the capacity- through various samples introduced a fi lled sanctuary. Next was a chilling wealth of organ repertoire that remains rendition of Robert Parsons’ Ave Maria, virtually unknown. His extensive illustra- Organized Rhythm with its unsurpassed, elongated Amen. tions included compositions based on It was amazing to see how the choir spirituals, plainchant, original themes, 2012 convention). After a brief pause and Distinguished University Organist at handled a long, taxing program, without Protestant hymnody, German chorales, the recital proceeded with Matthew Southern Illinois University, Carbondale. the slightest sign of fatigue. music from the Jewish liturgical tradi- Dirst, harpsichord; Colin St. Martin, As stated in the program, “Miss Webb’s Sophie-Véronique Cauchefer- tion, and African-tribal tunes, as well as traverso; and Mary Springfels, viola endowment, established in perpetuity, Choplin played a recital in the beautiful civil rights themes. da gamba. The trio played a nice variety will present world-renowned concert new sanctuary of Covenant Presbyterian Vance and Peggy Wolverton took of works by François Couperin, Jean- organists in recital during the biennial Church, with its stunning 2009 Fisk a similar approach in their presentation Marie Leclair, C.P.E. Bach (harpsichord National Conventions of the American organ. Her program included a variety of of Baltic organ music. Vance Wolverton solo), and J.S. Bach. Guild of Organists.” The diverse program well-known pieces, including toccatas by discussed the works of chiefl y unknown Thomas Trotter’s appearance was perfectly suited the Schoenstein organ at Renaud and Bélier, Franck’s Choral No. composers, while his wife accompanied made possible through a generous gift the Schermerhorn Symphony Center, 3, and, as expected, an improvisation on his remarks with excerpts of Baltic organ by Marianne Webb, Professor of Music and Thomas Trotter—Birmingham a given theme. Later that week she pre- literature. With the possible exception sented an improvisation workshop, dur- of Estonian Arvo Pärt, the majority of ing which she used a simple melody to Baltic composers remains unknown, pri- demonstrate how to expound on melodic marily as a result of more than 50 years 4A?RRCPCBJC?TCQDPMKMSP4AP?N@MMI lines and rhythmic cells while exploring of Soviet occupation. modes and tonal centers. Organized Rhythm blew the crowd While his French counterpart pro- away with their rendition of Gustav From a review of different dynamic levels. vided insight in the exploration of modes Holst’s The Planets. Organist Clive Ken Cowan Plays . . . .while the Reger etc., Tom Trenney took a practical Driskill-Smith and percussionist Romantic Masterworks showcases an astonishing approach to hymn improvisation. He Joseph Gramley treated the audi- (Raven OAR 903). array of sounds, these skillfully demonstrated how hymn motifs ence to a shortened version, which never take precedence can be used in hymn improvisation. included the Mars, Venus, and Jupiter Ken Cowan plays over the communication with verve and energy of the musical sense of Improvisation masterclasses can at times movements, with an added Pluto, newly and exploits the rich the piece. Although both be intimidating, to say the least. Kudos composed by Stephen Eddins. Ironi- symphonic palette of the are staples of the German to Tom Trenney for his personable cally, Holst disliked shortened versions vast Lincoln Schoenstein Romantic repertoire, approach and his ability to break the of this work, especially ones ending 1 instrument. This has Cowan succeeds in mak- music down into very practical building with the jolly Jupiter . Nobody except an extremely warm, ing them sound fresh, blocks. Trenney played a nicely varied for Gustav seemed to mind, though. rounded tone, and through his energetic program at beautiful West End United The duo ended their program with a is capable of lengthy and controlled playing Methodist Church, which featured, performance of Saint-Saëns’ Carnival and seamless crescen- and his command of this among other works, Ives’s Variations on of the Animals, interspersed with short, dos as Cowan amply remarkable instrument. ‘America’, Alain’s Deuxième Fantaisie, witty poems by Ogden Nash. This demonstrates on this Bach’s Passacaglia, and several improvi- program was incredibly appealing and recording, while also Martin Clarke sations, including an improvisation on can serve as a vehicle to pique young- possessing numerous Organists’ Review Ora Labora, offered in memory of Dr. sters’ interest in the organ and classical colorful solo stops at Gerre Hancock (1934–2012). music—highly recommended! George Stauffer, general editor of The Thursday afternoon program at the Leupold edition of the complete Belmont University Hall started with organ works of J. S. Bach, lectured about two new choral works, sung by the performance issues in Bach’s organ Nashville Chamber Singers. First we works. His presentation complemented heard Alan Smith’s There Is a Flow’r Schoenstein & Co. his earlier masterclass (co-presented (AGO/ECS Publishing Award in Choral with Wayne Leupold), which dealt Composition), followed by Rosephanye Established in San Francisco 1877 with editorial problems in J. S. Bach’s Powell’s multi-movement work The www.schoenstein.com e (707) 747-5858 organ works. Discrepancies in surviving Cry of Jeremiah (commissioned for the

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 21 Convention Report

Matthew Dirst, Colin St. Martin, Mary Springfels

Thomas Trotter

City Organist (U.K.), among other Wilson in a spectacular program with things—was right at home at the console the Nashville Symphony Orchestra. of this orchestral instrument. Handel’s This concert was made possible through Organ Concerto Op. 4 No. 2 sounded the generous gifts of Murray and Hazel surprisingly well on the Schoenstein, Somerville, and Hank Woerner. The pro- and Schumann would have been very gram included Brahms’s Academic Festi- pleased with the performance of two of val Overture, Mendelssohn’s Variations his Canonic Studies. The audience was Sérieuses (transcribed by N. Laube), clearly amazed at Trotter’s technical and Dvorák’s Carnival Overture, and Wag- musical abilities and the lengthy standing ner’s Die Meistersinger von Nürnberg. Todd Wilson and Nathan Laube ovation at the conclusion of the program In addition, the audience was treated to (Rossini’s William Tell Overture) was organ concertos by two living composers: and Stephen Paulus’s Grand Organ AGO planning committees and every- more than deserved. Puerto Rican-born composer Roberto Concerto. Since the majority of organs one involved for balanced programming Friday evening’s program featured Sierra’s Organ Concerto, which was are found in houses of worship, these with plenty to enjoy for both organ organists Nathan Laube and Todd commissioned for the 2012 convention, works have the ability to reach a crowd music lovers and connoisseurs. Con- that might ordinarily not be exposed to gratulations on a wonderful convention. organ music on a regular basis. Indeed a Goodbye Nashville and hello Boston. I great outreach opportunity for the AGO! will see you in 2014! Q And then there was Hector Olivera. A Precious Gift What can I say? I have to admit that I Notes was reluctant to go hear Mr. Olivera’s 1. Imogen Holst, A Thematic Catalogue of recital. All these transcriptions on elec- Gustav Holst’s Music (London: Faber and Fa- from the Past tronic organs—how could it possibly be ber, 1974), p. 73. any good? How ironic that a pipe organ for the Present builder encouraged me to go. Well, the Robert August is director of music/organist whole show was electrifying (no pun at First Presbyterian Church of Fort Worth, intended). Mr. Olivera, or Hector, is ever Texas. Before coming to Fort Worth, he held and the Future the position of assistant university organist as much a showman as an organist. Here and choirmaster at the Memorial Church at we were in the large, non-resonant hotel Supremely beautiful and blendable Harvard University, while pursuing his doc- ballroom, listening to transcriptions toral degree at the New England Conserva- tonal color – a Gift from the Venetian played on an electronic organ. Yet, some- tory of Music. In 2010 his doctoral thesis on School of organbuilding, a monumental part of our how it didn’t matter. It was exhilarating, the organ works of Robert Schumann was JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH witty—fun! Hector’s ability to combine published in Europe and the United States, celebrating the composer’s 200th birthday. SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN technique, musicality, and personality simply brought the house down, and he Educated in the Netherlands and the United surely gained numerous fans, including States, August has an extensive background Intriguing? Let us build your dream. in organ performance, and a long history yours truly. of church performance and conducting. He All in all, Nashville had much more has served as carillonneur at Brigham Young to offer than I had expected. In addition University, and as organist and conductor to the many fi ne restaurants there was at several churches in the Netherlands. In a plethora of exciting live performances addition to collaboration with artists such in the many clubs and bars for those as Christopher Hogwood and Simon Car- who needed a break from pedals and rington, he has performed in Europe and the pipes. The many worship services were United States as a solo artist and accompa- uplifting, combining standard choral nist, including tours and CD recordings with Builders of Fine Pipe Organs to the World the Harvard University Choir, the Harvard repertoire with some stellar new com- Baroque Chamber Orchestra, and the Texas positions. A sincere thank you to the Boys Choir. Robert August often performs www.ruffatti.com many contributors, who through their with his wife Dolores, who holds a master’s fi nancial gifts enabled the many fabu- degree in fl ute performance from the Univer- Via Facciolati, 166 Padova, Italy 35127 [email protected] In the U.S. 330-867-4370 lous performances. And kudos to the sity of North Texas.

22 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM Festival Report Albert Schweitzer Organ Festival Fifteenth Anniversary

By David Spicer First prize winners (l to r): high school division, Joseph Russell; young profes- e have been blessed with beauti- Albert Schweitzer), Jane Marshall; Go Ye Bryan Holten: Trio Sonata No. 4 in E sional division, Michael Gebhart Wful weekends for this festival, but Into All the World, Robert Wetzler; Let Minor, BWV 528; Franck, Choral No. 2 this year was especially lovely. The leaves Heaven Rejoice (Rock Harbor) (text by in B Minor; Conte, Toccata; hymns: St. second prize of $1,000 and the young don’t turn color until October, but the Hal M. Helms), Alan MacMillan. Thomas (Williams), Eventide. professional division second prize of weather was indeed glorious. That, com- Each of the judges played a selec- At 12 noon the high school division $1,500—came from Marilyn Austin and bined with wonderful organ music, set tion of their own choosing at the fi nalists were heard. Joseph Russell: the Austin family, several individuals in the stage for the fi fteenth annual festival. Friday evening opening concert. Bach, Prelude and Fugue in G Major, the First Church family, and others. We are grateful to be able to encourage A video camera, via closed-circuit BWV 541; Widor, Cantabile (Symphony Special thanks go to Bon Smith, Alex young organists with this competition, television, projected images of the No. 6, op. 42, no. 2); Langlais, Hymne Belair, and Michael Tanguay of Austin and had some wonderful applicants who organists in the balcony onto a screen d’action de grâces ‘Te Deum’; hymns: St. Organ Service Company of Avon, Con- sent in CDs. Diane Meredith Belcher downstairs. The selections: Pageant, Thomas (Williams), Ar Hyd y Nos. necticut, who were on hand throughout served as the screening judge for these Sowerby (Faythe Freese); Fugue in E Anna Pan: Bach, Prelude and Fugue in the Saturday competition to offer assis- applications. Judges for this year’s festi- Minor, BWV 548, Bach (Cherry Rhodes); C Major, BWV 547; Widor, Dolce (Sym- tance, should the organ need it. We are val were Faythe Freese, Cherry Rhodes, Vesper Hymn—Improvisation—Golden phony No. 4); Vierne, Naïades (Pièces also grateful to Bon Smith for his gracious and Gordon Turk. It is interesting that Domes of Kiev (Gordon Turk). de Fantaisie, op. 55, no. 4); hymns: St. gift of maintenance for this festival. Alex both Cherry and Gordon, as youngsters, Saturday morning, from 8 am to 11 am, Thomas (Williams), Hamburg. Belair and Michael Tanguay of Austin had written to Dr. Albert Schweitzer— the young professional division fi nalists Matthew Edwards: Fantasie in G Organ Service Company are the regular and they each received a reply! played the required repertoire. Michael Major, BWV 572; Widor, Adagio (Sym- curators of this instrument. Thanks to On Friday evening, September 7, our Gebhart: Bach, Trio Sonata No. 5 in C phony No. 5); Alain, Litanies; hymns: St. Linda Henderson, festival coordinator traditional opening concert was held. Major, BWV 529; Franck, Choral No. 3 Thomas (Williams), Hamburg. and associate, for so ably performing the David Spicer played the service/choral in A Minor; Messiaen, Dieu Parmi Nous; Later that evening, all fi nalists and organizational work that made the festival portions: Prayer (Larghetto) from Ser- hymns: St. Thomas (Williams), Slane. judges had a chance for interaction and run smoothly and effi ciently. enade for Strings, Elgar, transcr. Spicer; Samuel Nelson: Trio Sonata No. 6 in G discussion over a delicious meal provided Churches that allowed their instru- Psalm 150, Franck; Christ Is Made the Major, BWV 530; Franck, Choral No. 3 in by Dana Spicer at the historic Solomon ments to be used for additional practice Sure Foundation (Christ Church), A Minor; Dupré, Prelude and Fugue in G Welles House in Wethersfi eld, which is included Trinity Episcopal Church, Dirksen; Kyrie (from Messe Solennelle, Minor, op. 7, no. 3; hymns: St. Thomas very near the First Church of Christ. Wethersfi eld, the Reverend Scott Lee, op. 16), Vierne; He Comes to Us (text by (Williams), Ein’ feste Burg. On Sunday, September 9, all fi nalists rector; First Church of Christ, Glaston- played portions of the 8:45 and 10:30 am bury, Angela Salcedo, director of music worship services. At 1:30 pm, a masterclass ministries; the Cathedral of St. Joseph in with the three judges was held. Many Hartford, Dr. Ezequiel Menéndez, music important topics were covered, and awards director; and St. Paul’s Lutheran Church, were presented. High school division: Wethersfi eld, Melissa Cheyney, organist. fi rst place, Joseph Russell from Grays- Plans are underway for the 2013 lake, Illinois, student of Thomas Bara; Albert Schweitzer Organ Festival, second place, Anna Pan from Burlington, including the opening concert of the Connecticut, student of John Rose; third festival on Friday evening, September 6 place, Matthew Edwards from El Centro, at 7:30 pm. Our 2012 fi rst-place winners, California, student of Hope Davis. Joseph Russell and Michael Gebhart, Young professional division: fi rst place, will perform in recital on Sunday, June Michael Gebhart from Bloomington, 9, 2013, at 7:00 pm at the First Church of Indiana, student of Janette Fishell; sec- Christ, Wethersfi eld, Connecticut. Q ond place (tie), Bryan Holten from Roch- ester, New York, student of David Higgs, David Spicer began as Minister of Music and Samuel Nelson from Lynn, Mas- and the Arts at First Church of Christ in sachusetts, student of Douglas Marshall. Wethersfi eld, Connecticut, in 1986. In 1996, he and Dr. Harold Robles founded the Albert Leigh and Betty Standish provided Schweitzer Organ Festival. Spicer is a gradu- Anna Pan, Joseph Russell, Matthew Edwards, Michael Gebhart, Samuel Nelson, the $2,000 fi rst-place award in the high ate of the Curtis Institute of Music, where he Bryan Holten, Rev. Deryk Richenburg (senior minister), Cherry Rhodes, Gordon school division. The young professional studied with Dr. Alexander McCurdy, and the Turk, Faythe Freese, Linda Henderson, David Spicer division fi rst prize of $3,500 was given Eastern Baptist Theological Seminary. by Robert Bausmith and Jill Peters-Gee, M.D. John Gorton and Richard Pilch Information about the Albert Schweitzer provided $1,000 for the David Spicer Organ Festival and current requirements for Hymn Playing Award, which was given the competition are available by telephone at 860/529-1575, ext. 209, by e-mail at music@ to high school division fi nalists Joseph fi rstchurch.org, or by viewing the ASOF web- Russell ($750) and Anna Pan ($250). site: www.fi rstchurch.org/ASOF. Other prizes and gifts toward the festival—including the high school division Photos by David Gilbert

THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET the first Sunday of each month at wrti.org Finalists, judges, et al., letting off some steam after a long weekend. Photo taken at the “bounce house” at the church picnic following the morning worship services.

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 23 Bach Research

as teaching pieces. In any case, they are it from. Yet the magazine offers two a far cry from the fl uid idiom and trans- excerpts from his violin arrangement, the parent harmonies of 565, even if they editor (not the author) claiming outra- display a predilection for fully diminished geously that it was “reconstructed” from harmonies. Their harmonic language and “an 18th-century manuscript that is also keyboard idiom are too opaque, and for the basis of the organ work”17 (emphasis BWV 565: all their off-putting audacity lack anything mine). This “basis” is, of course, Ringk’s like the genuine dramatic import of 565. manuscript of the organ work. Composer Found?* It would seem, in any case, that Bach’s To his credit, Fox-Lefriche recognizes formation as an organist is more the work the problems with the early-Bach theory, of north German composers such as for some of the same stylistic reasons I By Jonathan B. Hall Böhm and Buxtehude, not to mention the shall mention below. He rightly notes the transplanted Bohemian Johann Kuhnau, unisons and solos, the odd abruptness of The debate over the authenticity of these are interesting, none is convincing, his predecessor in Leipzig. Bach’s early the arpeggio in bar 3, the long stretches BWV 565, the Toccata and Fugue in D save the last, which admits no argument. fascination with (and perhaps moonlight of unvaried harmony, and the apparent Minor, has continued for thirty years. The young-Bach or pre-Weimar theory copying of) works like the Fiori Musicali disregard of basic rules—all signally This article summarizes and critiques is based, in essence, upon the multipartite would not have exposed him to the sec- foreign to Bach’s style.18 I believe he is key points of that debate, taking the posi- nature of the piece, its extensive use of onda prattica represented in 565. The certainly correct when he says that “Bach tion that J. S. Bach is not the composer. passagework, and its perceived emotion- Toccata and Fugue is assigned to Bach’s had nothing whatsoever to do with the A candidate composer is presented, Cor- alism; yet the open-ended, improvisatory teenage years, ultimately, because it is piece, either for violin or for organ,”19 at nelius Heinrich Dretzel of Nuremberg structure is not clearly akin to the fi ve-part least out of place there. least insofar as authorship is concerned. (1697–1775). A stylistic comparison of präludia of Buxtehude or his ilk. It is also Christoph Wolff states fi rmly that 565 Similar problems accrue to the ‘cello his Divertimento Armonico to BWV565 too distinctive, too fl uently assured, to be is indeed an early work of Bach; he relates and lute theories. Both take note of reveals a very high level of congruity, the early effort of a student, even a brilliant it to Forkel’s description of the undis- idioms familiar to their instruments of arguing for his authorship. one. One also notes the clear Italian infl u- ciplined enthusiasm of Bach’s earliest choice, and wish to claim the work as ence in harmony and style, the absence work.11 However, for this writer, Forkel’s their own. However, neither of these The problem of internal sectional cadences, and the description does not suit the Toccata and theories is presented dogmatically. (Mark For about thirty years, the question of simplicity of the counterpoint: all atypical Fugue, though it applies well to the cho- Argent, in particular, advances the ‘cello the authorship of BWV 565—the famous of North German practice. (Surely, given rales just mentioned. One notes again the hypothesis with welcome caution.) Cer- Toccata and Fugue in D Minor, long the work’s famous fi nal cadence, a young economy of the toccata and the fl uency of tainly, this writer has no trouble whatso- attributed to J. S. Bach—has been raised Bach would have noticed opportunities the fugue, which strikes one as the work ever with transcriptions or arrangements civilly but persistently. Broached in 1981 for internal cadences as well.) not of immature genius but of mature of the work: nay, the more the merrier: by Peter Williams,1 the question has Also, we have a specimen of Bach’s ingenuity—neither undisciplined nor come fi ddle, come xylophone. But they spawned a variety of imaginative answers: youthful writing, his Capriccio sopra la early. Like Gandalf, it arrives (complete must be acknowledged as transcriptions that the piece is defi nitely by Bach, from lontananza del suo fratello dilettissimo, with magical fi reworks!) neither early nor or arrangements, and never as paths to his earliest youth;2 that it is possibly a BWV 992; the keyboard idiom and late, but precisely when it means to. an imagined Urtext. transcribed violin work;3 that it is cer- harmonic language are both dissimilar As to the work’s purported violinistic The harpsichord theory cannot explain tainly a transcribed violin work;4 that it to those of 565, the fugal writing in par- roots, due note is taken of the bariolage the sustained chords over a prolonged may have been intended for fi ve-string ticular. We possess as well a number of technique that is emulated in much of tonic pedal in bar 3 of the toccata; or ‘cello;5 or even better, for lute;6 or that it chromatic, high-strung, ‘Arnstadt’ chorale the work, including the fugue subject; the sustained and untrillable dominant may have been written for harpsichord;7 settings, such as BWV 715; very possibly but no candidate composer comes forth, pedal tone in the left hand during the that it may have been written by Kellner;8 the infamous variationes so displeasing nor any evidence for the conjectured fugue (bars 105 and following); or the that we may, one day, fi gure out who to the Arnstadt consistory in 1706.10 One A-minor original. Williams’s seminal adagissimo section towards the end. All wrote it;9 and so forth. Everyone agrees cannot realistically imagine their compo- article rests, at least in part, on a reversal of these depend on the unique sustain- that the piece is wonderful. While all of sition after a very early stage, certainly not of the burden of proof: the work cannot ing power of the organ; I cannot imagine be proven to be for the organ.12 The bal- any application of style brisé that could ance of his argument relies on the work’s do them justice. (And again: why a pedal evocation of string idiom, and thus the solo? The piece is equally unsuited to a comparative ease with which the work pedal harpsichord.) may be paraphrased on violin—albeit I fi nd that the piece is conceived in transposed and thinned out! and saturated in organ idiom, so that no Johann Paul von Westhoff is men- degree of arrangement or copyist inter- tioned, even though his music bears no vention can be conjured to account for trenchant similarity to the work in ques- the received text. This idiom does not Example 1. Divertimento i, bars 1–3 tion. He is chiefl y useful as an example of demonstrate anything more than stylish ending a violin piece with an open fi fth, feints at string technique. Its antinomian a common enough occurrence and one pretensions, such as the long unisons, which, here, helps beg the question of “trivial” part writing, ambient plagality the inconvenient fi nal minor chord. (Also and fi nal chords, must be dealt with; avoided in this violin ‘reconstruction’ is they cannot be solved by subtracting the the poor 4–1 resolution in the bass line in pipe organ from the equation. In fact, the fi nal cadence in the organ work—it the organ is not the source of discomfort, simply disappears, replaced by a leading but rather Bach himself. Example 2. Divertimento i, bars 4–6 tone that resolves quite properly.) Mean- As far as a different organ composer is while, a touchier question—why a pedal concerned, 565 is closer to Kellner’s style solo in the middle of a violin piece?—is than to Bach’s, but it is also not Kellner’s not raised, because it cannot be style. This conjecture, advanced by answered. What else could that passage David Humphreys, cites two examples of be? What other raison d’être can it have, Kellner’s organ writing.20 They are strik- how can it even avoid risibility, if it is not ing, displaying both facility and drama. there to display pedaliter pyrotechnics? Still, they do not altogether convince, In several recent studies, Williams is because the style, though facile and dra- willing to leave the question open. In matic, is not convincingly similar to that the earlier, he mentions in particular of 565. Still, it is easy to see the attraction the cello theory; in the later, he hews to of this hypothesis, especially if a closer agnosticism.13 Here and elsewhere, he match is not forthcoming. Meanwhile, Example 3. Divertimento iii, fi rst two entries remains undecided whether the work is a computer-based, quantitative study a transcription, or by someone else.14 by van Kranenburg (2007) is fi ttingly In another article, Bruce Fox-Lefriche inconclusive; he will not award the piece states with fi nality that 565 was written to either Kellner or Bach.21 for violin solo.15 No choice is offered: The exhaustive study on the authen- the essay asserts that there is “no doubt” ticity of 565, by Rolf Dietrich Claus, that the piece cannot have been written concludes that the piece is not by Bach. either by Bach or for the organ, because This conclusion comes after considering it is “unidiomatic” and “far too clumsy.”16 the transmission of sources, the style (In fact, it is neither; it is thoroughly and form of the work, and in short every idiomatic to the organ, and quite fl uid aspect of the problem imaginable. It is a throughout.) It would seem evident fascinating book, even though Claus does that any attempt to ‘reconstruct’ a violin not propose a likely composer. He does, ‘original’ is a prima facie impossibility, however, conclude that the chances of Example 4. Divertimento iii, ‘solo’ in 28–31 because there is nothing to reconstruct fi nding one are “not bad.”22

24 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM The question thus remains open. On fame have not endured, even within his Perhaps it also argues for an earlier, words, I am aware of no specifi c evidence the one hand, serious doubt has been fatherland. Biographical entries shorten rather than later, date for the composi- to the contrary of my idea, no adverse growing regarding Bach’s authorship, and in every successive encyclopedia. In 1883, tion of 565; Wolff notes other “archaic” circumstances to account for; frankly, this there are strong reasons both to share it Fétis called him an ‘organiste habile,’ but features in Ringk’s manuscript.35 is an advantage over the other arguments and to decide in the negative. The struc- had little else to say, even approximating The Divertimento Armonico consists heretofore adduced. I believe that the tural and stylistic reasons are many: the his birth year.27 Dretzel is forgotten today, of three movements: allegro, adagiosis- composer of the Divertimento Armonico extensive use of octaves is unheard of in probably because he published so little simo [sic], and fuga. All three display is also the composer of 565. the free works, as are the harmonies of music. For years, he was remembered signifi cant stylistic congruence and 1. The opening of the Divertimento is the fi nal cadence; the counterpoint in the chiefl y as the editor of a large collection closely parallel passages—one might quite unlike anything Bach ever wrote, in fugue is light and the voice-leading incon- of hymns, Des evangelischen Zions musi- say intertextuality—with 565. The most that the fi rst phrase is repeated verbatim. sistent. The subdominant answer, though calische Harmonie.28 Another composi- compelling resemblances come in the Bach always varies his antecedent and logical and necessary, is atypical, and Bach tion, a brief alla breve, was published in second and third movements, which consequent phrases, either harmonically nowhere (else) uses a theme of this nature. Christoph Gottlieb von Murr’s magazine form an adagio-fuga pair quite like 565 or melodically. Never—even once, as The work is also not found in autograph, Der Zufriedene in March, 1763.29 (Murr itself. Meanwhile, the difference in far as I can see—does he simply say the but only in the hand of Johannes Ringk, was also a collector of Bach manuscripts.) medium—organ versus harpsichord—is same thing twice. It is still odder to fi nd via Kellner (would he really not claim A divertimento for keyboard was some- not particularly important in this context, the second of three repetitions varied by authorship?); and so on. But on the other times mentioned but believed lost. as certain elements of keyboard idiom diminution. [Example 1] It is needless to hand, if the question has gained traction, Then, in 1969, the harpsichordist and many of style easily cross over. adduce examples of Bach’s own practice. a proposed answer has not. and scholar Isolde Ahlgrimm published I might mention the opening of the an article dealing with a unique score Points of similarity Italian Concerto, the aforementioned Cornelius Heinrich Dretzel in the National Széchényi Library in I believe that noting points of similar- Capriccio, the Chromatic Fantasy and Recently, in studying some of the re- Budapest.30 The work turned out to be ity between the two pieces—making Fugue, among many others for examples attributed keyboard works in the Bach Dretzel’s lost keyboard work, titled both concrete comparisons—is an appropri- of balanced, but not simply reiterated, catalogue, I encountered BWV 897, Divertimento Armonico and Harmon- ate method of demonstration. After all, it phrase structure. a Prelude and Fugue in A Minor. The ische Ergözung31 [sic]. Its catalog num- is the basis of Humphrey’s article, cited 2. Throughout this fi rst movement prelude is now attributed to Cornelius ber is Z 41.618; the score once belonged above; and it is a straightforward way to Dretzel shows a strong predilection for Heinrich Dretzel (1697–1775), an to Franz Joseph Haydn, and came to the synthesize a view both of the unfamiliar simple harmonizations in thirds and organist highly respected in his native library through the Esterházy family. Divertimento, and the perhaps too- sixths; he will also do this in the fugue. Nuremberg and a student of Bach.23 I The bilingual title page, and use of the familiar 565. Also, he often makes use of solo pas- was forcefully struck by clear parallels to word Concerto/Concert, led Ahlgrimm I cannot offer a theory of provenance; sages, including one that is virtually 565, in particular the Toccata, and inves- to suspect publication after Bach’s Ital- I do not know how the manuscript came identical to an episode in the fugue of tigated the piece more closely. ian Concerto in 1735. (The title page to Kellner, an indefatigable collector and 565. [Examples 2, 3, and 4] Commenta- Cornelius Heinrich Dretzel came may, if anything, refer to the Musika- traveler. Possibly von Murr, also a collec- tors have long used words like “trivial” from a long line of musicians in his native lische Ergötzung, published in 1695 by tor, was involved. Possibly the work was to describe the similar harmonizations city of Nuremberg. The most famous the most famous Nuremberger organist, an early thunderbolt. Perhaps it postdates found in 565/ii. member of the family was his forebear Johann Pachelbel.) The work is only the Divertimento (on stylistic grounds, 3. The second movement, remarkably, Valentin (1578–1658). He almost cer- certainly datable to between 1719 and I believe this is likelier). We know we is marked adagiosissimo. This peculiar tainly studied with J. S. Bach around 1743, when Dretzel (as he states on the have no autograph of 565, but only a word is best known to organists from the end of the latter’s time in Weimar, title page) was organist of St. Egidius.32 copied text that has engendered perplex- the conclusion of BWV 622, “O Mensch, probably in 1716–1717. He is mentioned The second of the Divertimento’s ity. The evidence for my thesis is drawn bewein,” in Orgelbüchlein. The term twice in the Bach-Dokumente as a stu- three movements, titled adagiosissimo from the two works in question; with the is also found at the third movement of dent of Bach. In one of these passages, in the original and molto adagio in additional notandum that all other known Bach’s early Capriccio. MGG takes note C. D. F. Schubart writes: Schmieder, was the same piece as BWV circumstances of time and place are, at of this occurrence by following it with 897.1. Ahlgrimm’s conclusion is that least, not opposed to my thesis. In other an exclamation point in parentheses.36 In Nuremberg . . . in the churches I heard students of the German Arion, the Dretzel did not appropriate the prelude immortal Sebastian Bach, which made me from Bach, but composed it himself; feel in the fi rst place how rare a good or- and she ascribes “glory” to Dretzel for ganist is. The names of Drezel, Bachhelbel, having written a work worthy of being Löffeloth, Agrell, assuredly deserve more thanks and fame than the annals of music attributed to Bach. The reader is advised history have accorded them.24 to make a mental note of this last point: Dretzel has fooled us before. Dretzel’s career was discussed at length On examining this readily available by Georg A. Will in 1802, who ended Dretzel piece, BWV 897.1, I was struck with this impassioned tribute: by features I associate with BWV 565, and with no other piece ascribed to [He is] recognized as one of the greatest virtuosos of his time in performance and Bach, or to anyone else. The feeling grew composition, so that his name and fame are swiftly that this unlikely composer is the very great even outside his fatherland. His likeliest, by far, to have composed the compositions, especially in church music, 25 famous work in question. Certainly, he will forever be accounted as treasures. offers us a far closer stylistic match than The article in MGG (which calls him those previously suggested. Ahlgrimm Opus 116 Georg) also quotes Schubart’s commen- is right in deducting this prelude from tary on him: the Bach corpus. I suggest that, once deducted, it takes 565 with it. . . . Drexel, a student of the great Sebastian Bach and indeed one of his best. He played The feeling continued to grow upon the organ with great force, and especially examining the balance of the Diver- understood registration, and composed timento; fi rst, the excerpts in the Ahl- with spirit for his instrument . . . he chose grimm article, and then a digital scan of fugue themes for their songfulness, and St. Paul’s Episcopal Church handled them gracefully throughout . . . he the entire composition, provided by the M U R F R E E S B O R O , T E N N E S S E E understood counterpoint thoroughly . . . 26 staff of the National Széchényi Library. If there is any infl uence at all from The Létourneau pipe organ at St. Paul’s Episcopal Dretzel served in the most famous Bach’s Italian Concerto, it is limited to Church was completed in July 2012 and offers 26 ranks churches of his native city, his career the linguistic affectations of the title over two manuals and pedals. With a superbly flexible culminating in the prime position, that of page—which are matched by a bilingual specification, the organ boasts five 16’ ranks and is St. Sebald. In two churches, St. Egidius preface to the Cortesissimo Lettore/ and St. Sebald, he followed Wilhelm Geneigter Leser.33 (Bach uses the phrase housed within a solidOpus oak 118 case displaying tin pipes. Hieronymous Pachelbel, scion of another Gemüths-Ergötzung in his subtitle as For details about this organ and others, please contact family of Nuremberg musicians and well.) This preface refers to the score as us or visit our website. prime representatives of the so-called “this fi rst attempt” in publication (questa Nuremberg School of organists. Nurem- prima prova/dieser erste Versuch). berg itself needs no introduction as a city Turning to the score, which is elegantly LÉTOURNEAU PIPE ORGANS devoted, not only to music, but to the arts engraved, one notices fi rst that the of rhetoric and singing as well. Known for right-hand part is written in soprano clef UNITED STATES CANADA centuries as a cultural and commercial throughout—like Ringk’s manuscript of 1220 L Street NW 16355 avenue Savoie crossroads, its culture remains cosmo- 565 and, according to Russell Stinson, Suite 100, Box 200 St-Hyacinthe, Québec politan, with an Italian infl uence, and its interesting although not a defi nitive Washington, DC J2T 3N1 churches are both Lutheran and Catholic. indicator of date of composition.34 The 20005 Tel: 450-774-2698 Dretzel worked for churches of both con- suggested time frame would include the Tel: 800-625-PIPE Fax: 450-774-3008 fessions during his long career. year of Dretzel’s study in Weimar, and is Fax: 202-737-1818 [email protected] [email protected] www.letourneauorgans.com C. H. Dretzel died on May 7, 1775, also consistent with his identifi cation of and it is needless to add that his name and the Divertimento as his “prima prova.”

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 25 Bach Research

This strange tempo designation occurs purposes, handfuls of notes are called in the Toccata, measure 22 ff. The fi gura- hangs in the air, then dissolves into a in early Bach, somewhat less-early Bach, for—frequently set off with fermate. A tion is for all practical purposes identical; shower of notes. [Example 9] C. H. Dretzel, and (to my knowledge) prominent feature of the Divertimento is in the Toccata, it is “harmonized” in two 10. Final cadences. The cadence end- nowhere else. its frequent use of these, both as prolon- voices, but the pattern is virtually the ing the adagiosissimo cannot simply be 4. Triple gestures: three mordents in gations of chords and rests, and to mark same, including the occasional reversing called a Phrygian or “Corelli” cadence, 565, three large, full chords in adagiosis- the end of movements. Williams notes of direction. [Example 8] because the leading tone occurs, and simo. In both cases, the commanding the presence of these in the Ringk ms. as 8. Several of the above examples also there is a strong tritonic resolution in opening triplicate is followed by repeti- raising questions of authenticity.37 show Dretzel’s pervasive use of bario- context of a “French Sixth” sonority. tious passagework and arpeggiation; and It is true that thick sonorities of differ- lage: string idiom as a basic style feature. Nothing in the literature, of course, is tension is introduced with a dominant ent size are found in the Chromatic Fan- In both works, the fugue subject is noth- quite comparable to the cadence of the harmony over a tonic bass. Basic to the tasy and Fugue. However, that is virtually ing but bariolage (but see also Toccata, fugue of 565. [Example 10] style of both is a penchant for nearly the sole similarity between the two pieces 12 ff.) The bariolage style is never quite One could, of course, continue to obsessive, non-sequential, naive repeti- (see previous heading), and an uncom- so expressly invoked in the Bach canon argue that 565 is a very unusual work by tions of a simple idea: compare bars 4 ff. monly thick texture is more justifi able in (nor the public quite so overtly courted.) Bach, or accept (as I do) that it is a char- in 565, toccata. [Example 5] harpsichord than in organ performance. The theme of the fugue, and its acteristic specimen of Dretzel. I do not 5. Frequent use of large chords of In these two examples, the “drama” extremely simple handling (Example 3), think it is an immature work by a great a widely varying number of notes. In chord is also in the third inversion. Com- may well strike the reader as reminis- composer, but rather a mature work by a Dretzel, up to ten notes in a chord (ada- pare the Toccata, bar 21. (This device cent of the famous theme in D minor. very good composer. giosissimo, measure 16). In the Toccata, occurs quite a bit more frequently in Ahlgrimm’s commentary on the Diverti- There are some specifi c issues with chordal structures of fi ve through nine the Divertimento than it does in 565.) mento fugue is resonant: 565 that raise further doubt. One is the notes. Where else does Bach simply [Examples 6 and 7] troubling fi rst episode in the fugue— One sees . . . that Dretzel’s music is “lay on” in the manner found in the 6. In both the Divertimento and composed after the taste of his day, aimed measures 34–39—uniquely atypical Toccata—regardless of instrument? (He 565, there is a marked preference chiefl y at the amateur; Italian infl uence is of Bach in its strangely-approached certainly minds his voice-leading in the for diminished harmonies; for dimin- clearly discernible . . . It seems that Dretzel unisons and fi fths, and the frequent Toccata in F, in the French Overture, ished harmonies followed by their strove to show that a fugue can be acces- noticeable fourths, fi fths, and octaves. sible and joyous, so that it is not just for the and in the Italian Concerto.) In Bach, a simple dominant-seventh versions; for amusement of the connoisseur.38 [Example 11] particularly thick sonority generally sig- third-inversion dominant harmonies, Dretzel is similarly unconcerned nals a beginning or ending, like the gong presented emphatically for rhetorical Note that the Divertimento fugue when an empty unison or fi fth, or a per- in a gamelan; in general, one can account purposes; and for dominant harmonies begins with an upward arpeggio, tonic fect fourth, falls on a strong beat. Refer for all voice parts. Both the Divertimento over a tonic pedal or bass note. to tonic. This device, though not par- to Example 3 for an example. There is and 565 demur from the principle that 7. There is a very strong resemblance ticularly interesting in itself, allows for also the following passage in the allegro. neatness counts. The allegro and fuga between a run of diminished triplets in a real answer in the dominant. This [Example 12] have passages where, for dramatic adagiosissimo, measure 6–7, and those is essential in order to preserve the Also, there are rules concerning punchiness of the repetitions of the resolution of a tritone, and these are fi fth scale degree. In 565, however, egregiously broken by the C–G move- the fugue subject begins directly on 5, ment in the pedal in measure 140–141. a dramatic and effective choice, which This is the problem alluded to earlier also requires an unusual solution if it that “disappears” in the Williams violin is to be maintained. Hence, the highly arrangement. Note also the inconsistent unusual subdominant solution. (This number of voices and the questionable subdominant argument is appropriately movement in the alto from B-fl at to echoed in the fi nal plagal cadence.) C-sharp. [Example 13] On the grounds that the fugue of 565 These minor solecisms are unlikely dramatically dispenses with the setup to trouble the modern ear, but they are needed for a real answer, I incline to telling. I believe we are dealing with a the theory that Dretzel composed it composer to whom the grand gesture later than his Divertimento. I might matters more than the fi ne points. Bach Example 5. Divertimento ii; opening of adagiosissimo adduce other stylistic grounds for my never trades one of these off for the inclination, including the tightness of the other; he need not. Toccata versus the diffuse nature of the The Fugue of 565 is of tighter adagiosissimo; as well as the greater vari- construction than its Toccata, but its ety of treatment in the D-minor Fugue. peculiarities have also long been noted. Of course, the piece could have been a Among these are a theme that promi- “bolt from the blue,” composed in a fi t of nently features the fi fth scale degree; inspiration conferred by the ambience of a solo annunciation of the theme in Example 6. Divertimento ii, adagiosissimo, bars 8–9 Weimar and the proximity of Bach. the pedal in the middle of the piece; a 9. The use of a surprising cadence to statement of the theme in the subtonic set up a virtuosic passage or especially minor key; and in general the driven, a coda: Dretzel, 21; Fugue, aforemen- almost monomaniacal character found tioned recitativo, and the link from ada- throughout. Meanwhile, there are no giosissimo to presto, 132–133. In both signs of advanced counterpoint, such as situations—one following immediately stretto, augmentation, or the like. Where after another—an unexpected resolution Bach is inclined to pile on artifi ce as he

Example 7. Divertimento iii, bars 76–77

Example 11. BWV 565 ii, bars 34–36

Example 8. Divertimento ii, bar 6

Example 12. Divertimento i, bars 15–17

Example 9. Divertimento ii, bar 21

Example 10. Divertimento ii, bars 23–24 Example 13. BWV 565 ii, bars 140–end

26 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM reaches a conclusion, this piece devolves magnifi cent show but contain surpris- from BWV 1004 Lute Pieces?” The Musical 29. The fi nal page of the March 17, 1763 is- into passagework, linking it back to the ingly few ingredients—the equivalent of Times (Winter 2005), 77–86. sue of this little magazine contains a short piece re. toccata.39 (The work, overall, seems to egg whites and sugar. Dessert, in fact, is 7. Bernhard Billeter, “Bachs Toccata und called “Alla Breve dal S D.” It is a light, for- Fuge d-moll für Orgel BWV 565: ein Cem- gettable work in two voices; even here, though, bear the hallmark of the classic threefold probably the perfect gustatory metaphor balowerk?” Die Musikforschung 50/1 (1997), elements of style such as facile dialogue and rhetorical plan of introitus, centrum, and for the composition in question. 77–80. perfect intervals on strong beats can be seen. exitus.) All of these features—save the If one is prepared to entertain the 8. David Humphreys, “The D Minor 30. Isolde Ahlgrimm, “Cornelius Hein- pedal solo!—are to be found in the third idea that a once-famous and now- Toccata BWV 565,” Early Music 10/2 (April rich Dretzel, der Autor des J. S. Bach 1982), 216–217. zugeschribenen Klavierwerkes BWV 897,” movement of the Divertimento. The forgotten composer wrote the great- 9. Rolf Dietrich Claus, Zur Echtheit von Bach-Jahrbuch 1969, 67–77. theme is always harmonized in thirds and est “hit” the organ has ever known, a Toccata und Fugue d-moll BWV 565 (Co- 31. Ergötzung: from ergötzen, to regale or sixths; the counterpoint is minimal; the door opens to a more egalitarian, less logne: Verlag Dohr, 1998), 123. feast (someone). episodes are either a solo line or a simple Bach-centric view of German organ 10. Peter Williams, The Organ Music of 32. I am grateful to the eminent Bach schol- J. S. Bach (Cambridge University Press, ar Daniel Melamed of Indiana University for harmonic sequence. As to strange keys, culture. We might examine a successful 2003), 454. his feedback on my research. In particular, he the fuga of the Divertimento wanders popular approach to the instrument and 11. Wolff, Learned Musician and Perspec- has pointed out a number of occurrences of (albeit very briefl y) into B-fl at minor. the musical public that is not entirely tives on Organ Playing. the word Ergötzung in musical publications attributable to a learned Bach, or to 12. Williams, “BWV 565,” 332. of this period. Its use seems to be linked to Conclusion, performance notes the Bach of hagiography. Pierre Boulez 13. Peter Williams, The Life of Bach, “Musi- the Liebhaber side of the Kenner/Liebhaber cal Lives” series (Cambridge, 2004), footnote divide: indicating a piece written for general I alluded earlier to Williams’ recent reminds us: “History is not a well-oiled 11, 161. J. S. Bach: A Life in Music (Cam- enjoyment, rather than for the delectation of J. S. Bach: A Life in Music. His com- machine that advances smoothly along bridge, 2007), 82. the connoisseur. ments on 565 hit a double bull’s-eye rails composed of masterpieces . . . ”45 14. William, Organ Music of Bach, 155 ff. 33. It is also true that the allegro movement with the Divertimento: he points to “a The masterpieces themselves, and the 15. Fox-Lefriche, “Greatest Violin Sonata,” 53. uses a ritornello form, and thus is to that ex- 16. Ibid., 53. tent superfi cially similar to the fi rst movement few rhetorical gestures, thin harmonies, posthumous careers of their creators, 17. Note by Elisa M. Welch, Fox-Lefriche, of the Italian Concerto. simple shape, much repetition and virtu- do not always advance smoothly on rails “Greatest Violin Sonata,” 54. 34. Russell Stinson, “Toward a Chronology ally no counterpoint.”40 This “thin” work of due attribution. 18. Fox-Lafriche, “Greatest Violin Sonata,” 50. of Bach’s Instrumental Music: Observations on also evokes universal delight; people who Perhaps C. H. Dretzel was, in popular 19. Ibid., 53. Three Keyboard Works,” Journal of Musicol- 20. Humphreys, “D Minor Toccata.” ogy, Volume 7, Number 4 (Autumn 1989), 443. know nothing else about the organ know terms, a “one-hit wonder.” Perhaps more 21. Peter van Kranenburg, “On Measuring 35. Christoph Wolff, “Bach’s Toccata in D and thoroughly enjoy that piece. It must of his compositions await rediscovery. I Musical Style: The Case of Some Disputed Minor and the Issue of Its Authenticity,” Per- be admitted that this is not the usual am left wondering about what we may Organ Fugues in the J. S. Bach (BWV) Cata- spectives in Organ Playing and Musical Inter- reaction to the magnifi cently intelligent have lost. In any case, it could well be log.” Online, author-preferred version via pretation (New Ulm, MN: Heinrich Fleischer and often arcane Bach. that Nuremberg is home to another, and author’s website, http://www.lodebar.nl/pvk/. Festschrift Committee, Martin Luther Col- Originally published as “Assessing Disputed lege, for the Gesellschaft der Orgelfreunde, In a review of Williams’s The Life of marvelously unanticipated, Preislied. Q Attributions for Organ Fugues in the J. S. 2002), 90. Bach, Jan-Piet Knijff speaks for many Bach (BWV) Catalog,” Computing in Musi- 36. Die Musik in Geschichte und Gegenwart when he asks “ . . . who on earth could *The author thanks the Germanisches Na- cology 15 (2007–9). (MGG), Personenteil 5, 1411. have been the composer?”41 It is precisely tional Museum, Nuremberg, as well as the 22. Claus, Zur Echtheit. 37. Williams, Organ Music of Bach, 155. Országos Széchényi Könyvtár, Budapest, for 23. There are several references to Dretzel 38. Ahlgrimm, Bach-Jahrbuch, 72, 73, because this question is daunting—who their prompt and professional assistance. Otto in connection with Bach in Bach-Dokumente translated by the author. on earth could have been the composer?— Krämer of Straelen and Leonardo Ciampa of (Kassel: Bärenreiter, 1972), volume 3, and in 39. It is true that Bach’s youthful work often that an answer is delayed. We have had to Boston assisted with German and Italian lan- other sources, albeit displaying variants of his places passagework at the end of a fugue; those choose: to remain faithful to an unhappy guages. Bill Powers assisted with research. name. Dretzel is also usually included in lists works, however, invariably display hallmarks of North German style and less polish. marriage, or to start all over again in the of Bach’s students during the latter’s fi nal year Notes at Weimar. 40. Williams, J. S. Bach: A Life in Music, 82. treacherous world of dating. Finding a 1. Peter Williams, “BWV 565: A Toccata 24. Christian Friedrich Daniel Schubart, 41. Jan-Piet Knijff, review of The Life of likely candidate is as much a matter of in D Minor for Organ by J. S. Bach?” Early “Bach-Schüler in Nürnberg,” Bach-Doku- Bach, Bach Notes, number 3 (spring 2005), 8. good luck as anything else. Music (July 1981), 330–337. mente, vol. 3, article 837, 330. 42. Williams, “BWV 565,” 330. 43. In this connection, it is useful to mention Still, we knew what we were looking 2. Christoph Wolff, Johann Sebastian 25. Georg Andreas Will, Nürnbergisches Bach: The Learned Musician (New York: Gelehrte-Lexicon, ed. Christian C. Nopitsch that the issue of short bottom octaves (with- for. We sought a German composer with W. W. Norton, 2000), 169. “Bach’s Toccata in (Altdorf, 1802), 251–252. out low C-sharp) would not have come up, in some Italian blood, strong technique, D Minor and the Issue of Its Authenticity,” 26. Schubart, Ideen zu einer Ästhetik, 1806, particular at the Egidienkirche, which was re- and a recognizable, facile voice; someone Perspectives in Organ Playing and Musical quoted in Die Musik in Geschichte und Geg- built around the time Dretzel took up his post from a rhetorical community other than Interpretation (New Ulm, MN: Heinrich enwart (Kassel: Bärenreiter, 2001), Personen- there, succeeding the younger Pachelbel. Fleischer Festschrift Committee, Martin Lu- teil 5, 1411. See also Bach-Dokumente (Kas- 44. Fox-Lafriche, “Greatest Violin Sonata,” 53. the North German. We sought someone ther College, for the Gesellschaft der Orgel- sel: Bärenreiter, 1972), volume 3, article 903a, 45. Pierre Boulez, “Aesthetics and the who composed to a popular, gentlemanly freunde, 2002), 85–107. 411. Schubart refers to Dretzel as ‘Drexel,’ Fetishists,” Orientations, tr. Martin Coo- taste; no fatiguing artifi ce of counter- 3. Williams, “BWV 565.” leading some to confuse him with the Drexel per (Cambridge: Harvard University Press, point, please, and arresting cadences 4. Bruce Fox-Lefriche, “The Greatest who was organist in Augsburg–even though 1986), 35. Violin Sonata that J. S. Bach Never Wrote,” this man was born in 1758. are a plus. We needed someone who is Strings (October 2004), 44–55. 27. F-J Fétis, Biographie universelle des Jonathan B. Hall, FAGO, ChM, is the au- not Bach: early Bach, late Bach, or Bach 5. Mark Argent, “Stringing Along,” The musiciens (Paris, 1883), 58. He can only give thor of Calvin Hampton: A Musician Without with a few bits left over. We needed Musical Times, 141/1872 (Autumn 2000), Dretzel’s birth as “au commencement du dix- Borders and of many articles on the organ and someone who was a lesser and different 16–20, 22–23. (Also available as “J. S. Bach’s huitième siècle.” sacred music. He is past dean of the Brook- Toccata and Fugue in D Minor (BWV 565) 28. See, inter alia, Johann Georg Meusel, lyn AGO chapter, director of music at Central composer, and probably younger; pos- Revisited,” from www.markargent.com.) Lexicon der vom Jahr 1750 bis 1800 verstor- Presbyterian Church, Montclair, New Jersey, sessing an audience, an organ bench of 6. Eric Lewin Altschuler, “Were Bach’s benen teutschen Schriftsteller (Leipzig, 1803), and teaches music theory at the Steinhardt note, and a fi nished identity in his own Toccata and Fugue BWV 565 and the Ciacona 426–427. School of New York University. right. The work is neither early nor late; it is right on schedule. Whose schedule is the only question. Cornelius Heinrich Dretzel fi lls these criteria remarkably neatly, and what we possess of his music is cut from the very same cloth as 565. Once we see the possibility that a now-forgotten organist from Nuremberg is the likely composer, the pieces show a striking inclination to fall into place. Perhaps all that stands in the way is our own surprise. A note on performance. If 565 is southern German in origin, as I believe it is, it may best be realized with less grandeur and Angst than has been typical. One might seek smaller and lighter South-German organs; not a “little village church in Saxony” per Williams,42 but an exquisite city church in Bavaria, with a silver-toned organ, few reeds, and an Italian infl ection. Playing the Toccata and Fugue in a dignifi ed, lyrical, and fl u- ent way lightens and clarifi es the piece in a way that works for this writer.43 Fox- Lafriche is on the right track when he argues for the piece’s “brilliance, light- ness, intimacy, and grace.”44 It may help to visualize some of the more remarkable organ cases from this region: gleaming in white rococo splendor, toothsome as a dessert; but offering a modest, simple, clear, tonal design. Like 565, these organs make a

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 27 Cover Feature

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Foley-Baker, Inc., German ownership, the First World War request for proposal offered a general and equipment. There were reservoirs Tolland, Connecticut threw things into disarray, and after the description of the organ’s overall condi- everywhere, fully 17 in the main organ. St. Mark’s Episcopal Cathedral, war, ownership changed hands. A larger tion. Our assumption was that we would Tuning access was bad enough, while Minneapolis, Minnesota reorganization in 1925 by former Kim- see huge diapasons, pencil-scale strings, actual service work required unnecessar- ball man Robert Pier Elliot had Welte and tibia-like fl utes, all on a massive ily heroic effort. One reason the organ From the builder building its own organs of fi ne quality chassis. In fact, the St. Mark’s Welte had continued to generate an impressive The Welte name is mostly known for and for any venue: residence, theater, or been tonally and mechanically modi- sound was the chamber’s placement and its roll-player mechanisms, the Mignon church. But the fi rm struggled to gain a fi ed on two different occasions by M.P. hard walls. More than projecting sound, reproducing piano, and their Orches- strong fi nancial footing. It suffered a set- Möller. Much of the Welte material was the chamber almost seemed to amplify trion. However, as builders of traditional back in 1927, repurchase and relocation long gone, although the organ remained it. The cathedral’s impressive acoustics pipe organs, Welte’s output was small; in 1929, and fi nally absorption by Kim- capable of producing an impressive vol- certainly helped as well. organs were but one in a family of Welte ball of Chicago in 1931. Today, there are ume of sound. The organ was on its third console “products” typical of the era’s massive few surviving examples of Welte organs, But it was clear the various rebuilds and had a dated relay system spread instrumental output. In 1912, Welte and, even after our 42 years in business, had compromised the instrument. The throughout four different areas of the opened a factory in Poughkeepsie, New we had never worked on one. St. Mark’s chamber was packed with non-Welte building. In the basement, the large York, but their earliest organs were pur- Minneapolis would be a new experience. chests, fl exible wind lines, dangling Spencer blower’s motor needed all new chased from other builders and fi tted The cathedral’s consultant was David wires, and a chamber entrance door bearings. Adding insult to injury, HVAC with Welte players. Since Welte was of Engen of Maple Grove, Minnesota. His that barely opened, due to added ranks ducts installed in the 1950s had seen

Foley-Baker, Inc.

Chancel Organ

GREAT, 5″ wind pressure SWELL, 7″ pressure, unless CHOIR, 5.5″ wind pressure SOLO, 6.5″ pressure, unless 16′ Double Open Diapason otherwise noted 8′ Diapason otherwise noted 8′ Open Diapason 16′ Double Melodia 8′ Gedeckt 16′ Contra Viole (ext 8′) 8′ Principal 8′ Open Diapason 8′ Viole 8′ Clarabella 8′ Gemshorn 8′ Stopped Diapason 8′ Viole Celeste 8′ Viole da gamba (10″ w.p.) 8′ Rohrfl ute 8′ Gamba 4′ Octave 8′ Viole 8′ Harmonic Flute 8′ Gamba Celeste 4′ Koppelfl ote 8′ Viole Celeste 2 4′ Octave 8′ Dolce 2⁄3′ Nasard 4′ Viole (ext 8′) 4′ Spitzfl ote 8′ Dolce Celeste 2′ Blockfl ote 8′ Corno d’amour 2 3 2⁄3′ Twelfth 4′ Octave 1⁄5′ Tierce 8′ Clarinet 1 2′ Fifteenth 4′ Harmonic Flute 1⁄3′ Larigot 8′ Trompette Harmonique (12″ w.p.) IV Fourniture 2′ Principal 1′ Siffl ote 4′ Clarion Harmonique (12″ w.p.) III Cornet IV–V Mixture 16′ Petite Trompette 8′ Tuba (20″ wind pressure) 16′ Double Trumpet 8′ Oboe 8′ Trompette (ext 16′) Tremolo 8′ Trumpet 8′ Vox Humana 8′ English Horn Chimes 4′ Clarion 16′ Posaune (10″ wind pressure) Harp (digital) Solo Sub Tremolo 8′ Trumpet (10″ wind pressure) Tremolo Unison Off Chimes (digital) 4′ Clarion (10″ wind pressure) Choir Sub Solo Super Harp (digital) Tremolo Unison Off Positiv Great Sub Swell Sub Choir Super Antiphonal Unison Off Unison Off Positiv Great Super Swell Super Antiphonal Positiv Positiv Antiphonal Antiphonal

28 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM Original Spencer blower rebuiltNew chamber relay panels installed Reconditioned Welte Flute, Oboe, and Vox Humana the removal of the organ’s important American sound to fi ll the cathedral’s The low-profi le Schantz console A small-scale yet piercingly loud Möller static reservoirs, further compromising large nave. dating from 1990 was reused, with Trumpet, which had been taking up the wind supply. The chamber size and shape dictated modifi ed stop jambs, new drawknobs, valuable room in a corner of the Great, At Foley-Baker, we love to save old the same stacked layout as had existed and burled mahogany jamb faces for a was revoiced into an ideally scaled Choir organs. However, it was clear that at St. from the beginning. For us, multi-level sharper appearance. (Schantz graciously Trompette. Chorus reeds now serve to Mark’s, there wasn’t an old organ to save, organs raise red fl ags for service acces- provided and installed new, easy-to-read cap wonderful choruses, enriched by just parts of one. Trying to determine sibility. Without careful design, the new piston buttons.) We installed a new elec- solo stops such as the Skinner Clarinet what was possible and affordable would and larger instrument had the potential tronic relay that is easily accessed by sim- or Kimball Corno d’amour. take both positive and practical think- for being another service nightmare. ply raising the now-hinged console lid. The new organ’s sound ties together all ing. If the organ were to be rebuilt, the Our solution was to start from scratch, Years of change had seen many stops the good qualities that go into creating results had to be worth the investment. using a new chassis designed and built swapped between divisions. The Choir it: the new specifi cation, high pressures We spent days measuring pipe scales at Organ Supply Industries. The elegant Diapason had been moved into the Solo and large scales, the chamber’s ability and gathering details. There were inter- simplicity of their slider chests promised as a 4′ Octave. We returned it to the to project sound and the swell shutters’ esting fi nds, such as high in the tower, minimal maintenance and assurance of Choir at 8′ with a new bass octave. The ability to contain it, and the new layout where the Möller crew had stored some accessibility. Their built-in schwimmer- Welte Second Open found in the tower and chassis, which provided optimal of the 1928 Welte pipework. There was regulators greatly simplifi ed the winding, became our Great Diapason. Other stops placement for all stops. As the bottom much damage; some ranks were incom- adding space for more stops and wider were also returned to their original 1928 photo on the front cover clearly displays, plete, while others were beyond repair. passage boards. locations. The renewed instrument is even 1928 pipes can look (and sound) Our tonal director Milovan Popovic laid Given the scales and pressures, effec- a blend of remaining Welte pipework, like new. We were really thrilled to hear out rank after twisted rank on the large tive swell boxes would be essential. The selected Möller ranks, and important new Canon Musician Ray Johnston play the tower room fl oor. Out of this survey we original Welte shades were rebuilt and registers. All retained ranks were cleaned, “new” organ at the inaugural concert on 1 found three Welte stops to reclaim: the fi tted to new boxes of 1 ⁄2-inch-thick repaired, and revoiced, perhaps none May 18, an outstanding program that Swell 4′ Clarion, Great 8′ Second Open medium density fi berboard. The combi- more important than original large pedal included brass and the cathedral’s choirs. Diapason, and the large-scale Swell 8′ nation of the two makes for a marvelous basses and their Welte chests. These pro- To him and David Engen we owe thanks Vox Humana. All three became valu- range of expression; massive ensembles vided the weight and heft we envisioned for supporting us in this challenging and able additions. can whisper or roar. as a foundation for the new instrument. rewarding project. As our familiarity with the cathedral’s In addition to restoring the 1928 The reed stops presented their own Upcoming concerts involving the music program and organ grew, so did Spencer blower, we were able to fi nd challenge, with ranks by fi ve differ- rebuilt organ are posted on the cathedral’s our concepts for the renewed instru- and install appropriate static reservoirs. ent builders and, in some cases, using website. All photos of the cathedral and ment. Tonally, we had 1920s Welte Unlike 1928, however, this equipment scales and pressures dictated by avail- reconditioned instrument are by Mark mixed with 1980s Möller. In 2012 it is now stands in separate rooms dedicated able—or unavailable—space. Working Manring (www.manring.net). All other perhaps too easy to criticize Möller’s for the purpose. The result is that, despite with Chris Broome of Broome & Co. photos are from Foley-Baker, Inc. fi les. radical changes as heavy-handed; they wind pressures from fi ve to 20 inches, LLC, we examined the potential of each —Mike Foley were in the spirit of the time, and had an indicator light is necessary to know rank for our new scheme. In the end, introduced a variety of useful colors, that the wind is on. As we have done we designed and had built an all-new From the canon musician including mutations, large-scale strings, elsewhere, we designed and installed an Great reed chorus. Having found the St. Mark’s Cathedral has long been and solo reeds. In time, we decided automatic, in-chassis humidity system original 1928 Welte 4′ Clarion, we were known for its various music programs just where and what reused ranks that requires minimal service attention able to use it to recreate Welte’s original and concerts. Built as a parish church in would work and what new ones had and combats Minnesota’s problematic Swell reed chorus; industrial strength 1910 and designated a cathedral in 1941, to be added to create a bold, cohesive humidity swings. pipes with a just-right massive sound. it has during that time seen six directors

St. Mark’s Episcopal Cathedral, Minneapolis, Minnesota

PEDAL POSITIV ORGAN (Möller; no Swell to Great 16 32′ Bourdon (digital) changes, fl oating) Swell to Great 8 32′ Lieblich Gedeckt (digital) 8′ Copula Swell to Great 4 16′ Open Wood 4′ Flute Choir to Great 16 16′ Principal (ext 8′ Principal) 2′ Principal Choir to Great 8 16′ Bourdon IV Scharff Choir to Great 4 16′ Double Melodia (Sw) 8′ Krummhorn Solo to Great 16 16′ Violone Solo to Great 8 16′ Contra Geigen (Solo) ANTIPHONAL ORGAN (fl oating) Solo to Great 4 8′ Principal 8′ Principal 8′ Melodia (Sw) 4′ Principal (ext) Solo to Choir 16 8′ Bourdon (ext 16′ Bourdon) 2′ Principal (ext) Solo to Choir 8 8′ Gamba (ext 16′ Violone) Swell to Choir 16 4′ Choral Bass (ext 8′ Principal) Couplers Swell to Choir 8 4′ Bourdon (ext 16′ Bourdon) Great to Pedal 8 Pedal to Choir 2′ Principal (ext 8′ Principal) Swell to Pedal 8 32′ Contre Bombarde (ext 16′ Bombarde) Choir to Pedal 8 Bombarde to Swell 8 16′ Bombarde Solo to Pedal 8 16′ Double Trompette (Ch) Positiv to Pedal 8 Manual Transfer 16′ Posaune (Sw) Great to Pedal 4 Pedal Divide 8′ Bombarde (ext 16′ Bombarde) Swell to Pedal 4 All Pistons Next 8′ Trompette (Ch) Choir to Pedal 4 Zimbelstern 4′ Bombarde (ext 16′ Bombarde) Positiv to Pedal 4 16′ Bourdon (Antiphonal) Pedal to Choir Swell pipework

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 29 Cover Feature New Organs of music as well as a number of rebuilds have such a fi ne instrument in that tra- and additions to the original four-manual dition, as well as an organ that is true to Welte installed in 1928. As musical tastes its original intention. changed throughout the century, the —Ray Johnston tonal plan of the organ became distorted, becoming a combination of classical and From the committee chair romantic sounds, leading to a loss of In May 2012, the refurbished St. identity for the instrument. Mark’s organ was inaugurated for con- The various additions also led to a cert audience and worshipers. Those chronic lack of space within the organ were thrilling experiences, the result of chamber, preventing access for tuning meticulous planning and craftsmanship and repair to pipes bending over with by Canon Musician Raymond Johnston metal fatigue. Equally worrying was the and Foley-Baker, Inc. damage done to the winding as abundant I was privileged to chair the organ plan- leaks had resulted in pressure drops ning committee during the last phase of throughout the organ. its pre-construction work. This was under- In 2010 the cathedral launched a capital taken in the context of St. Mark’s “Open- campaign, included in which was repair to ing Our Doors” capital campaign, which, the organ’s winding. However, on closer by any standard, was a clear success, rais- inspection it soon became apparent that ing over $3 million. I was also privileged problems ran very deep and fi xing the to co-chair the capital campaign with Inez leaks would in fact be a waste of money. Bergquist, Doug Eichten, and Courtney Major action was required. The choice Ward-Reichard. The capital campaign was stark—total reconditioning or a new had three highly visible purposes: restore instrument. This was an easy decision: the exterior of the 100-year-old building much of the original Welte chorus was in to stop leaks and deterioration; improve good condition and had such quality and a long list of interior infrastructure items; character that it could become the basis and repair/restore the pipe organ. The of a major overhaul. fi rst two of those purposes were easy for Next came the biggest challenge— members and contributors to see and persuading the vestry and the congre- understand, especially when ice formed gation that a lot of money needed to inside the church and fell on folks in be spent to keep the organ in working procession during Sunday worship. The order. To many, of course, the organ organ was a different matter. sounded just fi ne, as it always had. As Even though much of the organ was Berghaus Pipe Organ Builders, winding system to accommodate the is often the case, organists’ abilities to well beyond maintenance and some of it Bellwood, Illinois new confi guration. mask faults and ciphers go unnoticed dead or ciphering, it still sounded pretty Pilgrim Lutheran Church, Given the new unencumbered tonal by the majority. However, thanks to good much of the time. Most of this was St. Paul, Minnesota placement of the Great principal chorus, many organ tours and presentations by attributable to Ray Johnston’s talents and The 31-rank organ at Pilgrim the pipes were revoiced utilizing lower both committee and builder, and the the marvelous acoustic characteristics Lutheran, St. Paul, Minnesota, origi- pressures and a moderately open-toe fact that music and the pipe organ are of the St. Mark’s Cathedral space. We nally began its life as Schantz Organ style to yield a sound that is full, singing, such an integral part of worship at the conducted behind-the-walls tours of the Company Opus 1828 for Community and unforced. Warm fl utes at 8′ and 4′ cathedral, we were able to reach our chambers to show potential donors the Reformed Church, Zeeland, Michigan. pitch, as well as a pair of Gemshorns, target of $1.2 million. points of failure and the grossly antiquated In 2011, Berghaus Pipe Organ Build- round out this division. The Swell, voiced In consultation with our selected fi rm, control mechanisms, leaking air handlers, ers transplanted the organ to Pilgrim on 4 inches wind pressure, remained Foley-Baker Inc., a new specifi cation and failing wiring. We were also careful to Lutheran, and reconfi gured it to fi t unchanged, except for the addition of a was drawn up that necessitated replacing explain that much of the tuned pipework within its new home. III-rank Scharf to crown the minor prin- one-third of the pipework and relocating and blower could be restored and would The Great and parts of the Pedal cipal chorus and reeds. The refurbished ranks from the gallery to the main organ. be maintained. At the end of the many are located at the front of the chancel, console was created by refi nishing the Of primary concern was an instrument days, the congregation did contribute and which contains the Pedal 16′ Princi- existing Schantz shell and outfi tting to accompany the liturgy, from provid- one very generous, anonymous donor pal as façade pipes. Newly appointed it with new solid-state components, ing subtlety and color for the cathedral provided most of the funds needed for the casework, designed to enhance the including a Peterson Duo-Set combina- choir’s large repertoire to giving stimu- more than $1 million organ project. chancel furnishings, was custom-built tion action with 128 levels of memory lating leadership to congregational hym- While Foley-Baker did their work, by Berghaus. The Swell division and and twelve-stage transposer. nody. If the organ could do both those the entire instrument was removed and remaining stops of the Great and Pedal Scott Riedel of Riedel and Associates things well it would surely prove to be an a digital organ was rented and used with are located in left chamber speaking in Milwaukee, Wisconsin, served as the admirable recital instrument also. speakers around the cathedral. Many into the chancel. Existing Schantz chests consultant, and the organ was formally While not a particularly large regular attendees commented that they were repaired and combined with a new dedicated in December 2011. four-manual instrument, at least by could “hear the difference” and had American standards, it has exceeded all come to understand why it was appro- expectations as a concert instrument: priate to rebuild a fi ne pipe organ. That almost endless color, a vast dynamic was brought home once again to me on Berghaus Pipe Organ Builders range, and a character that is totally Sunday last, when Ray Johnston offered GREAT SWELL PEDAL suited to the building, all exquisitely Samuel Sebastian Wesley’s Choral Song 8′ Principal 8′ Holzgedeckt 32′ Resultant (derived) voiced. It is unashamedly in the Eng- and Fugue as the service postlude. Most 8′ Rohrfl öte 8′ Viole 16′ Principal (façade) lish romantic style, and, having played of the congregation stayed to hear it and 8′ Gemshorn 8′ Viole Celeste TC 16′ Subbass many of the great cathedral organs in to celebrate the glory of the rebuilt organ. 8′ Gemshorn Celeste TC 4′ Principal 8′ Octave (ext) 4′ Octave 4′ Koppelfl öte 8′ Bassfl öte (ext) the U.K., I am delighted that we now —Fred Moore 2 4′ Hohlfl öte 2⁄3′ Nasard 4′ Choralbass 2′ Super Octave 2′ Waldfl öte 4′ Bassfl öte (ext) 1 3 1⁄3′ Fourniture IV 1⁄5′ Tierce 2′ Mixture III The DC AGO Foundation Tremulant 1′ Scharf III (new) 16′ Posaune Chimes 8′ Trompette 8′ Posaune (ext) 8′ Oboe Tremulant

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30 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN This calendar runs from the 15th of the month of Bruce Neswick; St. Paul’s Episcopal, Park Ridge Presbyterian Church issue through the following month. The deadline is the Chattanooga, TN 7:30 pm Park Ridge, IL GRACE CHURCH fi rst of the preceding month (Jan. 1 for Feb. issue). All Faythe Freese, with dancers; Moody Pickle Piano & Church Organs NEW YORK events are assumed to be organ recitals unless otherwise School, University of Alabama, Tuscaloo- indicated and are grouped within each date north-south Bloomingdale, IL sa, AL 4 pm and east-west. •=AGO chapter event, • •=RCCO centre event, +=new organ dedication, ++= OHS event. Information cannot be accepted unless it specifi es 26 JANUARY artist name, date, location, and hour in writing. Craig Cramer; Chapel of the Holy Spir- Multiple listings should be in chronological order; please it, Sacred Heart University, Fairfi eld, CT Christopher Babcock do not send duplicate listings. THE DIAPASON regrets 7:30 pm that it cannot assume responsibility for the accuracy of Nicole Marane, with narrator and per- St. Andrew’s by the Sea, calendar entries. cussion, Prokofi ev: Peter and the Wolf; Peachtree Road United Methodist, Atlanta, Hyannis Port UNITED STATES GA 10 am East of the Mississippi 27 JANUARY Choir of First Church in Boston; First 15 JANUARY Church, Boston, MA 1:30 pm AVIN LACK Master Chorale of South Florida; Span- Dean W. Billmeyer G B King’s Chapel Choir; King’s Chapel, Bos- Princeton Early Keyboard Center ish River Church, Boca Raton, FL 8 pm ton, MA 5 pm University of Minnesota Ken Cowan, with Lisa Shihoten, violin; Super Bell XXI; First Church, Wethers- 732/599-0392 Bower Chapel, Moorings Park, Naples, FL fi eld, CT 4 pm Minneapolis 55455 • [email protected] www.pekc.org 7:30 pm Gail Archer; Grace Church, Nyack, NY 4 pm 16 JANUARY Harry van Wijk; St. Thomas Church Fifth Kent Tritle; Cathedral of St. John the Di- Avenue, New York, NY 5:15 pm vine, New York, NY 7:30 pm Christine Clewell; Washington National Byron L. Blackmore THOMAS BROWN Baroque Band; Grainger Ballroom, Sym- Cathedral, Washington, DC 5:15 pm UNIVERSITY phony Center, Chicago, IL 7:30 pm David Arcus; Duke University Chapel, Crown of Life Lutheran Church PRESBYTERIAN CHURCH Durham, NC 5 pm 18 JANUARY Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Scott Hanoian, with Sounding Light; Pavel Kohout; Trinity Church, Copley Christ Church Grosse Pointe, Grosse 623/214-4903 ThomasBrownMusic.com Square, Boston, MA 12:15 pm Pointe Farms, MI 4:30 pm Maryland State Boychoir; Emmanuel Stephen Schnurr; St. Mary of the Lake, Church, Chestertown, MD 7:30 pm Gary, IN 3 pm Todd Wilson; St. Mary of the Immacu- Timothy Strand; Como Park Lutheran, late Conception Catholic Church, Freder- David Chalmers St. Paul, MN 4 pm DELBERT DISSELHORST icksburg, VA 8 pm Concert Organist The Westminster Choir; St. Peter in 28 JANUARY GLORIÆ DEI CANTORES Professor Emeritus Chains Cathedral, Cincinnati, OH 7:30 pm John Scott; Mercersburg Academy, Mer- Orleans, MA University of Iowa–Iowa City Baroque Band; Music Institute of Chi- cersburg, PA 7:10 pm cago, Evanston, IL 7:30 pm Scott Montgomery; Elliott Chapel, Pres- byterian Homes, Evanston, IL 1:30 pm 19 JANUARY Isabelle Demers; Verizon Hall, Philadel- 29 JANUARY JAMES DORROH, AAGO, PhD STEVEN EGLER phia, PA 3 pm Jared Johnson; The Memorial Church, Central Michigan University Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Bruce Neswick, music festival; Bryn Mawr Cambridge, MA 7:30 pm Presbyterian, Bryn Mawr, PA 11 am Samford University Artist in Residence Kent Tritle; First United Methodist, Sara- First Congregational Church •Dan Schwandt, service playing work- sota, FL 7 pm Birmingham, Alabama shop; Augustana Chapel, Lutheran School Saginaw, Michigan Janet Hamilton; Our Lady of Perpetual Organ Consultant Organ Recitals [email protected] of Theology, Chicago, IL 10 am Help Catholic Church, New Albany, IN 7 pm Baroque Band; Augustana Lutheran, Chicago, IL 7:30 pm 30 JANUARY A Professional Card in Gail Archer; St. Paul’s Chapel, Columbia JOHN FENSTERMAKER 20 JANUARY University, New York, NY 7:30 pm The Diapason Paul Cienniwa, harpsichord; Amherst RINITY BY THE OVE For rates and digital specifi cations, Town Library, Amherst, NH 4 pm 31 JANUARY T - - -C contact Jerome Butera John Weit, with WPI Brass Ensemble; Paul Cienniwa, harpsichord; First 847/391-1045 Trinity Evangelical Lutheran, Worcester, Church, Boston, MA 12:15 pm NAPLES, FLORIDA [email protected] MA 3 pm David Shuler; Church of St. Luke in the John Richardson; St. Thomas Church Fields, New York, NY 8 pm Fifth Avenue, New York, NY 5:15 pm Benjamin Straley; Washington National 1 FEBRUARY Cathedral, Washington, DC 5:15 pm Benjamin Sheen; Trinity Church, Copley STEPHEN HAMILTON WILL HEADLEE Frederick Teardo; Christ Church, Bra- Square, Boston, MA 12:15 pm 1650 James Street denton, FL 4 pm Peter Krasinski & Louise Mundinger; recitalist–clinician–educator Christopher Houlihan; Church of the Old West Church, Boston, MA 8 pm Syracuse, NY 13203-2816 Redeemer, Sarasota, FL 3:30 pm, 7:30 pm Tom Trenney, silent fi lm accompaniment; www.stephenjonhamilton.com (315) 471-8451 Choral Evensong; Christ Church Grosse Trinity Episcopal, New Haven, CT 7 pm Pointe, Grosse Pointe Farms, MI 4:30 pm Pittsburgh Gospel Choir; Shadyside Rick Erickson; Christ Church Cathedral, Presbyterian, Pittsburgh, PA 8 pm Indianapolis, IN 4:30 pm Gary L. Jenkins Daryl Robinson; St. John’s Episcopal, ANDREW HENDERSON, DMA Katie Minion; Madonna della Strada Tallahassee, FL 7:30 pm Central Presbyterian Church Chapel, Loyola University, Chicago IL 3 pm Madison Avenue Presbyterian Church Director, Schmidt Concert Series Keith McNabb, Leon Nelson, & Rich 2 FEBRUARY New York, NY Carmelite Monastery Spantikow; Southminster Presbyterian, Huw Lewis, masterclass; First Presbyte- Curator of Organs Arlington Heights, IL 4 pm rian, Birmingham, MI 10 am www.andrewhenderson.net Rose-Hulman Institute of Technology Craig Cramer; Bethany Lutheran, Crys- Jonathan Ryan; Chapel, Trinity Interna- Terre Haute, Indiana tal Lake, IL 4 pm tional University, Deerfi eld, IL 7:30 pm

21 JANUARY 3 FEBRUARY Master Chorale of South Florida; Span- Dexter Kennedy; St. Thomas Church ish River Church, Boca Raton, FL 8 pm Fifth Avenue, New York, NY 5:15 pm David Herman Gail Archer; Washington National Ca- 22 JANUARY thedral, Washington, DC 5:15 pm Trustees Distinguished Professor Emeritus of Music and University Organist The Nordic Choir; St. Bartholomew’s, Choral Evensong; St. Paul’s Episcopal, The University of Delaware Q [email protected] New York, NY 7:30 pm Greenville, NC 5 pm Master Chorale of South Florida; Span- Schubert, Mass in G; Christ Church, Bra- ish River Church, Boca Raton, FL 8 pm denton, FL 11 am Joel Gary; Park Congregational, Grand Haydn, Mass in G; Christ Church LORRAINE BRUGH, Ph.D. Rapids, MI 12:15 pm Grosse Pointe, Grosse Pointe Farms, MI Alan Morrison; St. Agnes Catholic 4:30 pm Church, Louisville, KY 7:30 pm Jeff McLelland; Independent Presbyte- Associate Professor rian, Birmingham, AL 7 pm University Organist 24 JANUARY Paul Cienniwa, harpsichord, with ba- 5 FEBRUARY Valparaiso University roque violin and recorder; First Church, Marilyn Ossentjuk; Park Congregation- Valparaiso, IN Boston, MA 12:15 pm al, Grand Rapids, MI 12:15 pm www.valpo.edu 25 JANUARY 6 FEBRUARY Heinrich Christensen; Trinity Church, Thierry Escaich; Cathedral of St. John Copley Square, Boston, MA 12:15 pm the Divine, New York, NY 7:30 pm 219-464-5084 David Higgs; Lutheran Church of the Helen Anthony; Camp Hill Presbyterian, [email protected] Redeemer, Atlanta, GA 7:30 pm Camp Hill, PA 12:15 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 31 CALIFORNIA LUTHERAN UNIVERSITY Calendar Visit The Diapason Kyle Johnson, DMA Isabelle Demers; Wabash College, Alan Morrison; Miller Chapel, Princ- website: University Organist Crawfordsville, IN 7:30 pm eton Theological Seminary, Princeton, NJ rLFKPIOT!DBMMVUIFSBOFEV Christopher Urban, with Chuck Beech, 7:30 pm www.TheDiapason.com piano; First Presbyterian, Arlington Heights, Terry Heisey; Holy Trinity Lutheran, Lan- www.callutheran.edu IL 12:10 pm caster, PA 12:30 pm Gail Archer; Emmanuel Church, Ches- 8 FEBRUARY tertown, MD 8 pm Rosalind Mohnsen; Trinity Church, Co- Christopher Houlihan; Rollins College, Brian Jones KIM R. KASLING pley Square, Boston, MA 12:15 pm Winter Park, FL 8 pm D.M.A. Director of Music Emeritus Kent Tritle, with orchestra and chorus; Bradley Johnson; Speed Memorial St. John’s University Cathedral of St. John the Divine, New York, Church, Sellersburg, IN 12 noon TRINITY CHURCH NY 7:30 pm 16 FEBRUARY BOSTON Collegeville, MN 56321 Andrew Scanlon; St. Paul’s Episcopal, Greenville, NC 7:30 pm Michel Bouvard, masterclass; Lippes Sarasota-Manatee Bach Festival; Christ Concert Hall in Slee Hall, SUNY Buffalo, Church, Bradenton, FL 7:30 pm Amherst, NY 10 am Tom Trenney, silent fi lm accompani- James David Christie; Vassar College, JAMES KIBBIE ment; St. Mary’s Episcopal Cathedral, Poughkeepsie, NY 8 pm The University of Michigan Memphis, TN 7 pm Georgia Boy Choir Festival; Peachtree Ann Arbor, MI 48109-2085 Piffaro; Independent Presbyterian, Bir- Road United Methodist, Atlanta, GA 7:30 pm ORGAN CONSULTANT Jonathan Ryan, with Gaudete Brass 734-764-1591 FAX: 734-763-5097 mingham, AL 7 pm www.gabrielkney.com Kristian Bezuidenhout, harpsichord; Quintet; St. James Cathedral, Chicago, IL email: [email protected] Logan Center, University of Chicago, Chi- 7 pm cago, IL 7:30 pm 17 FEBRUARY D.Mus. A Professional Card in 9 FEBRUARY Judith Hancock; St. Peter’s by-the-Sea David K. Lamb, Haydn, The Creation; Zeiterion Perform- Episcopal, Bay Shore, NY choral anthem Director of Music/Organist The Diapason ing Arts Center, New Bedford, MA 8 pm accompaniment 10:15 am, recital 4 pm For rates and digital specifi cations, Gail Archer; St. Agnes Church, New Michel Bouvard; Lippes Concert Hall in First United Methodist Church contact Jerome Butera Slee Hall, SUNY Buffalo, Amherst, NY 5 pm Columbus, Indiana York, NY 4 pm 847/391-1045 Hymn festival of Anglican Divines; Christ Kevin Kwan; St. Thomas Church Fifth 812/372-2851 [email protected] & St. Stephen’s Episcopal, New York, NY Avenue, New York, NY 5:15 pm 5 pm Alan Morrison; Bomberger Auditorium, Ann Labounsky; St. Elizabeth Ann Se- Ursinus College, Collegeville, PA 4 pm ton Parish, Carnegie, PA 7 pm Tom Trenney, silent fi lm accompani- Alan Morrison, with Choral Arts Phila- ment; Trinity Lutheran, Camp Hill, PA 4 pm delphia, Rossini, Petite Messe Solennelle; Choirs of Peace Presbyterian and St. St. Mark’s Episcopal, Philadelphia, PA 7 pm Paul’s Episcopal; St. Paul’s Episcopal, Sarasota-Manatee Bach Festival; Church Greenville, NC 5 pm of the Redeemer, Sarasota, FL 7:30 pm Hector Olivera; Venice Presbyterian, Kenneth Dake; First United Methodist, Venice, FL 3 pm Sarasota, FL 7 pm The Florida Voices; Christ Church, Bra- Bruce Bengtson, with Luther Memo- denton, FL 4 pm rial Choir, community hymn sing; Overture Britten, Noye’s Fludde; St. Lorenz Lu- Hall, Madison, WI 11 am theran, Frankenmuth, MI 4 pm ANDREW PAUL MOORE Choral Evensong; Christ Church Grosse A.S.C.A.P. 10 FEBRUARY Pointe, Grosse Pointe Farms, MI 4:30 pm FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Victor Hill, harpsichord; Clark Art Insti- Simon Jacobs; Christ Church Cathe- dral, Indianapolis, IN 4:30 pm 345 SADDLE LAKE DRIVE tute, Williamstown, MA 3 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS Haydn, The Creation; Temple Emanu-El, Olivier Latry; West End United Method- (770) 594-0949 Providence, RI 7 pm ist, Nashville, TN 4 pm John Scott; St. Thomas Church Fifth Av- VocalEssence; Ordway Center for the enue, New York, NY 5:15 pm Performing Arts, St. Paul, MN 4 pm Competition winners’ recital; Crescent OUGLAS EILL 18 FEBRUARY LEON NELSON D O’N Ave. Presbyterian, Plainfi eld, NJ 3 pm Thomas Trotter; The Riverside Church, Stephen Buzard, works of Durufl é; Bryn Director of Traditional Music Cathedral of the Madeleine New York, NY 4 pm Mawr Presbyterian, Bryn Mawr, PA 2 pm Southminster Presbyterian Church Salt Lake City, Utah Thomas Sheehan; Holy Trinity Luther- 19 FEBRUARY Arlington Heights, IL 60005 [email protected] an, Lancaster, PA 4 pm 801/671-8657 Irene Beethe; Park Congregational, Jeremy Filsell; Washington National Ca- Grand Rapids, MI 12:15 pm thedral, Washington, DC 5:15 pm Lynne Davis; Hope College, Holland, MI Paul Jacobs; St. John’s Cathedral, Jack- 7:30 pm MARILYN MASON sonville, FL 4 pm CHAIRMAN, DEPARTMENT OF ORGAN David Lamb; Campbellsville University, Vox Choralis; Our Lady, Queen of the Campbellsville, KY 12:20 pm UNIVERSITY OF MICHIGAN Most Holy Rosary Cathedral, Toledo, OH ANN ARBOR Olivier Latry; St. Louis Cathedral, New 3 pm Orleans, LA 7:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Christian Lane; Hyde Park Community with awesome technique and a thrilling command of its daring writing.” United Methodist, Cincinnati, OH 4 pm The American Organist, 1980 20 FEBRUARY Ken Cowan; Schermerhorn Symphony Mark Jones; First Presbyterian, Pom- Center, Nashville, TN 2 pm pano Beach, FL 12 noon Scott Atchison; Peachtree Road United Katie Timm; St. Paul’s Lutheran, Colum- SYLVIE POIRIER Methodist, Atlanta, GA 5 pm bus, IN 12 noon LARRY PALMER Choral Evensong; Christ Church Grosse Wesley Roberts; Trinity Episcopal, Cov- Pointe, Grosse Pointe Farms, MI 4:30 pm ington, KY 12:15 pm Professor of PHILIP CROZIER Ivy St. John; St. Andrew Lutheran, Mun- ORGAN DUO delein, IL 3 pm 21 FEBRUARY Harpsichord and Organ John Bryant, Keith McNabb, Derek Benjamin Sheen; Trinity Church, Copley 3355 Queen Mary Road, Apt 424 Nickels, Kirstin Synnestvedt, Christo- Square, Boston, MA 12:15 pm Meadows School of the Arts Montreal, H3V 1A5, P. Quebec pher Urban, & Gary Wendt; First Presby- Pittsburgh Gospel Choir; Shadyside terian, Arlington Heights, IL 4 pm Presbyterian, Pittsburgh, PA 8 pm SOUTHERN METHODIST UNIVERSITY Canada Richard Hoskins; St. Chrysostom’s Steven Strite; Christ Church, Bradenton, (514) 739-8696 Church, Chicago, IL 2:30 pm FL 12:15 pm Dallas, Texas 75275 Wesley Roberts; Ransdell Chapel, Fax: (514) 739-4752 12 FEBRUARY Campbellsville University, Campbellsville, Musical Heritage Society recordings [email protected] Alistair Reid; The Memorial Church, KY 8 pm Cambridge, MA 7:30 pm Wesley Roberts; Central Synagogue, 22 FEBRUARY New York, NY 12:30 pm Carson Cooman; Trinity Church, Copley The King’s Singers; St. Peter in Chains Square, Boston, MA 12:15 pm Cathedral, Cincinnati, OH 7:30 pm Paul Reese; Holy Trinity Lutheran, Lan- caster, PA 12:30 pm A four-inch Professional Card 13 FEBRUARY Stefan Engels; St. Paul’s Episcopal, HE IAPASON David Sims; North Christian Church, Richmond, VA 7:30 pm in T D Columbus, IN 12 noon Palestrina, Missa Papae Marcelli; Basili- ca of the National Shrine of Mary, Queen of For rates and specifi cations 14 FEBRUARY the Universe, Orlando, FL 7 pm contact Jerome Butera Richard Benedum & William Holt; John Scott; St. Joseph Cathedral, Co- Christ Church, Bradenton, FL 12:15 pm lumbus, OH 7:30 pm 847/391-1045 David Lamb; Central Christian Church, 15 FEBRUARY New Albany, IN 12 noon Paul Cienniwa, harpsichord; Assump- [email protected] tion College, Worcester, MA 12 noon 23 FEBRUARY Harry Huff; Trinity Church, Copley Olivier Latry, masterclass; First Presby- Square, Boston, MA 12:15 pm terian, Gainesville, FL 10 am

32 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer Recitals – Consultations Paul Jacobs, masterclass; Ball State Olivier Latry, masterclass; Emerson Con- University, Muncie, IN 10 am cert Hall, Emory University, Atlanta, GA 9 am Cathedral Church of the Advent Felix Hell, with trumpet; Overture Hall, David Lamb; First United Methodist, Co- Birmingham, Alabama Madison, WI 7:30 pm lumbus, IN 12 noon www.AdventBirmingham.org Anita Werling, with horn; First Presbyte- 24 FEBRUARY rian, Springfi eld, IL 12:15 pm Judith Hancock; St. Joseph Memo- rial Chapel, College of the Holy Cross, 28 FEBRUARY ROBERT L. Worcester, MA 3 pm Karen Beaumont; Princeton University Nicholas E. Schmelter Heinrich Christensen, with saxophone; Chapel, Princeton, NJ 12:30 pm Director of Music and Organist Mary Mozelle; Christ Church, Braden- SIMPSON King’s Chapel, Boston, MA 5 pm First Congregational Church Concert of Spirituals; First Church, ton, FL 12:15 pm Christ Church Cathedral Wethersfi eld, CT 4 pm Saginaw, Michigan 1117 Texas Avenue Houston, Texas 77002 Frederick Teardo; St. Thomas Church UNITED STATES Fifth Avenue, New York, NY 5:15 pm West of the Mississippi Solemn Evensong and Benediction for Lent; St. Mary’s Parish, Burlington, NJ 4 pm Stephen Tappe ORGAN MUSIC OF THE SPANISH BAROQUE Lenten Choral Evensong; Bryn Mawr 16 JANUARY Organist and Director of Music Presbyterian, Bryn Mawr, PA 4 pm Michael Olson; First Lutheran, Fargo, David Troiano Chanticleer; Shadyside Presbyterian, ND 12:45 pm Saint John's Cathedral DMA MAPM Pittsburgh, PA 4 pm Jan Kraybill; Kauffman Center, Kansas Denver, Colorado 586.778.8035 City, MO 7 pm Mark King; St. John’s Episcopal, Hager- www.sjcathedral.org [email protected] stown, MD 7 pm Jonathan Biggers; Duke University 18 JANUARY Chapel, Durham, NC 5 pm David Cherwien, hymn festival; Mount Gail Archer; Church of the Advent, Spar- Olive Lutheran, Minneapolis, MN 12:45 pm Joyce Jones tanburg, SC 4 pm ; Christ Church Episcopal, Marcia Van Oyen Las Vegas, NV 7:30 pm +Raúl Prieto Ramírez; First Presbyte- Joe Utterback Gail Archer; St. Mark’s Episcopal, Palo First United Methodist Church rian, Pompano Beach, FL 4 pm COMMISSIONS & CONCERTS Alto, CA 8 pm Plymouth, Michigan Olivier Latry; First Presbyterian, Gaines- 732 . 747 . 5227 ville, FL 4 pm 19 JANUARY mvanoyen.com Nathan Laube; St. John United Method- Tom Trenney, organ crawl/demonstra- ist, Augusta, GA 3 pm tion; Zion Lutheran, Houston, TX 12:15 pm Christ Church Schola; Christ Church •Gail Archer, workshop; St. Mark’s Epis- Grosse Pointe, Grosse Pointe Farms, MI copal, Palo Alto, CA 10 am David Wagner 4:30 pm DMA Kevin Walters Paul Jacobs; Ball State University, Mun- 20 JANUARY Madonna University M.A., F.A.G.O. cie, IN 4 pm Carl Gravander; Congregational United Livonia, Michigan Choral Evensong for Lent; Cathedral Church of Christ, Iowa City, IA 4 pm Rye, New York Church of the Advent, Birmingham, AL 4 pm Tom Trenney, service of worship; Zion [email protected] University of Minnesota choral concert; Lutheran, Houston, TX 11 am Cathedral of St. Paul, St. Paul, MN 2:30 pm Tom Trenney, hymn festival; Zion Lu- Stephen Hamilton; Como Park Luther- theran, Houston, TX 4 pm an, St. Paul, MN 4 pm The Chenaults; Christ Church Cathe- Davis Wortman dral, Houston, TX 5 pm KARL WATSON 25 FEBRUARY Mel Butler, with Jillon Dupree, harpsi- Jackson Borges; Elliott Chapel, The chord; St. Mark’s Cathedral, Seattle, WA SAINT LUKE’S St. James’ Church Presbyterian Homes, Evanston, IL 1:30 pm 2 pm New York Gail Archer; St. Mary’s Cathedral, San METUCHEN 26 FEBRUARY Francisco, CA 3:30 pm Nancy Granert; The Memorial Church, Cambridge, MA 7:30 pm 22 JANUARY Nathan Laube; Trinity United Presbyte- Ken Cowan; Church of the Incarnation, rian, Uniontown, PA 7:30 pm Dallas, TX 7 pm RONALD WYATT RUDOLF ZUIDERVELD Olivier Latry; Emerson Concert Hall, Emory University, Atlanta, GA 8 pm 23 JANUARY Trinity Church Illinois College, Jacksonville Michael Olson; First Lutheran, Fargo, Galveston First Presbyterian Church, 27 FEBRUARY ND 12:45 pm Springfi eld Mendelssohn, Elijah; Borden Auditorium, Manhattan School of Music, New York, NY 25 JANUARY 7:30 pm Jeremy Filsell; Texas Christian Univer- Jeremy Vigil; Morrison United Method- sity, Fort Worth, TX 7:30 pm Charles Dodsley Walker, FAGO ist, Leesburg, FL 12 noon Herndon Spillman; Christopher Cohan Artist-in-Residence Founder/Conductor Matthew Steynor; First Presbyterian, Center, Cal Poly State University, San Luis Saint Luke’s Parish Canterbury Choral Society Pompano Beach, FL 12 noon Obispo, CA 8 pm 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

William Webber, C.A.G.O. Organist, First Christian Church, Danville, KY Instructor of Music & Religious Studies, 1 Maysville Community College Contact Bill at ( ±:RPHQDW:RUN«DIRFXVRQIHPDOHSUDFWLWLRQHUVRI 5 WKHRUJDQDUWIHDWXUHGDVUHFLWDOVRORLVWVDQGFRPSRVHUV < VRPHWLPHVVLPXOWDQHRXVO\ A two-inch Professional Card in The Diapason ( ±&KRUDOHVDQG3UHOXGHV«DFURVVPDQ\JHQHUDWLRQV VRQJVRIIDLWKKDYHSURYLGHGFRPSRVHUVZLWKIDPLOLDU For information on rates and specifi cations, contact Jerome Butera: 9 WKHPHVWRHPEHOOLVK [email protected] 847/391-1045

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 33 Calendar Organ Recitals

27 JANUARY 10 FEBRUARY Peter Stevens; Westminster Cathedral, BRUCE A. BENGTSON, Sinsinawa Thomas Murray; Highland Park Presby- Douglas Cleveland; Cathedral of St. London, UK 4:45 pm Mound, Sinsinawa, WI, July 11: Toccata in F, terian, Dallas, TX 4 pm, 7 pm John the Evangelist, Spokane, WA lecture Ryan Leonard; Westminster Abbey, Lon- Buxtehude; Four Chorale Preludes, Walcha; Norma Aamodt-Nelson, with fl ute; Trin- 9:15 am, recital 3 pm don, UK 5:45 pm Allein Gott in der Höh sei Ehr, BWV 663, ity Lutheran, Lynnwood, WA 7 pm Chanson; Our Lady of Fatima Parish, St. Paul’s Choir and Instrumentalists, Prelude and Fugue in E-fl at, Bach; Partita Chelsea Chen; Davies Symphony Hall, Seattle, WA 4 pm community hymn sing; St. Paul’s United on ‘Nettleton,’ Martinson; Chorale and Four San Francisco, CA 3 pm Cherry Rhodes; The Neighborhood Church, Paris, ON, Canada 3 pm Variations on ‘Jesu meine Freude,’ Lewkov- Ken Cowan; Memorial Chapel, Univer- Church, Palos Verdes Estates, CA 4 pm itch; Carillon on ‘Victimae paschali laudes,’ sity of Redlands, Redlands, CA 3 pm 23 JANUARY Fleury; Les Cloches de Hinckley (Fantasy 15 FEBRUARY Peter Holder; Reading Town Hall, Read- Pieces), Vierne. 28 JANUARY Bradley Hunter Welch; Pulaski Heights ing, UK 1 pm Paul Jacobs; Benaroya Hall, Seattle, United Methodist, Little Rock, AR 8 pm R. MONTY BENNETT, with Mark Mc- 24 JANUARY WA 7:30 pm Richard Elliott; St. Mark’s Cathedral, Clellan, piano, Sinsinawa Mound, Sinsinawa, Seattle, WA 7:30 pm Paul Jacobs; Enmax Hall, Winspear WI, July 25: Introduction (First Sonata for 30 JANUARY Centre, Edmonton, AB, Canada 7:30 pm Organ), Price; Pastorale, Rorem; Adagio (So- Michael Olson; First Lutheran, Fargo, 17 FEBRUARY nata in e), Nanney; Fantasie, Demarest; Epic, 27 JANUARY ND 12:45 pm Janette Fishell; Congregational United Johnson; Adagio, Nyquist; Fantasy and Fugue Church of Christ, Iowa City, IA 4 pm Martin Baker; Westminster Cathedral, London, UK 4:45 pm on ‘My Lord, What a Morning,’ Simpson; Soon 1 FEBRUARY Choral Evensong; Our Lady of the Atone- Martin Ford; Westminster Abbey, Lon- I Will Be Done (Five Spirituals for Organ), Benjamin Sheen; Trinity Church, Copley ment Catholic Church, San Antonio, TX don, UK 5:45 pm Swing Low, Sweet Chariot (Spiritual Suite for Square, Boston, MA 12:15 pm 4 pm Organ), Taylor; Give Me Jesus, Garrett; There Craig Cramer; All Souls Episcopal, San Peter Krasinski & Louise Mundinger; Is a Happy Land, Shearing; Trio in the Style of Diego, CA 4 pm 3 FEBRUARY Old West Church, Boston, MA 8 pm Peter Stevens; Westminster Cathedral, Bach, ‘Alles was du bist’, Nalle; Swinging Bach, Pittsburgh Gospel Choir; Shadyside 21 FEBRJUARY London, UK 4:45 pm Heaps; Toccata for Organ, Weaver. Presbyterian, Pittsburgh, PA 8 pm Olivier Latry; A&M United Methodist, Ronny Krippner; Westminster Abbey, College Station, TX 7 pm London, UK 5:45 pm CARSON COOMAN, Old West Church, 3 FEBRUARY Boston, MA, July 31: Sestina for G. F. H., Dal- Jan Kraybill; Community of Christ Tem- 24 FEBRUARY 5 FEBRUARY ton; Church Sonata I, Woodman; Te Deum, ple, Independence, MO 3 pm +Frederick Hohman; Third Baptist David Palmer, workshop; Holy Trinity Vasks; Church Sonata III, Woodman; Prelude James David Christie; University of Church, St. Louis, MO 4 pm Anglican, Vancouver, BC, Canada 8 pm and Fugue in F, Rozema; Toccata, Asplund. Texas, Austin, TX 4 pm Christopher Houlihan; Broadway Bap- tist Church, Fort Worth, TX 7 pm 6 FEBRUARY PHILIP CROZIER, Stiftskirche, Cappen- 8 FEBRUARY David Palmer; St. James Anglican, Van- berg, Germany, July 15: Cantilena Anglica Scott Dettra; First Congregational, Sioux 25 FEBRUARY couver, BC, Canada 8 pm Fortunae, SSWV 134, Scheidt; Trio, Élévation Falls, SD 7:30 pm •Frederick Hohman, workshop; Third (Messe pour les Couvents), Couperin; Sonata Maxine Thévenot, with trumpets; Cathe- Baptist, St. Louis, MO 6:30 pm 10 FEBRUARY No. 4 in B-Dur, op. 65, no. 4, Mendelssohn; dral of St. John, Albuquerque, NM 7 pm Edward Symington; Westminster Ca- Trio Sonata No.1 in Es-Dur, BWV 525, Bach; Kyle Johnson; Samuelson Chapel, 28 FEBRUARY thedral, London, UK 4:45 pm Nun freut euch lieben Christen g’mein, Bux- California Lutheran University, Thousand Chanticleer; Cathedral Basilica of St. Robert Quinney; Westminster Abbey, WV 210, Buxtehude; Fantasia Chromatica, Oaks, CA 7 pm Louis, St. Louis, MO 8 pm London, UK 5:45 pm Sweelinck; Grand Choeur, Reed. Christopher Houlihan; Christ Church, David Baskeyfi eld; Westminster United Church, Winnipeg, MB, Canada 2:30 pm DELBERT DISSELHORST, First Pres- Portola Valley, CA 7:30 pm INTERNATIONAL byterian Church, Springfi eld, IL, July 29: 9 FEBRUARY 16 FEBRUARY Toccata III (Apparatus musico-organisticus), Marc D’Anjou; Queens Avenue United Scott Dettra, choral accompaniment 20 JANUARY Muffat; Tiento pequeno e facil, Tiento medio Church, New Westminster, BC, Canada workshop; First Congregational, Sioux Robert Quinney; Methodist Central Hall, registro de tiple, Correa de Arauxo; Liebster 7:30 pm Falls, SD 10 am Westminster, London, UK 3 pm Jesu, wir sind hier, BWV 730, 731, Bach; 17 FEBRUARY Sonata I in f, op. 65, Mendelssohn; Prélude, ORGAN BUILDERS Gerard Brooks; Methodist Central Hall, Lemmens; Elfes, op. 7, Bonnet; Lotus, Stray- Westminster, London, UK 3 pm horn; Ein feste Burg ist unser Gott, Vom Him- Karen Electra Christianson; Westmin- mel hoch da komm ich her, Wenn mein Sünd L. W. BLACKINTON THE NOACK ORGAN CO., INC. ster Abbey, London, UK 5:45 pm mich kränken, Lobe den Herren, Walcha; and associates, inc. MAIN AND SCHOOL STREETS Fantasia on Sine Nomine, Phillips. GEORGETOWN, MA 01833 Marc D’Anjou; Ryerson United Church, www.noackorgan.com Vancouver, BC, Canada 3 pm 380 FRONT ST. JOAN DeVEE DIXON and JANE KRIEL Member: Associated Pipe Organ Builders of America EL CAJON, CA 92020 23 FEBRUARY HORN, Sinsinawa Mound Center, Sinsina- Stephen Cleobury; St. Albans Cathe- wa, WI, July 4: Patriotic Medley, Dixon and Member Firm: The Associated Pipe Organ Builders of America Horn; 76 Trombones, Wilson, arr. Dixon and martin ott pipe dral, St. Albans, UK 5:30 pm organ Horn; Over the Rainbow, Arlen, arr. Dixon; RANDALL DYER company inc. 24 FEBRUARY Champagne Rag, Lamb, arr. Dixon and Horn; & ASSOCIATES, INC. James O’Donnell; Westminster Abbey, Bach for the Fourth of July, Dixon and Horn;

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34 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM _ Organ Recitals

Dance, Raney; Amazing Grace, Church in the oboe, Atlanta First United Methodist Church, lude and Fugue in G, op. 37, no. 2, Mendels- ANGUS SINCLAIR, with John Mackay, Wildwood, Dixon; Wade in the Water, Dixon Atlanta, GA, August 5: Fantasia in g, BWV sohn; Allegro vivace (Symphony No. 5 in f, op. bagpipes, St. James’ Anglican Church, Oril- and Horn; Raider’s March, Williams, arr. Dix- 542, Schmücke dich, o liebe Seele, Bach; Cho- 42, no. 1), Widor. lia, ON, Canada, July 18: King of Laois on and Horn; Stars & Stripes Forever, Sousa, ral III in a, Franck; Happy Are They That March, MacKay and Sinclair; Murdo Mack- arr. Dixon & Horn. Dwell in Your House, Pelz; Toccata, op. 7, no. CHRISTA RAKICH, St. Kieran Art Cen- enzie of Torridon Jig, MacLeod; Macgregor’s 3, Barie; Carillon de Westminster, op. 54, no. ter, Berlin, NH, July 12: Praeludium in F, Search, Walking the Floor, MacKay and Sin- JULIA DOKTER, St. James United 6, Vierne; Chant de paix, Rhapsodie gregori- Fanny Mendelssohn; Sonata No. 3 in E, clair; Anthem for the Wind and the Water Church, Montreal, QC, Canada, July 10: Prae- enne (Neuf Pièces), Langlais. Martinez; Hommage à Pachelbel, Rakich; (Marco Polo Suite), Stewart; Highland Ca- ludium en G, Bruhns; Ricercare Cromatico Prelude and Fugue in B-fl at, op. 16, no. 2, C. thedral, Roever and Korb; Skye Boat Song, post il Credo (Fiori Musicali), Frescobaldi; BAPTISTE-FLORIAN MARLE-OUV- Schumann; I Think When I Read That Sweet Westering Home, MacKay and Sinclair; Ricercare: Ommagio a Frescobaldi, Ligeti; RARD, St. James United Church, Montreal, Story of Old, All Things Bright and Beautiful, Massacre at Glencoe, MacLean; Wayfar- Wachet auf, ruft uns die Stimme, BWV 645, QC, Canada, July 31: Suite, op. 5, Durufl é; Praise Our Father (Folk Hymn Sketches), Di- ing Stranger, Clinch Mountain Breakdown, Bach; Sonata No. 1 in d, op. 42, Guilmant. Deux improvisations, Marle-Ouvrard. emer; Suite No. 1, Price. Amazing Grace, The Lord’s My Shepherd, In the Garden, Scotland the Brave, MacKay MARK ENGELHARDT, Old West PETER K. MILLER, Chester Cathedral, MARILYN REESOR, St. James’ Anglican and Sinclair. Church, Boston, MA, August 21: Praeludium Chester, United Kingdom, June 28: Fanfare, Church, Orillia, ON, Canada, July 11: Vater in G, Bruhns; Suite Breve, op. 894, Cooman; Cook; Ricercar #3 in F, Ricercar #4 in F, unser im Himmelreich, Wachet auf, ruft uns KIRSTIN SYNNESTVEDT, Sinsinawa Canzonetta in G, BuxWV 171, Buxtehude; Fogliano; Tiento de medio registro de baxon die Stimme, Vivace (Trio Sonata II), Bach; Mound, Sinsinawa, WI, July 18: Prelude Sonata in Sea: Cape Cod, Woodman; Prelude de 1 tono, Correa de Arauxo; Praeludium und Andante in e, Fiocco; Andante Sostenuto in d, Aria Sebaldina (Hexachordum Apol- and Fugue in C, BWV 547, Bach. Fuga in C Dur, BWV 545, Bach; Mein Jesu, (Symphonie Gothique), Widor; Trumpet Tune linis), Pachelbel; Wir glauben all’ an einen der du mich (Eleven Chorale Preludes, op. in F, Brunner; Toccata, Dubois. Gott, Vater, Jesus Christus, unser Heiland, KURT-LUDWIG FORG, St. James United 122), Brahms; Choral No. 3 in a, Franck. BWV 665, Bach; Après un rève, Fauré; Pil- Church, Montreal, QC, Canada, July 17: Hal- JONATHAN RYAN, St. Chrysostom’s grims’ Chorus (Tannhauser), Wagner; Six leluja, Handel, arr. Dubois; Fuga F-Dur, Fuga JEFFREY MOELLMAN, with Marie- Episcopal Church, Chicago, IL, July 8: Sinfo- Romanian Folk Dances, Bartók; Fugue in E-Dur, Fuga G-Dur, Caldara; Orgelsonate Nr. Caroline Bourque, violin, St. James’ Anglican nia (Cantata 29), Bach, transcr. Dupré; Varia- E-fl at, Bach. 4 a-moll, op. 98, Rheinberger; Improvisation Church, Orillia, ON, Canada, July 25: Thème tions on Balletto del granduca, Sweelinck; on a Chant by John Goss, Improvisation on a et Variations (Hommage à Frescobaldi), Lan- Prelude on East Acklam, Jackson; Etude MARIJIM THOENE, St. Kazimierz, Bi- Chant by Highmore Skeats, Butcher; Fiat lux glais; Prélude (Pièces en style libre, op. 31, no. coulée, Ligeti; Rhapsody in c-sharp, op. 17, alystok, Poland, July 15: Pièce d’Orgue, BWV (Douze Pièces Nouvelles), Dubois. 5), Vierne; Salut d’Amour, op. 12, Elgar; So- no. 3, Howells; No. 4 in A-fl at, No. 5 in b (Six 572, Bach; Fantaisie II, Alain; Toccata per nata III for Solo Violin, op. 27, no. 3, Ysaÿe; Canonic Etudes, op. 56), Schumann; Berceuse l’Elevatione (Messa degli Apostoli), Fresco- EDIE JOHNSON, Loyola University, Lied (Pièces en style libre, op. 31, no. 17), Paraphrase, Baker; Prelude and Fugue in B, baldi; Magnifi cat: My soul doth magnify the Chicago, IL, July 15: Fanfare for Organ, Hymne au soleil (Pièces de fantaisie, Book II, op. 7, no. 1, Dupré. Lord, Gloria (Fifteen Pieces for Organ Found- Proulx; Suite du Second Ton, Guilain; Hom- op. 53, no. 3), Vierne. ed on Antiphons, op. 18), Dupré; Choral variè mage à Igor Stravinski, Hakim; Ubi Caritas, ANDREW SHENTON, Old West Church, sur le theme du “Veni Creator,” op. 4, Durufl é; In Manus Tuas (Twelve Chorale Preludes PAUL MURRAY, Old West Church, Bos- Biston, MA, July 24: Alleluyas, Preston; Sara- Habakkuk, op. 434, Hovhaness. on Gregorian Themes, op. 8), Demessieux; ton, MA, July 10: Fantasia and Fugue in band for the morning of Easter, Howells; Scher- Suite, op. 5, Durufl é. g, BWV 542, Bach; Plein jeu, Fugue sur la zo for the white rabbit, Ogden; Prelude and PATRICK WEDD, St. James United Trompette, Récit de cromhorne, Trio, Dia- fugue on a theme of Vittoria, Britten; Dominus Church, Montreal, QC, Canada, July 3: Sonata JOYCE JOHNSON, with Ruth Sieber logue (Messe pour les Couvents), F. Couperin; regit me, Dearnley; Paean, Leighton; Preludio al in G, op. 28, Elgar; Voluntary in c, Greene; Johnson, soprano, and Leslie Odum Miller, Chorale Prelude on LLANFAIR, Robinson; Pre- Vespro de Monteverdi, Tippett; Toccata, Ayres. Orb and Sceptre (Coronation March), Walton.

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Piano students will recognize Mendelssohn’s Five New Single Editions for organ solo from Pamela Decker is featured on a new record- Harpsichord Technique: A Guide to Expres- Spinning Song. Gaul brings this well-known Fruhauf Music Publications—Fantasy on DOWN ing, Suite Dreams and Fantasies, Decker Plays sivity—2nd edition with CDs, by Nancy AMPNEY; Seven Variations on a French Noel; Toc- Decker, Volume 3, on the Loft label. Recorded piano standard from “Songs Without Words” to Metzger, now reduced 30% at author’s the organ in a fast and light piece for your pro- website: www.rcip.com/musicadulce. cata on LASST UNS ERFREUEN; Fantasy on MORNING on the Flentrop organ at St. Mark’s Cathedral, gram. michaelsmusicservice.com; 704/567-1066. SONG; and Carillon-Toccata on ST. A NNE. All fi ve Seattle, the program includes On This Day, are suitable for church or recital use, moderately Earth Shall Ring (2009, five hymn-based difficult, and priced at $12 or under. Visit www. works for Advent and Christmas), El Tigre The OHS Catalog is online at www.ohscatalog. 3 Baroque Transcriptions for Organ—New frumuspub.net, or contact: [email protected]; (2007), La Pantera (2009), Liturgical Suite org. More than 5,000 organ and theatre organ single editions from Fruhauf Music Publica- 805/682-5727, mornings, Pacifi c time. By mail: (2005, for right hand and pedal), Ave maris CDs, books, sheet music, DVDs and VHS vid- tions. J. S. Bach: Sinfonia from Cantata 29, $10; Fruhauf Music Publications, P.O. Box 22043, stella (2004), Jesu, dulcis memoria (2010), eos are listed for browsing and easy ordering. G. F. Handel: Organ (or Harp) Concerto in Santa Barbara, CA, USA 93121-2043. and Golden Gates (2010). For information: Use a link for adding your address to the OHS B-fl at Major, $9; and A. Vivaldi: Lute Concerto www.gothic-catalog.com. Catalog mailing list. Organ Historical Society, Box in D Major, $9. Visit www.frumuspub.net, or 26811, Richmond, VA 23261. E-mail: catalog@ contact: [email protected]; 805/682-5727, Dom Bedos de Celles: The Organ-Builder. organsociety.org. mornings, Pacifi c time. By mail: Fruhauf Music Damaged, unbound, 2-volume sets of the beauti- Historic Organs of Seattle: A Young Yet Publications, P.O. Box 22043, Santa Barbara, fully printed English translation by Charles Fer- Vibrant History, is a four-disc set recorded at CA 93121-2043. guson are available in very limited quantity. Origi- the 2008 OHS national convention, held in the Wayne Leupold Editions announces new nally published 1776–1778 in four installments, Seattle area. Nearly fi ve hours of music feature publications. The Keyboard Manuscript of Fran- it includes information on geometry, mechanics, historic organs by Aeolian-Skinner, Casavant, cis Hopkinson, Volume 2 (WL600270, $37.50), Ed Nowak, Chicago-area composer, arranger, and tools; detailed instructions for making all Hook & Hastings, and Hutchings-Votey, Kilgen, edited by H. Joseph Butler, an anthology of and church musician, announces his new web- the parts of an organ; voicing, tuning, enlarging, Tallman, Woodberry, Hinners, Cole & Wood- keyboard music popular in America in the second site, featuring Nowak’s original choral works, and maintaining a fi nished instrument; models of berry, plus instruments by Flentrop, C. B. Fisk, half of the eighteenth century, contains musical hymn concertatos, chamber and orchestral stoplists and a specimen contract for having an and Rosales, and Pacifi c Northwest organbuild- styles ranging from middle Baroque to early works, organ hymn accompaniments, organ organ built; how to test an organ; registration sug- ers Paul Fritts, Martin Pasi, John Brombaugh, Classical. Historical editions include Susanne and piano pieces, electronic music, and psalm gestions. The instructions for translating printed Richard Bond, and many more! Organists van Soldt Klavierboek (WL600275, $42.00), settings. The website offers scores and recorded music into mechanical organ form give insights Douglas Cleveland, Julia Brown, J. Melvin But- and The Netherlands, 1575–1700 (WL500018, examples that are easy to sample and can be into mid-18th Century French performance ler, Carole Terry, Bruce Stevens, and others are $59.00) both edited by Calvert Johnson. Con- purchased in downloaded (PDF and MP3) or practices. With minor damage (minimal stains featured on 24 pipe organs built between 1871 gregational song titles include Gracia Grindal’s printed form. Visit ednowakmusic.com. on some pages, a few creased pages) $250 per and 2000. Includes 36-page booklet with pho- A Treasury of Faith: Lectionary Hymn Texts, Old set. With moderate damage (more staining) $175 tographs and stoplists. $34.95; OHS members: Testament, Series A, B, and C (WL800043, $31.95. For info or to order: http://OHSCatalog. $32.50). For information: 800/765-3196; The Tracker —The Organ Historical Society per set. With severe damage (major ugly staining, com/hiorofse.html. www.wayneleupold.com. publishes its journal four times a year. The creases, perhaps a minor tear at a page edge) Tr a c ke r includes news and articles about the but still usable, especially the drawings and organ and its history, organbuilders, exemplary scaling sheets from volume 2 to be used in the Request a free sample issue of The Diapason organs, regional surveys of instruments, and workshop, $95. Shipping costs are extra. Please Pipe Organs of the Keweenaw by Jan Dalquist, for a student, friend, or colleague. Write to the contains histories, stoplists, and photos of the music played on the organ. The emphasis contact Bill Van Pelt 804/355-6386 or bill@ is on American organ topics of the 18th, 19th, Editor, The Diapason, 3030 W. Salt Creek Lane, some of the historic organs of the Keweenaw ravencd.com to order the damaged volumes, Suite 201, Arlington Heights, IL 60005; or e-mail: Peninsula, the northernmost tip of Michigan’s and 20th centuries, and there are occasional which will be shipped by OHS. Undamaged and subjects on European topics. Most issues run [email protected]. hardbound, the 2-volume set sells directly from Upper Peninsula. Organs include an 1899 32 pages with many illustrations and photo- Barckhoff and an 1882 Felgemaker. The booklet graphs, and at least one annual issue is pub- OHS for $550 to OHS members and $650 to non- ($8.00 per copy, which includes postage) is lished in full color. Membership in OHS includes members (makes sense to join OHS for $60 or Certifi ed appraisals—Collections of organ available from the Isle Royale and Keweenaw a subscription to The Tracker. Please visit our less and buy the book for $550) + $30 shipping books, recordings, and music, for divorce, Parks Association, 49445 US Hwy 41, Hancock, website for more information or subscription: in the U. S. (more outside U. S.) at 804/353-9226; estate, gift, and tax purposes. Stephen L. Pinel, Michigan 49930. For information: 800/678-6925. www.organsociety.org. www.ohscatalog.org. Appraiser. [email protected]; 609/448-8427.

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PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SERVICES & SUPPLIES

Small pipe organ suitable for residence, cha- Martin Pasi pipe organ—Two manuals, 24 Ornate Gothic oak organ case—Front and Highest quality organ control systems since pel or small church, comprising: Diapason 8′, stops, suspended-tracker action. $350,000. Web: sides. H 312″, W 330″, D 174″. Includes façade 1989. Whether just a pipe relay, combination Stopped Flute 8′, Principal 4′, Flageolet 2′, Lar- http://martin-pasi-pipe-organ-sale.com; phone: pipes and related ranks (Principal 16′, Prin- action or complete control system, all parts igot 1 1/3′ on one 4′ x 8′ chest. Includes blower, 425/471-0826. cipal 8′, Harmonic Flute 8′). $30,000. john@ are compatible. Intelligent design, competitive one-manual light oak console (no pedal). Price: organclearinghouse.com; 617/688-9290. pricing, custom software to meet all of your $5,000. Available in Ottawa, Canada. For infor- requirements. For more information call Westa- 1928 Casavant pipe organ, completely restored cott Organ Systems, 215/353-0286, or e-mail mation, e-mail [email protected]. ′ with fi ve new stops by Létourneau in 1987. Two 16 Double Open Wood Diapason with chests [email protected]. manuals and pedals, 24 ranks. Organ is in excel- and racks. 14″ scale, 5″ WP. $8000 FOB Deer- lent condition and is a good candidate for solid- Two manual, 14 rank electro-pneumatic organ fi eld, NH. Can deliver. john@organclearinghouse. state conversion. Asking $65,000 “as is” or can be com; 617/688-9290. Aeolian/Robert Morton-style maroon with divided casework and mirror image facades. rebuilt with modifi cations. For more information, leather is now available from Columbia Organ May be examined and played by appointment. contact Létourneau Pipe Organs at mail@letour- Leathers! Highest quality. 800/423-7003, Located near San Bernardino, California. For neauorgans.com or 888/774-5105. SERVICES / SUPPLIES www.columbiaorgan.com. photo go online to goodwinorgans.com, click “opus list” and scroll to Opus 8. Click on photo for more information. E-mail steuart.goodwin@ ELECTRONIC ORGANS FOR SALE Need help with your re-leathering project? ANNOUNCEMENTS sbcglobal.net or call 909/885-3951. All pneumatics including Austin. Over 45 years experience (on the job assistance Allen MDS-65—3-manual drawknob, 54 stops, available). 615/274-6400. Historic Organ Study Tour travels to northeast 6 channels, 600 watts audio, 6 speakers, MIDI; Germany, August 5–14. Led by Kurt Lueders, 2001 Rieger house organ—Located in Dal- 1990’s vintage, good condition: $29,500. Atlantic Bruce Stevens, and William T. Van Pelt, the tour las; 8 stops (GT Holzgedeckt 8, Principal 4, City Pipe Organ Co.; 609/432-7876. will visit 26 locales, to hear and play organs Releathering all types of pipe organ actions Doublette 2, POS Nachthorn 8, Blockfl öte 4, by such builders as Schnitger, Stellwagen, and mechanisms. Highest quality materi- Flachfl öte 2, Dulcian 8, PED Subbass 16). Walcker, and many more. Includes hotel rooms als and workmanship. Reasonable rates. $80,000, which includes Rieger dismantling, MISCELLANEOUS FOR SALE (double occupancy) for 11 nights, breakfasts, a Columbia Organ Leathers 800/423-7003. shipping, and reconstructing the instrument in group dinner, a lunch, admission to tour organs, a new space. Ideal for a home or chapel, or as Kimball English Horn. Very good condition. www.columbiaorgan.com/col. coach transportation, and tour booklet. See our a practice organ. Phone 212/289-0615; e-mail 7″ wind. Bells on resonators. 61 pipes. Call for complete ad on page 27 of this issue. For further details. Price negotiable. 763/670-4771. [email protected]. THE DIAPASON’s 2013 Resource Directory information, e-mail [email protected]. is distributed with this month’s issue. Please check your listing to be sure it is correct. 1910 Felgemaker pipe organ, Opus 1067. 11 Atlantic City Pipe Organ Company—3-rank THE DIAPASON E-News is mailed monthly ′ to subscribers who sign up to receive it. ranks in excellent condition. Removed from St. exposed Oak DE chest with 4 Principal, ′ ′ If changes are needed, or you are not Don’t miss the latest news, announce- Agnes R.C. Cathedral, Springfi eld, MO. Call for 4 Gedeckt and 2 Block Flute; very attrac- tive—$2,200. 16′ Double Open, 16′ Metal Dulci- yet included in the supplier listings, you ments and classifi ed ads (with photos) details. Price negotiable. 763/670-4771. before they appear in print! Visit www. ana. 609/641-9422, [email protected]. can add or update your information: at TheDiapason.com, click on RESOURCE TheDiapason.com and click on Sub- DIRECTORY and then on Add/Update scribe to our newsletter. For assistance, Two-manual, 9-rank Reuter pipe organ, Opus Your Company in the Buyer’s Guide. For contact Joyce Robinson, 847/391-1044, Wood pipes. Missing pipes made to match. [email protected]. 1052, a fully operational pipe organ, is for sale. Damaged pipes in any condition repaired. Over assistance, contact Joyce Robinson, For specifi cations and more details, visit www. 25 years experience. Filip Cerny, 814/342-0975. 847/391-1044, [email protected]. Levsenpipeorgan.com. Postal regulations require that mail to The Additional copies of the 2013 Resource Diapason include a suite number to assure Consoles, pipes and numerous miscellaneous Directory are available for $5.00 each; delivery. Please send all correspondence Reuter, 15 stops, great condition. Moller parts. Let us know what you are looking for. contact Jerome Butera, 847/391-1045, to: The Diapason, 3030 W. Salt Creek Lane, Double Artiste, very good condition. 615/274- E-mail [email protected] (not comcast), [email protected]. Suite 201, Arlington Heights, IL 60005. 6400 or milnarorgan.com. phone 215/353-0286 or 215/788-3423.

Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859

GUZOWSKI & STEPPE Advertise in The Diapason H.W. DEMARSE ORGANBUILDERS INC For rates and digital specifi cations TRACKER ORGANS NEW INSTRUMENTS REBUILDS - ADDITIONS contact Jerome Butera TUNING & SERVICE 518-761-0239 1070 N.E. 48th Court 847/391-1045 2 Zenus Dr., Queensbury, NY 12804-1930 FT. LAUDERDALE, FL 33334 (954) 491-6852 [email protected]

HAGERSTOWN ORGAN COMPANY, INC. New • Rebuilding • Solid-State Updating Own a piece of history! 301/797-4309 The cover of the 100th Anniversary Issue of The Diapason is now available on a handsome 10″x 13″ plaque. Patrick j. Murphy The historic cover image in full color & associates, inc. is bordered in gold-colored metal, and organbuilders the high-quality plaque has a marble- ized black fi nish; a slot on the back 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 makes it easy to hang for wall display. 610-970-9817 • 610-970-9297 fax Made in the USA, The Diapason [email protected] • www.pjmorgans.com 100th Anniversary Issue commemora- tive plaque is available for $45, shipping in USA included. $10 discount for Jacques Stinkens The Organ Clearing House members of the 50-Year Subscribers PO Box 290786 Organpipes - since 1914 Club. Order yours today: Charlestown, MA 02129 [email protected] Flues - Reeds Ph: 617.688.9290 847/391-1045 Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2013 Q 37 2012 In Review—An Index

Articles, Reports, and Reviews — by author (boldface) and subject Acoustics. See Riedel. Butera, Jerome. Editor’s Notebook. Jan Dyer, Randall S. The Last Vestiges of ______. Dudley Buck’s Grand Sonata Alain, Jehan. See Decourt; Froehlich; 3, Feb 3, March 3, April 3, May 3, June M. P. Möller? Recent visits to in E-fl at: The Architecture of an Ameri- Sloan and Yoder. 3, July 3, Aug 3, Sept 3, Oct 3, Nov 3, Hagerstown spur 20-year-old recollec- can Masterpiece. April 20–21+ Albert Schweitzer Organ Festival. See Dec 3 tions. Jan 24–27* ______. New Recordings. Novem- Spicer. Duquesne University. See Sloan and Yoder. ber 18 Aliénor Harpsichord Composition Compe- Carillon News. See Swager. Halsey, Bill. Organs in Lviv, Ukraine. tition. See Palmer, Gathering Peascods. Casavant Opus 3875. See Pickering. East Texas Pipe Organ Festival. See Fox. March 22–23*† Ascension Organ Academy. See Thomas. Choral music. See McCray. Editor’s Notebook. See Butera. ______. Vilnius—A Tale of Two August, Robert. Der Aa-Kerk Organ Coignet, Jean-Louis. The Great Organ of Englert-Marchal, Jacqueline. See Maestros, Two Organs and a Work in Finally Restored. March 21* the Cathedral of Monaco. June 20–21*† Labounsky. Progress. Aug 24–25*† ______. New Organ Music. Jan 18 Collins, John. Book Reviews. June 16 Harkovsky, Alexander. Book Reviews. ______. Early Organ Composers’ Fellows, Donald. Conference of Roman July 16 Bishop, John. In the wind . . . Jan 14–16, Anniversaries in 2012. March 20 Catholic Cathedral Musicians: Confer- Harpsichord music. See Palmer. Feb 12–14*, March 12–14*, April 13–14, ______. New Organ Music. June 18, ence XXIX, Columbus, Ohio. May 20* Harpsichord News. See Palmer, Tifft. May 13–14, June 12–13*, July 12–13*, July 18, Aug 17, Sept 19, Oct 18, Nov Foley, Mike. Skinner Opus 774 Is Saved. Heaton, Charles Huddleston. New Aug 11–13*, Sept 12–14*, Oct 13–15*, 18–19 Aug 22–23*† Recordings. April 18, June 17 Nov 12–13, Dec 13–14 ______. New Recordings. March Fox, Michael. East Texas Pipe Organ Herman, David. New Organ Music. Black, Gavin. On Teaching. Jan 16–17, 18–19, May 18–19 Festival: November 14–17, 2011. Feb March 19, June 18, July 18 Feb 14–15, March 15–17+, April Composers’ anniversaries in 2012. See 23–25* Houlihan, Christopher. See Hall. 14–15+, May 14–16+, June 14–15+, Collins. ______. New Recordings. Dec 17–18 Hutten, Christina. Inspired by Italy: July 13–15, Aug 13–14, Sept 15–16, Oct Conference of Roman Catholic Cathedral France. See Rodgers. Encounters with Italian Historical 15–16, Nov 14, Dec 15–16+ Musicians. See Fellows. Froehlich, Thomas F. Jehan Alain—The Organs, Their Surroundings, and Their Book Reviews. See Bullard, Collins, Har- Corsica. See Rodgers. American Festival: Wichita State Uni- Music. June 22–25*† kovsky, Kramer, Speller, Zoller. Couperin, François. See Thoene. versity. Jan 22–23* Brunner, Raymond J. Restoration of the Iberian organ music. See Merrill. 1770 Tannenberg Organ, Zion Moselem Dalquist, Janet Anuta. An Update on the Grand Avenue Temple United Methodist Iberian organs. See Merrill. Lutheran Church. April 19*† Organs of the Keweenaw. May 21* Church, Kansas City, MO. See Speller. In the wind . . . . See Bishop. Buck, Dudley. See Hall. Der Aa-Kerk. See August Italian organs. See Hutten. Bullard, John M. Book Reviews. April Decourt, Aurélie. Jehan Alain: His Life Haarlem International Organ Festival 16–17, Sept 16–18, Nov 16–18 and Works. July 22–25*+† 2012. See Taylor. Jensen, Wilma. See Peters. Dettra, Lee. See Robinson. Hall, Jonathan B. Christopher Houlihan Dettra, Scott. See Robinson. Vierne Marathon: A review of the New Kauffman Center, Kansas City, Missouri. York recital. Aug 19* See Pickering.

Appointments Obituaries Bahr, Fredrick,* to tonal director, Patrick Betts, William Lewis. Feb 10 J. Murphy & Associates, Stowe, PA. Bishop, Ronald Cameron, Jr.* June 8, 10 March 6 Bratcher, James Earl. Dec 10 Bates, Robert,* to Fellow of the Yale Brice, William Lusk. June 10 Institute of Sacred Music, and Senior Bruce, Garland P. Dec 10 Research Scholar, Yale University. Sept 8 Busarow, Donald Arthur.* Feb 10 Biery, Marilyn Perkins,* to minister of Campbell, Don G. Nov 10 music, Metropolitan United Methodist Cannon, Delores Bruch. Dec 10 Church, Detroit, MI. Dec 6 Cherrington Beggs, Sally. May 10 Candela, Christopher, to Church of St. Clark, Steven Alan. Nov 10 Thomas More, Manhattan, NY. Oct 8 Colby, Robert “Bob.”* April 10 Demers, Isabelle,* to assistant professor Craighead, David.* May 10 of organ, Baylor University, Waco, TX. Curley, Carlo.* Oct 11 Dec 6 Davis, Burns Smith. Jan 12 Fairbank, Nicholas,* to national presi- De Wolff, Charles.* March 8 dent, Royal Canadian College of Organ- Organ Stoplists Deaton, Rockwell Lewis “Wes” Jr. ists. Oct 8 Nov 10 Foley, Timothy,* to IT specialist and Dobson Murphy Delorme, Henri.* Dec 10 architectural assistant, Scott R. Riedel & Independent Presbyterian Church, Bir- St. Elizabeth Ann Seton Roman Catholic Engle, Paul E. June 10 Associates, Ltd. Dec 6 mingham, AL. 3/82*, Oct 1, 26–28 Church, Carnegie, PA. 3/28*, Oct 28 Fuerst, Arlyn F.* March 8 Jensen, Wilma,* to interim director of Sykes Chapel and Center for Faith and Val- Gietz, Raymond P. “Ray.” April 10 music, St. James Cathedral, Chicago, IL. ues, The University of Tampa, Tampa, Odell Gilliland, Dale Alexander. Nov 10 Sept 8 FL. 3/56*, March 32 Orange Congregational Church, United Gomez, Adelma. April 10 Kraaz, Sarah Mahler,* to visiting scholar Church of Christ, Orange, CT. 2/21*, Halvorsen, John. April 10 for the Associated Colleges of the Mid- Foley-Baker Jan 30 Hammel, Bene Wesley. Jan 12 west Arts of Florence program. Sept 8 Duke University Chapel, Durham, NC. Hancock, Gerre.* March 8, 10 Kraybill, Jan,* to organ conservator for 4/103*, April 1, 25–27 Parkey Harris, Bart Ferguson. June 10 the Julia Irene Kauffman Casavant Cathedral of St. John Berchmans, Shreve- Hayward, Margaret Garrett. Oct 11 Organ, Kansas City, MO. Nov 4 Glück port, LA. 3/55*, Jan 1, 28–30 Heiman, Father Larry. May 10 Langlais, Marie-Louise,* appointed Faith Lutheran Church, New Providence, Irwin, E. Robert. Nov 10 visiting professor of organ, Oberlin Con- NJ. 3/32*, Feb 1, 26–28 Pasi Jordan, Alice Yost.* March 10 servatory of Music. Aug 4, 6 Sacred Heart Co-Cathedral, Houston, TX. Larsen, Gregory S.* Aug 10 Maxwell, Monte,* to director of chapel Goulding & Wood 4, 76 stops*, June 1, 26–27 Laukhuff, Hans-Erich.* April 10 music, United States Naval Academy, Indiana Landmarks Center, Indianapolis, Lehmberg, Stanford Eugene. Aug 10 Annapolis, MD. Oct 8 IN. 3/33*, Aug 1, 26–28 Proscia Lehoczky, Elizabeth “Betty” Grace. Mellichamp, James F.,* to president, Julius Dayle Harding residence, Doug- Jan 12 Piedmont College, Demorest, GA. Hochhalter lasville, GA. 4/11*, May 32 Leonhardt, Gustav.* March 10 July 6 First United Methodist Church, Eugene, Lush, Morley J. Dec 10 Morrison, Alan,* to associate professor OR. 3/51*, April 18 Quimby McAbee, Kay Arthur.* March 10 of organ, Westminster Choir College of First Congregational Church, Greeley, CO. McDermitt, Robert P. Jan 12 Rider University, Princeton, NJ. June 6 Karstens 3/38*, Sept 1, 30–32 Merritt, Royston John Jr. Nov 10 Penin, Olivier, named titular organist, Lake Park Lutheran Church, Milwaukee, Mills, William Brant. Nov 10 Sainte-Clotilde, Paris, France. Nov 4 WI. 3/28*, Nov 32 Rathke Moe, Daniel T. Oct 11 Penkala, Christopher,* to architectural The Musical Instrument Museum, Phoe- Opel, Paul Emerson. July 10 associate, Scott R. Riedel & Associates, Kegg nix, AZ. 1/3*, Aug 28 Parris, Robert W. Jan 12 Ltd. Dec 6 Sacred Heart Church, New Philadelphia, Prichard, Robert.* April 10 Reid, Andrew,* to director, Royal School OH. 2/15*, Dec 1, 26–27 Schlueter Ritter II, Joseph Johann Karl. May 10 of Church Music. Oct 8 Immaculate Heart of Mary Catholic Church, Robertson, George Anthony “Tony.”* Saliers, Don, to chaplain, American Guild Leek Atlanta, GA. 3/44*, May 1, 30–31 Sept 11 of Organists. Nov 4 St. Luke’s Lutheran Church, North Balti- Russell, Thomas Hunter. June 10 Schaefer, Craig R.,* to lead acoustical more, OH. 2/4*, Dec 28 Schoenstein Schleis, Thomas H. Nov 10 engineer, Scott R. Riedel & Associates, First Lutheran Church, Sioux Falls, SD. Schroeder, Rev. Carl E. Oct 11 Ltd. Dec 6 Létourneau 3/52*, Nov 1, 30–32 Sebastyén, János.* May 12–13 Surratt, Michael,* to organist, First Cathedral of Christ the Light, Oakland, Shorney, George H. July 10 United Church, Oak Park, IL. Sept 8 CA. 4/90*, July 1, 26–28 Swartz Stevens, Judith. Aug 10 Teardo, Frederick,* to director of music Christ Church, United Church of Christ, Strayer, Gene Paul. Feb 10 and organist, Cathedral Church of the Moore Milwaukee, WI. 2/14*, Feb 28 Taddei, Jacques. Sept 11–12 Advent, Birmingham, AL. Nov 4 All Hallows’ Parish, Davidsonville, MD. Westrum, Florence Emily. Oct 11–12 Weir, Gillian,* appointed visiting profes- 2/13*, March 1, 30–31 Wallace Wunderlich, Heinz.* May 10, 12 sor of organ, Oberlin Conservatory of St. Paul’s Anglican Parish, Brockton, MA. Zwicky, Gary Lee.* Aug 10 Music. Aug 4, 6 2/7*, Sept 32

38 Q THE DIAPASON Q JANUARY 2013 WWW.THEDIAPASON.COM *=picture +=musical examples †=stoplist #=diagrams

Keweenaw (Michigan, Upper Peninsula) New Organ Music. See August, Collins, Rodgers, Helen VanAbbema. Organs in ______. Carillon News. Jan 14, Feb organs. See Dalquist. Herman, Knijff, McKinney, Steele, Udy, Corsica and Southern France, June 7–13, 11–12, March 12, Dec 12* Kimball organs. See Traser. Wagner, Zoller. 2012. Sept 20* Knijff, Jan-Piet. Crazy about Organs: New Recordings. See Collins, Fox, Hall, Tannenberg oprgan, Moselem Springs, PA. Gustav Leonhardt at 72. Nov 20–22* Heaton, Maté, Reed, Speller, Wagner. Saint-Jean de Montmartre, Paris, France. See Brunner. ______. New Organ Music. Dec 18–19 Northway, Dennis. A new four-manual See Shuster Fournier. Taylor, Stephen. Haarlem International Kramer, Gale. Book Reviews. Feb 16–17* pipe organ in seven weeks: Möller Opus Schlicker, Herman. See Robinson. Organ Festival 2012. Dec 22–23* 6373 at Chicago’s Carl Schurz High Schurz, Carl, High School, Chicago, Illi- Thoene, Marijim. François Couperin’s Labounsky, Ann. In Memoriam: Jacque- School. May 26–29*+† nois. See Northway. Organ Masses at the University of line Englert-Marchal, 23 September Schweitzer Organ Festival. See Spicer. Michigan. June 19*† 1922–21 April 2012. July 19* Oak Park, IL. See Wilkinson. Sebastyén, János. See Tifft. Thomas, Will. Ascension Organ Academy Landowska, Wanda. See Smith. Oaxaca, Mexico. See Winter. Sewanee Church Music Conference. See June 20–25, 2011. Jan 21* Leigh Street Baptist Church, Richmond, OHS National Convention. See Rippl. Smedley. Tiento. See Merrill. Virginia. See Traser. On Teaching. See Black. Shuster Fournier, Carolyn. The Recent Tifft, Robert. Harpsichord News. May Leonhardt, Gustav. See Knijff, Lovallo. Organ building. See Bishop. Restoration of the Organ at Saint-Jean 12–13* Letters to the Editor. Jan 3–4, Feb 3, Organ Historical Society. See Rippl. de Montmartre in Paris, France. Sept Torrent, Montserrat. See Merrill. March 3, April 3, May 3, June 3, July 3, Organ pedagogy. See Black. 27–29*†# Traser, Donald R. A Kimball Turns 100: Sept 3–4, Oct 3–4, Nov 3–4, Dec 3 Organ Recitals. Jan 34–35, Feb 33, March Skinner Opus 774. See Foley. Leigh Street Baptist Church, Richmond, Lovallo, Lee. Pavana Lachrimae: A 37, April 33, May 36–37, June 33, July Skinner organs. See Foley, Speller. Virginia. May 24–25*+† California Tribute to Gustav Leonhardt. 33, Aug 32–33, Sept 36–37, Oct 33, Nov Sloan, Stephanie, and Rebecca Marie Aug 18* 37, Dec 32–33 Yoder. Jehan Alain masterclass by Udy, Kenneth. New Organ Music. Oct 18 Lviv, Ukraine. See Halsey. Palmer, Larry. Harpsichord News. Feb Helga Schauerte at Duquesne Univer- University of Michigan. See Thoene. 11*, April 12*, May 12–13*, July 10, 12* sity. Jan 19* M. P. Möller. See Dyer, Northway. ______. Gathering Peascods for the Smedley, Jane Scharding. Sewanee Vierne Marathon. See Hall. Maté, Francine. New Recordings. July 17 Old Gray Mare: Some Unusual Harpsi- Church Music Conference, July 9–15, Vilnius, Lithuania. See Halsey. McCray, James. Music for Voices and chord Music Before Aliénor. Nov 27–29* 2012. Nov 23* Organ. Jan 17–18, Feb 15, March 17, Paris, France. See Shuster Fournier. Smith, Craig. Mamusia: Paul Wolfe Wagner, David. New Organ Music. April 15–16, May 16–17, June 15–16, Perry, Roy. See Fox. Remembers Wanda Landowska. Oct May 19 July 15–16, Aug 15, Sept 16, Oct 16–17, Peters, Andrew. A Conversation with 23–25* ______. New Recordings. March 19, Nov 15–17, Dec 16–17 Wilma Jensen. May 22–23* Spanish organ music. See Merrill. April 17–18, June 16–17, July 16–17, McKinney, David. New Organ Music. Pickering, David C. Dedication of Spanish organs. See Merrill. Aug 16–17, Sept 18–19 Feb 18 Casavant Opus 3875, Kauffman Center, Speller, John L. A Skinner Centennial— Wichita State University. See Froehlich. Merrill, Mark J. An Interview with Mont- Kansas City, Missouri. Aug 20–21*† Opus 190 at Grand Avenue Temple Wilkinson, Cathryn. Organists of Yester- serrat Torrent, Queen of Iberian organ United Methodist Church, Kansas City, year in the World’s Largest Village. April music. Oct 19* Reed, James. New Recordings. Jan 18, Missouri. July 20–21*† 22–24* ______. The Early Iberian Organ: Dec 18 ______. Book Reviews. Jan 19, March Winter, Cicely. Ninth International Organ Design and Disposition. Nov 24–26*† Riedel, Scott R. Acoustics in the Worship 17–18, Aug 15–16 and Early Music Festival, Oaxaca, Mexico, ______. The Tiento: An Iberian Art Space X: Good Acoustics—the Eco- ______. New Recordings. Feb 17–18, February 5–15, 2012. Sept 21–23* Form. Dec 20–21*+ nomic Factors. Dec 24–25* April 18, May 18, June 17, July 17–18, Wolfe, Paul. See Smith. Möller Opus 6373. See Northway. Rippl, Frank. 56th OHS National Con- Aug 17, Sept 18, Oct 17–18 Monaco Cathedral. See Coignet. vention. March 24–29* Spicer, David. Fourteenth Annual Albert Zoller, Jay. An American Organ Moves to Music for Voices and Organ. See McCray. Robinson, Joseph E. Apprenticing with Schweitzer Organ Festival. Jan 20* Germany: Steer & Turner Opus 14. Oct Herman Schlicker. Feb 20–22* Steele, Charlie. New Organ Music. Jan 19 20–22*† Nelson, Leon. New Handbell Music. June Robinson, Joyce Johnson. Like Father, Steer & Turner. See Zoller. ______. Book Reviews. March 18, 18, Nov 19, Dec 19 Like Son: A Conversation with Lee and Swager, Brian. 2012 Summer Carillon May 17–18 New Handbell Music. See Nelson. Scott Dettra. Sept 24–26* Concert Calendar. June 28–29, July ______. New Organ Music. Jan 18–19, 28–29, Aug 29 April 18, June 17–18, Aug 17, Dec 19

Honors and Competitions Alain, Marie-Claire,* named Grand Offi - Goreham, Norman J., wins Macalester Macens, Ella, awarded second prize, Rolland, Gregoire, wins third and audi- cier de la Légion d’Honneur. Sept 8 Plymouth United Church hymn con- Carillon Society of Australia’s student ence prizes, Prix Guillaume Costeley Andrews, Matt,* wins St. Andrew’s Hymn test. May 6 carillon composition competition. composition competition, Evreux, Competition, Kansas City, MO. Dec 4 Goussot, Paul,* wins International Organ March 12 France. March 6 Bedford, Frances,* honored with naming Festival Haarlem. Sept 4 Manners, David, wins Royal School of Scott, Patrick A., awarded second and of Frances Bedford Concert Hall, Uni- Gu, Sang Gil (Travis), wins Parkey Church Music’s Dr. Harold Smart Com- audience choice prizes, AGO National versity of Wisconsin-Parkside. July 12 OrganBuilders organ competition, position Competition. March 6 Competition in Organ Improvisation. Bengston, Bruce P.,* honored upon Shreveport, LA. April 6 Maple, Howard, wins Macalester Plym- Sept 6 retirement from Christ Episcopal Har, Austin, awarded third prize, Carillon outh United Church hymn contest. Shin, Jennifer,* wins Level 1, Rodgers Church, Reading, PA. Jan 8 Society of Australia’s student carillon May 6 North American Classical Organ Com- Blumhofer, Jonathan,* wins First Bap- composition competition. March 12 Matthews, Malcolm, awarded second petition. May 4 tist Church, Worcester, MA, anthem Hazebroucq, Noël,* wins fi rst and audi- prize, AGO National Young Artists Shoepple, Lawrence,* celebrates 50th competition. May 6 ence (improvisation) prizes, Prix André Competition in Organ Performance. anniversary as Allen Organ employee. Bonilauri, Stefano, wins second prize, Marchal competition, Biarritz, France. Sept 6 April 8 Prix Guillaume Costeley composition Jan 6 Maw, David,* wins second (improvisation) Sieving, Robert, named a winner of competition, Evreux, France. March 6 Herman, David,* retires as Trustees prize, Prix André Marchal competition, VocalEssence/American Composers Brannon, Jon,* awarded third prize, Distinguished Professor of Music and Biarritz, France. Jan 6 Forum 14th Annual Welcome Christ- Level 1, Rodgers North American Clas- University Organist, University of Dela- Miller, Kenneth,* wins Jacqueline Englert- mas Carol Contest. Jan 8 sical Organ Competition. May 4 ware. Jan 10 Marchal Prize, Prix André Marchal com- Smith, Emmet G.,* awarded honorary Carnahan, Craig,* wins 2012 Twin Cities Johnson, Calvert,* retires as Charles A. petition, Biarritz, France. Jan 6 Doctor of Music degree, Texas Christian AGO Composition Competition. Aug 6 Dana Professor Emeritus of Music and Monin, Virgile,* wins fi rst and audience University. July 8 Chan, Sheung Chi,* awarded second College Organist Emeritus, Agnes Scott (interpretation) prizes, Prix André Snider, Charles,* honored at 25th anni- place, 2012 First Presbyterian Church College, Decatur, GA. Jan 10 Marchal competition, Biarritz, France. versary as organist and choirmaster, St. National Organ Playing Competition, Kallembach, James, named a winner of Jan 6 Mark’s Episcopal Church, Glen Ellyn, Fort Wayne, IN. July 3 VocalEssence/American Composers Murray, Douglas, awarded thrid prize, IL. Dec 10 Chang, Yoomi,* wins 2012 First Presby- Forum 14th Annual Welcome Christmas AGO National Competition in Organ Spicer, David,* honored at 25th anniver- terian Church National Organ Playing Carol Contest. Jan 8 Improvisation. Sept 6 sary as minister of music, First Church of Competition, Fort Wayne, IN. July 3 Kjellgren, Matthias,* wins Alain inter- Near, John R.,* awarded the Organ His- Christ, Wethersfi eld, CT. Oct 11 Core, John, wins Macalester Plymouth pretation prize, Prix André Marchal torical Society’s 2011 John Ogasapian Tikker, Timothy,* wins fi rst Michele United Church hymn contest. May 6 competition, Biarritz, France. Jan 6 Publication Prize. Aug 6 Johns Scholarship, the University of Crozier, Philip, honored at 25th anni- Lam, Anne,* awarded second prize, Sixth Nelson, Lee, honored upon retirement Michigan. Jan 12 versary as director of music, St. James Miami International Organ Competi- from North Park University. Dec 8 Town, Robert,* honored by Wichita AGO United Church, Montreal, QC, Canada. tion. May 4 Nicholls, Robert, wins AGO National chapter. May 8 Feb 6 Lekkerkerker, Jacob,* wins Jacqueline Competition in Organ Improvisation. Wiess, Leonard, wins Carillon Society of David E. Wallace & Co.,* celebrates Englert-Marchal Prize (improvisation), Sept 6 Australia’s student carillon composition 30th anniversary. April 11–12 Prix André Marchal competition, Biar- O’Berry, Joseph,* awarded second prize, competition. March 12 Davis (Firmin-Didot), Lynne,* named ritz, France. Jan 6 Level 1, Rodgers North American Clas- Wróbel, Pawel,* awarded third prize, Chevalier de l’Order des Arts et des Lipa, Patryck,* wins second (interpreta- sical Organ Competition. May 4 Sixth Miami International Organ Com- Lettres. May 8 tion) prize, Prix André Marchal competi- Pan, Mary,* wins high school division petition. May 4 Ganza, Christopher,* wins young profes- tion, Biarritz, France. Jan 6 award, Albert Schweitzer Organ Festi- Yu, Yang Sun, awarded second prize Par- sional division award, Albert Schweitzer Low, Adrian, wins hymn competition, val. Sept 4 key OrganBuilders organ competition, Organ Festival. Sept 4 St. Andrew’s Episcopal Church, Kansas Phillips, Craig,* named AGO’s Distin- Shreveport, LA. April 6 City, MO. April 6 guished Composer for 2012. April 8 Zhao, Weicheng,* wins Sixth Miami Lyman, Thatcher, awarded third prize Robinson, Daryl, wins AGO National International Organ Competition. May 4 AGO National Young Artists Competi- Young Artists Competition in Organ tion in Organ Performance. Sept 6 Performance. Sept 6

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