THE DIAPASON SEPTEMBER, 2008
St. John’s Episcopal Church, Norwood Parish Bethesda, Chevy Chase, Maryland Cover feature on pages 30–31
Sept 08 Cover.indd 1 8/13/08 8:31:35 AM “It was superb!....Brilliant, astonishing, almost American organist Daniel Sullivan’s creative unbelievable, a tour de force...a memorable interpretations, musical depth and engaging and entertaining concert by a very promising stage presence, combined with his command of young organist with style and a formidable a varied repertoire ranging from Renaissance to technique.” (Hexham Courant, England) contemporary works, have earned him a prominent place among the next generation of “A splendid, assured and memorized concert organists. His performances have taken performance.” (The Diapason) him to cities across the United States, including San Francisco, Albuquerque, Chicago, “Organist elevates instrument’s status.” Indianapolis, Cleveland, Boston, Philadelphia, (Albuquerque Journal) Washington DC, Atlanta, and many other venues in other states. “Daniel Sullivan’s warm interaction with an audience and his fiercely beautiful playing He collaborates with pianist Jason Cutmore as need to be experienced by everyone who loves the New York Piano-Organ Duo, and performs the organ, and especially by those who don’t!” with the Second Instrumental Unit, a chamber (Paul Jacobs, organ department chairman, ensemble of diverse instruments devoted to The Juilliard School, New York) playing the new music of current composers. He also performs music written for two organs with Isabelle Demers. In 2007 they premiered their original two-organ transcription of Prokofiev’s “Peter and the Wolf” to the enthusiastic delight of audiences.
Sullivan has been a featured soloist at New York City’s Basically Bach Festival, the Piccolo Spoleto Festival in Charleston, and the White Mountain Musical Arts Annual Bach Festival in New Hampshire. He has performed in Scotland, and England, and has been a prize winner in numerous competitions. His degrees are from Oberlin Conservatory, Yale University, and the Juilliard School where he will join the organ faculty this autumn. instrument, rather than a hard and fast inevitable discussion that the sonatas have designation of an exact physical form. In- not much to do with the classical sonata THE DIAPASON deed, we would not consider a “continuo and its defi ned form. Funny: with Widor, A Scranton Gillette Publication organ” a “portative” despite the fact that it is hardly questioned that his symphonies Ninety-ninth Year: No. 9, Whole No. 1186 SEPTEMBER, 2008 it can be moved. This organ, however, is have not much to do with symphonies, more closely related to its earlier cousin besides using the term for multi-move- Established in 1909 ISSN 0012-2378 in size and form. The Ab Yberg prints re- ment form. Both were obviously looking An International Monthly Devoted to the Organ, fer to that organ as a “Positive,” in part for a contemporary handling of the organ the Harpsichord, Carillon, and Church Music because its intended purpose was to pro- and invented something new, in quite dif- vide music in the family chapel, rather ferent ways, without forgetting the past, than be transported for use. or transforming traditional material in a Christopher Walton new frame. CONTENTS Editor & Publisher JEROME BUTERA [email protected] New England Organbuilders Michael Gailit 847/391-1045 Vienna, Austria FEATURES Symphonic style Inaugurating the new Craighead-Saunders Organ After reading the interesting article Paul Manz book review at the Eastman School of Music Associate Editor JOYCE ROBINSON by Joris Verdin (“Aspects of French I am writing in response to Sarah by Hans Davidsson 21 [email protected] Symphonic Organ Music,” The Dia- Mahler Hughes’s review (June Diapa- 847/391-1044 pason, June, pp. 26–29), I meditated a son) of my book on the life and work of From the Dickinson Collection: Memorizing Controversy few minutes on the term “symphonic” Paul Manz, “The Journey Was Chosen: by Lorenz Maycher 22 Contributing Editors LARRY PALMER and how it appears in the organ world. The Life and Work of Paul Manz,” pub- Harpsichord Apart from my experience that some lished by MorningStar Music Publish- Celebrating the Cathedral Church of Christ still divide the repertoire into good or- ers. While I am genuinely grateful for Choir, Lagos, Nigeria, at Ninety JAMES MCCRAY gan music and symphonic organ music, Ms. Hughes’s work, and appreciative of by Godwin Sadoh 25 Choral Music the term “symphonic” is often identifi ed much of the tone in her review, there are with “romantic,” as it is with “orchestral,” two points that need correcting. NEWS & DEPARTMENTS BRIAN SWAGER as if there were no orchestras in the ba- The fi rst point is a somewhat small Letters to the Editor 3 Carillon roque or classical periods. So then, is point, but those who know, or have stud- Here & There 3, 4, 5, 6, 8, 10 there any symphonic music before the ied with Paul Manz will understand my HERBERT L. HUESTIS Appointments 6 OrganNet Forum romantic period? What a question. Just need for clarifi cation and correction. Ms. Nunc Dimittis 10 Osiris Organ Archive straight another one: What characterizes Hughes claims that I “lapse into adula- In the wind . . . by John Bishop 12 www.wu-wien.ac.at/earlym-l/organs/local.html “symphonic” music? The symphony was tion,” and she pulls a quote from p. 32 On Teaching by Gavin Black 14 e-mail: [email protected] developed in the Viennese classical era, of the book: “Paul Manz had a healthy and it forms a main part of the Viennese amount of ambition, an almost voracious classical style, developed by Haydn and capacity to learn and grow, and has never REVIEWS Prepress Operations DAN SOLTIS Mozart, and perfected by Beethoven, been one to let the grass grow under his Music for Voices and Organ 16 the one who “received Haydn’s spirit feet.” Anyone who has encountered Paul Book Reviews 17 through Mozart’s hands.” Manz as a colleague, student or friend New DVDs 18 THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Main compositional features of the will immediately understand that this New Recordings 19 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. symphonic style are the thematic work isn’t hyperbole; it is merely a statement New Organ Music 20 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 and the so-called obbligato accompani- of fact. There is no other way to put it. MSG RLY. E-mail:
SEPTEMBER, 2008 3
Sept 08 pp. 2-21.indd 3 8/13/08 8:33:25 AM Music in a Great Space, the con- gneur). For information: 212/288-2520; removal of the organ took ten days and cert series at Shadyside Presbyterian
Jack M. Bethards, Paul Jacobs, Nigel Potts, and Robert J. Russell
Christ & St. Stephen’s Episcopal ist & choirmaster); and Robert J. Rus- Church, New York City, dedicated sell (organist & choirmaster emeritus). their new Schoenstein organ on Trin- That same weekend Paul Jacobs gave ity Sunday, May 18, with the Bishop of the opening dedicatory concert, and the New York presiding. Pictured are Jack series continues with concerts on Octo- M. Bethards (president and tonal direc- ber 25 (Nigel Potts) and November 22 tor of Schoenstein & Co); Paul Jacobs (Thomas Murray). (artist in residence); Nigel Potts (organ-
4 THE DIAPASON
Sept 08 pp. 2-21.indd 4 8/13/08 8:33:56 AM tour, Richards, Fowkes & Co. 11/9, Terence Flanagan; December 7, An “Organ Spectacular” event will the Royal Chapel Protestant Church. A panel discussion will focus on the Handel’s Messiah (Part I); 12/14, Les- occur on October 19 at 4 pm as the Chi- For information:
David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Mary Mozelle Organist/Choral Conductor/ Organist/Pianist/ Organist Organist/Pianist/Harpsichordist Organist/Recording Artist Oratorio Accompanist Recording Artist 2004 NYACOP Winner Associate Professor of Organ Assistant Director of Music Director of Music/Organist Senior Lecturer, Organ Faculty Director of Music Grieg Academy of Music Associate Organist First United Methodist Church Oulu Polytechnic Fairlawn Presbyterian Church Bergen, Norway The Falls Church Columbus, Indiana Organ and Violin Columbus, Indiana Falls Church, Virginia with Manfred Grasbeck “The Sights & Sounds Helsinki, Finland of the Pipe Organ”
David F. Oliver Larry Palmer Gregory Peterson Stephen Roberts Clair Rozier Organist/Lecturer/Recording Artist Harpsichordist/Organist Organist Organist/Harpsichordist/Lecturer Organist/Lecturer College Organist Professor of Harpsichord and Organ College Organist and Instructor of Organ Director of Music Director of Music Ministries Meadows School of the Arts Assistant Professor of Music Western CT State University St. David's Episcopal Church Dr. Martin Luther King Jr. Southern Methodist University Luther College Director of Music Wayne, Pennsylvania International Chapel Dallas, Texas Decorah, Iowa St. Peter Church Morehouse College Danbury, Connecticut Atlanta, Georgia
Lisa Scrivani-Tidd Michael Stefanek Brennan Szafron Elke Voelker Duo Majoya Organist/Lecturer Organist Organist/Harpsichordist/ Organist/Recording Artist/ Organ and Piano Associate Professor of Music Director of Music Accompanist Lecturer/Conductor/Composer Recording Artists SUNY at Jefferson Aldersgate United Organist and Choirmaster Music Associate Marnie Giesbrecht and Watertown, New York Methodist Church Episcopal Church of the Advent Choir Organist Joachim Segger Redford, Michigan Spartanburg, South Carolina The UNESCO Heritage Professors of Music Imperial Cathedral of St. Mary University of Alberta Speyer, Germany The King’s University College Edmonton, Alberta, Canada
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
SEPTEMBER, 2008 5
Sept 08 pp. 2-21.indd 5 8/13/08 8:34:18 AM tion (NCOI). Competition prize winners is the former estate of Goodyear Tire & play the 1907 III/64 Hutchings & Votey were recognized on Wednesday, June 25, Rubber Company founder F. A. Seiber- organ rebuilt by Kerner & Merchant. during the AGO national convention in ling and his wife, Gertrude, and remains Castro received a master of sacred music Minneapolis/St. Paul, Minnesota. this country’s fi nest example of Tudor degree from Boston University, studying Twenty-four applicants were accepted Revival architecture. with Peter Sykes. in the 2007–2008 NYACOP in June 2007: The Aeolian organ at Stan Hywet fi rst place and audience choice prize, comprises 2,670 pipes in 42 ranks locat- Michael Unger; second place, Andrew ed in the hall’s music room. The organ Kotylo; third place, Monica Harper. was played regularly at Stan Hywet Hall Michael Unger is a doctoral student and by both professional musicians and fam- teaching assistant of David Higgs (or- ily members primarily during the 1920s, gan) and William Porter (harpsichord) 30s and 40s. at the Eastman School of Music. Prior Over 300 “organ donors” have made to completing master’s degrees in both gifts in excess of $280,000 to the “Adopt- instruments at Eastman, Unger pursued A-Pipe” appeal. The Kulas Founda- undergraduate studies at the University tion of Cleveland has pledged the fi nal of Western Ontario. A semifi nalist in the $25,000 needed for this project. The 2006 NYACOP and the 2004 Interna- goal is to raise an additional $200,000 Woodberry & Harris façade, St. Mary— tional Organ Competition in Odense, yet this fall, so that the Schantz Organ St. Catherine of Siena, Charlestown, Denmark, Unger is a chamber musician, Company in Orrville, Ohio, can begin Massachusetts published composer, and music director to restore the organ during the winter at South Presbyterian Church in Roches- months when Stan Hywet is closed to windows by Franz Meyer & Co. of Mu- ter, New York. the public. To make a donation or for nich, Germany, and a hammerbeam ceil- Five semifi nalists were selected in more information, call Susan Van Vorst, ing of oak carved by Keely himself. Keely the 2007–2008 NCOI: fi rst prize, Jason V.P. Fund Development, 330/315-3216, designed the neo-gothic organ case as Roberts; second prize, Steven Ball; or visit
Fratelli Ruffatti invests its time and money in research to make a better pipe organ.
We’ve been working for years with noted institutions in Italy and Germany, inventing and testing new ideas for Haarlem Improvisation Competition fi nalists: Gerben Mourik, Jean-Baptiste Du- making better and more ef¿ cient pipe organs. pont, David Cowen, and David Franke (photo credit: Sonja Heimann)
Gerben Mourik has been chosen Ansgar Wallenhorst and Naji Hakim. He Considering that your new pipe organ is unanimously by the jury as the win- won the national improvisation competi- one of the biggest investments you’ll ever make, ner of the 47th International Organ tion in Zwolle in 2003 and was a fi nalist Improvisation Competition held in at the Haarlem competition in 2004. In what does that mean to you? Haarlem, the Netherlands. It was the 2005 he won the improvisation competi- third time Mourik participated in the tion in St. Albans (UK). He is organist competition, and he had already reached in Oudewater and performs regularly as the fi nal round once before. In both both soloist and accompanist. the fi rst two rounds as well as the fi nal, The audience award winner David he was given the highest ratings by the Franke was a member of the Dresden jury. The audience award went to the Kreuzchor. He studied organ and church German candidate David Franke. The music in Stuttgart as a pupil of Ludger other fi nalists were David Cowen (UK) Lohmann, Hans Martin Corrinth and and Jean-Baptiste Dupont (France). Jürgen Essl, and is currently a student of The four contestants each improvised Leo van Doeselaar and Wolfgang Seifen Your international investment ¿ rm. on a theme composed by Ig Henneman. in Berlin. He was a fi nalist in the impro- The jury members included Peter Plan- visation competitions at Haarlem (2006) yavsky, Thierry Escaich, Ansgar Wallen- and St. Albans (2007). horst, Jan Welmers, Bert van den Brink, The competition is part of the Inter- www.ruff atti.com Via Facciolati, 166 • 35127 Padua, Italy organs@ruff atti.com and Stephen Taylor. national Organfestival, Haarlem, the Telephone (39-049) 750-666 Telefax (39-049) 850-483 In the U.S. 330-867-4370 Gerben Mourik studied organ with Netherlands. For information:
6 THE DIAPASON
Sept 08 pp. 2-21.indd 6 8/13/08 8:35:11 AM In the early morning of May 18, Collégial Notre-Dame 2008, Allen Elite™ Opus II made d’Écouis, France. its premier with a series of Dedicated in 1313. comments and organ responses during a Service of Dedication within the morning worship service played by Sarah Soularue. Allen Elite™ It was immediately apparent that this instrument was perfect for Opus II the space. The building acoustic 72 Stops supported the organ beautifully. Three Manuals The organ was used extensively 42 Audio Channels throughout the worship service, providing musical support that French Romantic enhanced every aspect of the specification with joyful celebration. Cavaillé-Coll voices.
ALLEN ELITE™ OPUS II is installed in the Collégial Notre-Dame d’Écouis, a large church dedicated in 1313. The case and façade pipes of the long silent 1898 Jules Anneessens organ still reside in the rear balcony, shared now with the Opus II console and audio system. Opus II is the first Allen Elite™ organ installed in Europe. Its French Romantic specification of 72 stops OPUS II is distributed over three manuals. Cavaillé-Coll voices are present throughout the instrument. Final tonal finishing was masterfully accomplished by Jean-Philippe le Trévou of Allen Studio, Paris.
While Opus II proved to be an outstanding service instrument, the afternoon inaugural concert proved it was also at ease with every demand made of it by well-known and gifted artist, Sophie-Véronique Cauchefer-Choplin, Titular of the Grand Orgue of St. Jean-Baptiste de la Salle, Paris, and Titular Assistant of the Grand Orgue of St. Sulpice, Paris. Her performance of works by composers Bédard, J. S. Bach, Mendelssohn, Vierne, Ropartz, and Widor demonstrated the wide tonal palette of Opus II. Her performance culminated in a spectacular improvisation that brought the capacity audience to its feet in appreciation of both her extraordinary performance and the instrument that “Elite Opus II’s 72 Stop French Romantic responded to her commands with effortless clarity. specification provided the opportunity to further Multiple encores and ovations completed the refine Cavaillé-Coll voices into an instrument concert, ending a truly grand day of music. that will support the desire for music of quality in worship services, as well as an instrument fully capable of meeting the demands of concert repertoire. Forty-two channels of audio enable every stop to speak clearly at characteristic volume levels, creating ensembles that connect beautifully with the excellent building acoustic. The inaugural events that included worship and concert demands demonstrated that the design goals for Opus II have been accomplished.” — Randy Miller, Elite™ Opus II Designer
www.allenorgan.com
150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 USA Phone: 610-966-2202 Fax: 610-965-3098 E-mail: [email protected] Rev. Gregory Norton has been ap- Diane Bish, Michael Burkhardt, Anna pointed minister of music at Westwood Laura Page, and Fred Swann. United Methodist Church in Los Ange- Mrs. Hamlin conducts church music les. He also serves as music director of workshops nationwide, is an Allen Or- the Claremont Chorale, an independent gan representative and a composer. Her community chorus. Active as an organist, fi rst composition was an SATB anthem, singer, conductor, liturgist, and compos- Grace, written at the time of her mother’s er, his arrangements and compositions death; she was commissioned to write an are published by H.T. FitzSimons and organ composition honoring the late Emerson Music. Norton holds degrees in Tom Hazleton, who had recorded some conducting from Chapman College and of Hamlin’s pieces from Worship Hymns the University of Southern California; he for Organ. She was one of ten compos- attended the Iliff School of Theology in ers contributing to an organ collection Denver and is an ordained minister in in memory of Fred Bock, Encore, En- the United Methodist Church. core, which was premiered at the AGO national convention in Seattle. Her ar- Todd Pettit has been named director rangement of Lead On, O King Eternal of music at St. John Evangelical United was selected for the fi rst sacred concert Church of Christ in Collinsville, Illinois, Kurt-Ludwig Forg at the National Cathedral in Washington, where he plays the church’s three-man- D.C., following the 9/11 tragedy. ual Wicks organ, directs fi ve handbell Kurt-Ludwig Forg played the North A recital hall at her alma mater, North and vocal choirs of all ages, oversees American premiere of a recently dis- Greenville University, bears her name. the direction of the pre-K–second grade covered composition by Johann Sebas- We can be grateful that, in recent wor- Cherub Choir, and assists with contem- tian Bach at St. James United Church, ship-playing seminars, she has focused Scott Lamlein porary worship. A member of the UCC Montreal, Canada, on July 1. The Bach on ways to keep organs alive in present- Musician’s Association, the Association work, Wo Gott der Herr nicht bei uns day worship. Her arrangements are alive Scott Lamlein is presenting a new of Disciples Musicians, and the St. Louis hält, BWV 1128, is a large-scale fanta- and spiritually uplifting, also showing the program in churches in the northeast, AGO chapter, he is also active as a music sia of 85 bars written between 1705 and joys of the organ! What Wondrous Love: A Hymn Festi- education specialist with the Collinsville 1710. A complete copy of the previously —Frances Young Austin val, a worship event that combines great public schools. unknown organ composition was discov- hymns of the church with inspirational ered in March by German researchers New evidence presented in Beverly readings. Scattered throughout the pro- Stephan Blaut and Michael Pacholke as Jerold’s article “The ‘Most Indispens- gram are compositions for organ and for they were going through the papers of able and Most Pleasing Trill’” (The Con- piano, including hymn arrangements. Here & There Wilhelm Rust recently acquired by the sort, Journal of the Dolmetsch Foun- A special feature is the inclusion of the library of Halle University. Rust was a dation, Summer, 2008) reveals that the newest work on the program, a setting 19th-century successor of Bach as Kan- long trills starting on the upper note in of the hymn tune Llanfair by Rob- tor at the Thomaskirche in Leipzig and 18th-century ornament tables were in- ert Lind, written in April of this year. editor of his work. tended primarily for perfect cadences at Throughout the program, Lamlein in- The current catalogue of Bach’s work the end of a piece or section. The title’s vites and encourages the singing—both merely describes the fi rst few bars of the quotation, which derives from C. P. E. through inspirational leadership at the piece in its appendix and does not cite Bach, refers to a little trill that does not keyboard and through an ongoing con- any source. Blaut and Pacholke contend disturb the melodic line, but simply adds versation with his audience. the composition that they discovered tone color. What Wondrous Love: A Hymn had been copied by Rust in 1877 from Festival has been offered at churches a manuscript that has since been lost but in Worcester and Holyoke, MA, and can be traced back to Bach’s immediate Bristol, CT. Upcoming events include circle. They prepared a critical edition of the Hartford (CT) United Methodist the work, which was published by Ortus Church, among others. To see a sample Musikverlag (
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8 THE DIAPASON
Sept 08 pp. 2-21.indd 8 8/13/08 8:35:37 AM TheThe lovelove ofof musicmusic inin itsits finestfinest expressionexpression
the JOHANNUS revolution www.johannus.com Adriatic Sea, opened Trinity Wall Street’s Lumpur, Adelaide, and the Melbourne “Pedals & Pumps,” a six-concert festival International Festival. He has performed Nunc Dimittis of international organ divas. They played throughout Europe, including two tours original and arranged four-hand music by to Norway, and in 1992 was the fi rst Brit- Rossini and Morandi, and used Carpen- ish organist in 45 years to give concerts John W. Eitzen died May 6 in San ter’s 175 “theatrical stops” that were em- in Romania. Diego; he was 79. Born and raised in bedded in the Trinity organ in 2007 for a Many composers have created new Mountain Lake, Minnesota, he received concert by Carpenter; and then stayed on organ works for Munns, including Gor- a bachelor’s degree in music from St. in New York to sightsee and hear the new don Jacob, Wilfred Josephs, Kenneth Olaf College and a master’s in music Middle organ that he designed. Leighton, Philip Moore, Knut Nystedt, education from the University of Iowa. Barrie Cabena, Robert Cundick, and After teaching instrumental and vo- Vivian Chua. His compact disc record- cal music in Iowa from 1950 to 1962, ing, Flying Visits: Around the World in Eitzen moved to San Diego, where he Seventy-Two Minutes, features a great taught instrumental music for 29 years, diversity of music. Having reached the retiring from the School of Creative and age of 75, Munns has decided to make Performing Arts in 1991. He served as his fi nal American tour in 2008, visiting organist-choirmaster at Trinity Lutheran friends and giving programs in many of Church in Sioux City, Iowa, First Con- his favorite spots around the States. gregational Church in San Diego, and Mission Hills United Church of Christ, and was an active member of the Spreck- els Organ Society, San Diego AGO chap- ter, and California Retired Teachers As- Jaroslav J. Vajda sociation. He is survived by his wife of 38 years, Connie, sons Christopher and History of the Organ, Vol. 1 cover Carl, two grandsons, nieces, nephews, and cousins. to trace the origins, history and develop- ment of the organ. It encompasses the May Josephine Moorer Pollock classical Italian style, the Golden Age in died in Charleston, South Carolina, on sixteenth-century Spain, and the French March 12 at the age of 94. A native of style of the eighteenth century, with Susan Jane Matthews Charleston, she attended Newberry Col- music by Frescobaldi, de Cabezón, de lege. She served as organist-choir direc- Arauxo, Attaignant, de Grigny, Daquin Susan Jane Matthews is featured tor of Trinity United Methodist Church and Couperin. For information: on a new recording, Chosen Tunes, on for 21 years, and was a charter member
AHIGHER L EVEL of E XCELLENCE
Great musicians need extraordinary instruments to deliver magnificent performances.
P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com
10 THE DIAPASON
Sept 08 pp. 2-21.indd 10 8/13/08 8:36:07 AM ®
What would YOU design in Rodgers Organ Architect?
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With the help of a Rodgers dealer and our exclusive Rodgers Organ Architect® system, you can de- sign your own organ and have it delivered in far less time than you would expect.
Choose from a library of over 500 stops and take charge of every detail of the console layout, down to the function and position of the last toe piston. You’ll have more instantly available combinations First Presbyterian Church, Boise, Idaho than any other organ thanks to the Á exibility of Voice Palette, and you’ll be well prepared for any changes in worship style. And, should your needs change in the future, Trillium Master- piece organs are updatable so you can add features and keep up with new technology.
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® Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue Hillsboro, Oregon 97124 Inspiration, Innovation and Assurance Since 1958 503.648.4181 • fax 503.681.0444 Email: [email protected] On the Web: www.rodgersinstruments.com Foley-Baker, Inc. of Tolland, Con- formance center, Llewellyn Hall, with inches toward the center of the room. necticut, has removed Skinner Opus 793 a concert featuring a variety of musical We were up high enough to be able to from the Second Church of Christ, Sci- styles and a new Allen organ. In addi- In the wind . . . put a bridge from the top of the tower entist, Hartford, Connecticut. The all- tion to selections played on the school’s by John Bishop across the top of the organ to another original 44-rank instrument, beautifully new pianos, the concert’s fi nale featured tower. It was a three-manual free-stand- maintained for decades by the Thomp- a performance of Bach’s Toccata and ing organ in a classic organ loft with a son-Allen Company of New Haven, has Fugue in D minor. The three-manual, spiral stairway. Must have been 50 feet. been purchased by Harvard University 58-stop Allen Quantum™ organ is in- After his kick the tower didn’t stop mak- for installation at their Memorial Cha- stalled with two sets of audio, one per- ing noise for several seconds, and be- pel. The organ will undergo complete manently mounted on either side of the cause I was holding that frame I couldn’t reconditioning at the Foley-Baker shops proscenium. The second audio comple- steady myself. Nothing bad happened, and then be carefully installed in the ment is suspended above the stage, its but as I refl ect on that moment, espe- Cambridge chambers so as to not dis- height and position adjustable to provide cially watching our crews set up massive turb the original layout any more than optimal sound placement for a wide va- towers of scaffolding today, I can hardly necessary. Richard Houghten of Milan, riety of uses. believe the risk that guy exposed me to Michigan, will renovate, update, and in- The organist for the evening, Lachlan without asking. I would have said no. stall the console from Skinner Opus 906, Redd, is a graduate of the ANU School In another Cleveland church my boss replacing one built by Austin some years of Music and currently holds a post at and I witnessed a near disaster. We ago. Work is scheduled for 2010. Jona- the Cathedral Church of St. Paul, Mel- walked through the nave heading for than Ambrosino was consultant for Har- bourne. In 2007, Llewellyn Hall’s stage, the rear gallery where we were fi nishing vard Memorial Chapel. For information: pianos and other equipment were dam- renovation of the antiphonal organ. The 800/621-2624;
Atlanta First United Methodist Church A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church are pleased to announce the recent com- pletion and dedication of their new pipe organ.
This instrument features a 5-manual console and 93 ranks of pipes in 9 divisions. The complete specification is available at www.pipe-organ.com for this and other pro- jects. A.E. Schlueter Pipe Organ Co.
P.O. Box 838, Lithonia, GA 30058 800-836-2726 www.pipe-organ.com
12 THE DIAPASON
Sept 08 pp. 2-21.indd 12 8/13/08 8:36:36 AM
to get knocked over when you stand up. feet? Thirty feet? Four years ago the on the corners of the piece you’re lift- Get your hands on a good industrial The price of the glue, $4.79. The price of Organ Clearing House dismantled the ing, and it’s very strong. A one-inch wide supply catalogue—I have those from the carpet, $47,500. huge Möller organ in the Philadelphia web is rated for 2,000 pounds in vertical Grainger and McMaster-Carr on my desk. A row of tin façade pipes is standing Civic Center. (That organ is now under lift. But keep a good eye on its condi- Go to the “safety” pages and leaf through. against the workshop wall. A worker is renovation in the new workshop of the tion. Recently there was an eerie photo You’ll see lots of things that protect against using a fi ve-pound hammer to break up American Organ Institute at the Univer- in the New York Times in the aftermath stuff you haven’t imagined could happen! the crates that the pipes came in. The sity of Oklahoma.) The organ chamber of the collapse of a construction crane. It Organbuilders are precious. Let’s keep head fl ies off the hammer and dents one was above the ceiling, 125 feet above showed a piece of torn webbing dangling them all in good health. Q of the pipes, and they all fall over, one the fl oor. The demolition company from a hook. That photo prompted us to at a time in slow motion like 15-foot-tall (the building was to be torn down) cut purchase new webbing for our next rig- tin dominos and there’s nothing anyone a hole in the fl oor of the blower room ging job! can do. big enough for the organ parts to pass In the nineteenth century, the great Cheery, isn’t it? through. And we were left standing on Boston organbuilding fi rm of E. & G.G. On Teaching This subject is on my mind for sev- the edge of an abyss. We used full-body Hook suffered two serious fi res, both of by Gavin Black eral reasons. One is that I’ve spent the harnesses and retractable life lines. If which destroyed their workshops. I know last couple days negotiating the rental you fell you’d drop about six feet and the of two North American organbuilders of a huge amount of scaffolding and rig- ratchet-action of the retractable would who have had bad fi res in the last decade. ging equipment for a large project we stop you, something like the seatbelts in Neither was caused by carelessness; will start next week, so I’ve been talking your car. And there you are, hanging 120 in fact, one was caused by lightning. I with salesmen about weight and height feet up. thought about those two colleague fi rms limits and what accessories are neces- working to rebuild their companies when sary to ensure safety. Another reason is Away aloft we heard of a terrible fi re at a boatyard that a locally owned small manufacturing A sailor hollers “Away aloft” as the near us. Washburn & Doughty is a fami- company near us suffered a catastrophic halyard hoists the sail up the mast. The ly-owned company with about a hundred fi re last week. And as we work with scaf- rigger might do the same. He ties a line employees that builds heavy commercial folding companies in New York we hear around the load, hooks it to the line from vessels like tugboats, fi reboats, and ferry- stories about the construction industry, the winch, and up it goes. It’s important boats. It’s quite a spectacle to see a hun- especially relating to recent serious ac- to choose the right type of line—you dred-foot tugboat under construction cidents involving cranes used in the con- don’t want chanciness caused by a line in a small village. And a mighty amount struction of high-rise buildings. that stretches, for example. But what re- of steel goes into the building of such a I love the image of the organbuilder ally matters is the knots you use. Some boat. On Friday, July 11, sparks from a at a wooden workbench, a window open knots are meant to slip. Some are meant cutting torch ignited a fi re that destroyed next to him providing a gentle breeze, a to be permanent. A favorite is the bow- the building. It was routine work for a sharp plane in his hands, and the sweet line, which cannot untie, but also cannot place like that, and newspaper stories smell of fresh wood wafting off the pull so tight that it cannot be undone. told that the fi re was offi cially accidental. workpiece as the shavings curl from the It was developed by early sailors to tie They were able to save a hundred-foot blade of the plane. Or that of the voicer a ship to a dock or mooring. Think of a tug that had been launched and was be- sitting in seclusion with beautiful new large sailing vessel, bow tied to a moor- ing completed at the dock—they cast it Counterpoint I pipes in front of him coming to life un- ing, bouncing on the waves and pulled adrift! But two others that were still in This month I will begin a series about der his ministrations. by the wind for weeks. There’s a terrifi c the buildings were lost and 65 employees the teaching of the playing of counter- But think of that majestic organ case amount of force on that knot. But you were laid off temporarily while the own- point on keyboard instruments. There in the rear gallery with an ornate monu- give the top of the knot a push sideways ers work out how to rebuild. are several reasons why this is an impor- mental crown on the top of the center and it can be taken apart easily. Begin- Ten years ago I was restoring an or- tant subject, one that can and should be tower, covered with moldings, carvings, ning sailors are taught how to tie the gan built by E. & G.G. Hook with lots considered as something meaningfully and gilding, and pushed up against the bowline both left- and right-handed, of help from volunteers from the parish. separate from other aspects of keyboard ceiling. Uplifting, isn’t it? It might be blindfolded. I once had to tie a bowline We were refi nishing the walnut case, and playing—though of course related to eight feet long, six feet wide, and three while diving under a boat in order to re- I mentioned the fi re hazard of rags that them. I will discuss playing counterpoint feet tall. It might weigh 500 pounds, and pair a centerboard control. were soaked with linseed oil. They must on organ and harpsichord, but I hope someone had to put it there. Making it is Different knots are intended for dif- be spread out to dry. If they’re left in a that some of this will also be useful for one thing. Getting it 50 feet off the fl oor ferent purposes. heap they will spontaneously combust. the playing and teaching of counterpoint and placed on those 20-foot legs that A half-hitch is a great knot for secur- One of the volunteers took a pile of the on piano, or for that matter on celesta, hold it up is another thing altogether. ing something temporarily, but it looks rags home and put them in a bucket in electronic keyboards, carillon, etc. Uplifting, all right. a lot like a slip knot. If you don’t know the middle of his backyard. He told us This month’s column will consist of Organbuilders have a variety of skills. the difference you might tie a slip knot later that it had only taken about ten min- some general thoughts, and ways for stu- We work with wood, metal, and leather. by mistake. How will that work when the utes before the bucket was full of fi re! dents and teachers to think about contra- We work with electricity and solid-state weight of a windchest shifts while being This is a pretty gloomy subject. But I puntal music. This is very much a begin- circuitry. We have acute musical ears for hoisted into the organ? write encouraging my colleagues to look ning: it is a vast subject! Next month I discerning minute differences in pipe If your skill set doesn’t include three around their workplaces with a criti- will add specifi c practice suggestions and speech and for setting temperaments. or four good reliable knots, I recommend cal eye toward safety. Be sure you have ways to develop both analytical strategies And we must be material handlers—that you learn them. There are neat books for the proper gear for lifting and moving and playing exercises appropriate to par- specialization of moving heavy things this purpose, predictably available from the things you’re working on. Store your ticular pieces. around safely. boating-supply companies. Some come paints and fi nishes in a fi re-proof cabi- The fi rst reason that the specifi c study To put that tower crown in place you with little lengths of line so you can prac- net. Eliminate the possibility of sparks of playing counterpoint on the keyboard need scaffolding, hoisting equipment, tice in the comfort of your home. fi nding a pile of sawdust and spread out is important is, rather obviously, that a lot and safety gear to keep you from falling. When hoisting heavy parts you can those oily rags. Encourage your workers of keyboard music is counterpoint. This How high up do you need to be before also use nylon webbing. It’s available in to use safety equipment. Safety glasses is, broadly speaking, truer the farther you need that gear? Easy. Ask yourself neat pre-cut lengths with loops on each may look nerdy, but it’s not cool to lose back in time you go, and, also broadly how far you’re willing to fall. Twenty end for easy tying. The webbing is easy an eye! speaking, truer of organ and harpsichord
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14 THE DIAPASON
Sept 08 pp. 2-21.indd 14 8/13/08 8:37:01 AM music than of piano music. The organ sections that are contrapuntal where the In teaching the playing of counterpoint later); however, it can still be an unfortu- and the harpsichord repertoires are full surrounding sections are not. to students who are not already steeped nate place for a student to start. of fugues, older fugue-like forms with A further reason for studying counter- in the (theoretical) study of counterpoint If the fi rst source of a potentially crip- names like “canzona” or “ricercar,” cho- point as a player is that listening to—or or who do not have the experience of pling fear about playing contrapuntal rale preludes that are in a fi xed number listening for—contrapuntal lines is ex- playing a lot of rigorously contrapuntal pieces is a sense that those pieces are by of voices and that involve motivic imita- traordinarily good training for listening pieces, the fi rst task is to make the con- defi nition intellectually (too) complex, tion and development, and other such carefully to anything. Developing the cept of counterpoint as unintimidating as then perhaps the fi rst way to work on al- things. Pieces written in these purely ability to hear, especially, three or more possible. There is no doubt that the for- leviating that fear is by trying to defi ne contrapuntal forms are still common in simultaneous contrapuntal voices with mal theoretical study of counterpoint— contrapuntal music, and specifi c contra- later music, but less so. some degree of independence is perhaps or, more usually, an indirect impression puntal forms such as fugue, in as simple The second reason is that a lot of key- the best training for the ability to hear of what that study is like—can make and commonsense a way as is possible board music that we would not consider all parts of any musical texture, including contrapuntal music seem so complicat- consistent with accuracy. This would in- contrapuntal in a formal way has ele- inner or background harmonies in pri- ed, so intellectually rigorous, so arcane, volve avoiding, at least at fi rst, the laun- ments of counterpoint embedded in it. marily melodic or homophonic music. and so steeped in analytical detail as to dry list of terms that are used to try to This is clearly true, for example, of many The fi nal reason to mention here— be prohibitively frightening to play. This describe contrapuntally constructed Bach preludes (whereas Bach fugues are I’m sure that there are more—is that fright, which usually comes in the fi rst pieces, or the building blocks of those by and large “formal” counterpoint). It is practicing and playing counterpoint is instance from a sense of what the music pieces—terms such as subject, answer, true of many of the keyboard dance piec- the best training for dexterity and inde- is like compositionally, is sometimes en- inversion, augmentation, diminution, es that make up the Baroque keyboard pendence of fi ngers. The physical skills hanced by hearing experienced virtuoso stretto, episode, perhaps many more. suites, and of many toccatas, scherzos, developed by playing counterpoint performers say that counterpoint is more (Fortunately, it seems to me, a simple pieces with fanciful “character” names, will improve the playing of any kind of challenging than other music: that even colloquial way of describing what is go- etc. These elements sometimes consist music, usually both by making it seem a relatively simple Bach fugue, or in- ing on in a piece can often be in fact the of lines of counterpoint that are sur- easier and by making it sound better in vention for that matter, is “harder” than most accurate for that particular piece: rounded or accompanied by other notes the end (or, more meaningfully, by ex- Liszt or Brahms or Beethoven. This may more about this later on.) Also, it would that are not part of the counterpoint, panding the range of ways in which the well be true for that performer (usually be nice if any such defi nitions could also sometimes of implied contrapuntal lines player can play the music, by increasing a performer who was fi rst trained on pi- be interesting and intriguing, and serve in thicker textures, sometimes of short control and security). ano music from the Classical period and to connect contrapuntal music to the rest
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SEPTEMBER, 2008 15
Sept 08 pp. 2-21.indd 15 8/13/08 8:37:19 AM of our musical (and perhaps non-musi- the upper voice, in m. 6, this is just a rep- keyboard music is probably by the tradi- proach to fi ngering and to the practical cal) experience. etition, not counterpoint. When it enters tional, straightforward analogy to sing- side of learning the notes. I will take this So, what is counterpoint and what is in the lowest voice in m. 21 and thereaf- ing, which is probably the original source up in detail next month. Q contrapuntal music? Here are a few at- ter, this is a contrapuntal event.) of both the concept of a contrapuntal tempts at addressing that question, none A contrapuntal piece of music is one voice and the nomenclature. That is, a Gavin Black is the director of the Prince- of which is intended to be complete or that has voices (regardless of whether they contrapuntal voice is a line of music—a ton Early Keyboard Center in Princeton, New defi nitive, or to exclude any others. They do the same thing as one another or dif- melody—that could be sung by an indi- Jersey. He can be reached at
United States Canada 1220 L Street NW 16355 avenue Savoie Suite 100 – No. 200 St-Hyacinthe, Québec Washington, DC J2T 3N1 20005-4018 Tel: (450) 774-2698 Tel: (800) 625-PIPE Fax: (450) 774-3008 Fax: (202) 737-1818 [email protected] [email protected] www.letourneauorgans.com
16 THE DIAPASON
Sept 08 pp. 2-21.indd 16 8/13/08 8:37:37 AM neath are the everlasting arms.” The words based on Psalm 46, will be loved tations are prohibited. Secular words are used only in the last half of the setting; prevailing hymn of the day, A Mighty by choir and congregation. substituted in the score for those perfor- their music appears separately at the Fortress, reverberates throughout Prot- mances. There are fi ve movements, with end. The congregation joins on the tra- estant churches. Thanksgiving brief spoken dialogue for actors prior ditional text and melody as the coda of The most universal celebration of the to the musical setting. The choral score the work. The music generally is easy for late fall was not started by the church. Now Thank We All Our God, Jer- contains the tuneful but not diffi cult everyone, with the treble choir used only Thanksgiving, which began after the Bat- emy Bankson. SATB, congregation, fl ute part. The text tells of the arrival in in conjunction with the adult choir. Full tle of Gettysburg in the Civil War, is usu- organ, with optional brass quartet and life in the new world. This is a very score and instrumental parts for brass ally recognized in the Sunday that pre- or quintet, timpani, and handbells. practical setting that would be a delight- and timpani are available (LB5697) cedes the actual Thursday of the event. MorningStar Music Publishers, ful addition to a worship service. from the publisher. Very useful for most Furthermore, many churches have spe- MSM-60-7016A, $1.75 (M). church choir situations. cial services on the Wednesday before This concertato based on Nun Danket With Grateful Hearts We Thank You, Thanksgiving, and it is not uncommon to Alle Gott has three verses, with the con- Lord, Lloyd Larson. SATB, keyboard, Come, Ye Thankful People, Come, fi nd choirs (and congregation members) gregation singing on the outer two; their and optional congregation, Hope Mack Wilberg. SATB and organ, absent on the Sunday that follows it. A music is included on the back cover for Publishing Co., C 5525, $1.80 (M). Oxford University Press, ISBN 0-19- further complication arises because of reproduction. The second verse is for un- Larson merges words of Mary Kay 386910-1 $1.80 (M+). the start of Advent, which this year is the accompanied four-part choir in a chorale Beall with the traditional Crüger melody This also uses the familiar Alford text last day of November. This means that setting. A full score (MSM-60-7016) and Now Thank We All Our God. The key- and traditional melody as its basis. The in those churches where it is common instrumental parts (MSM-60-7016B) are board part, on two staves, is easy, primar- music is not diffi cult but will require a to have a cantata performed as part of a available from the publisher. The choral ily chordal, support for the voices. The solid, large choir because of the divisi; service, the options are reduced down to score is designed for organ performance, congregation joins in two places on the men move into four parts. The organ three Sundays. Since many families de- but when brass is used it should play from traditional hymn. This is a pragmatic part is on three staves but is mainly part early for Christmas traveling, that the full score; there is an extended solo setting that has the choral music on two chordal throughout. Effective setting for may mean there are only two viable Sun- organ introduction. The music retains the staves with simple, diatonic parts. big choirs. days in 2008 that will provide the best popular melody throughout and is not dif- promise for choir attendance. Neverthe- fi cult. The last verse has a descant above Come, Ye Thankful People, Allen less, music for Thanksgiving is needed the unison melody. Useful for all sizes of Pote. SATB, treble choir, organ, with whether it be a Sunday or Wednesday choirs and situations. optional handbells and congrega- Book Reviews night. And, as St. Ambrose reminds us, tion, Flammer of Shawnee Press, “No duty is more urgent than that of Thanks for the Giving, Robert Powell. Inc., A 7583, $1.75 (M). returning thanks.” So, enjoy these dwin- A Thanksgiving Play with unison/2- The traditional St. George’s Wind- O Clap Your Hands, Gordon Giles. dling daylight hours heading toward the part, fl ute, and keyboard, Choristers sor tune is incorporated, although the Paraclete Press, ISBN: 978-55725- conclusion of the church year. Advent Guild, XCGCA-400, $2.95 (M). text primarily is based on Psalm 67 with 567-9, 160 pp., $25.95; P. O. Box and Christmas are just around the cor- This has a dual character and may be that tune as fi ller between statements. 1568, Orleans, MA 02653; 508/255- ner, and as church choir directors, we all used as a work for children in public The organ part, on two staves, is back- 4685;
The Lord of Harvest, arr. Austin DOBSON CASAVANT FRERES Lovelace. SATB and keyboard, GIA Publications, Inc., G-6826, $1.50 (M). Based on the Welsh tune Arfon with text based on Matthew 13, this joyful anthem has the keyboard part on two staves, usually doubling the vocal lines. There are three verses with only the sec-
ond in a full four-part choral setting. The BOODY TAYLOR music is easy with an inserted quote of St. George’s Windsor, a familiar mel- ody associated with the harvest theme. Reformation
A Mighty Fortress Is Our God, arr. Hal Hopson. Unison choir, congre- gation, organ, with optional brass
quartet and timpani, H. W. Gray DYER R. Publications, GCMR990, $1.30 (M-). This straightforward setting has four verses, with the last one employing a so- prano descant. The congregation sings on all verses but the third, which is for choir and organ with a fl owing, busy key- board accompaniment that offers con- GARLAND FISK trast to the bolder brass accompaniments elsewhere. A 17-measure instrumental introduction strongly sets out the Ein Feste Burg theme. This setting would be of particular interest to smaller choirs FRITTS wanting an anthem that sounds big, but is not diffi cult. The brass parts are avail- able as GCMR9901. A Mighty Fortress, arr. Mark Hayes. SATB, keyboard, brass quintet and percussion, Beckenhorst Press, Inc., BP 1785, $1.75 (M+). How Far Can You Travel in These in a Week? The Hayes setting is more challenging GOULDING & WOOD and contains choral divisi passages. The accompaniment is more developed and Students attending Pipe Organ Encounters sojourned to 17th century Germany, with typical Hayes rhythms that often dance along in 3+3+2. This is an excit- 18th century France, and 19th Century England, all the while captivated in mind, ing arrangement with several contrast- heart, and spirit by the beauty and majesty of the pipe organ and its music. ing verses, including one that moves into minor with a free tempo. The full score and parts (BP 1785A) call for horn, two Young people are forever changed when they play a pipe organ! Join APOBA in trumpets, trombone, tuba, timpani, and supporting AGO outreach programs to the next generation of organists! percussion. For large church choirs this is certain to be a work that will be repeated
frequently and is highly recommended. QUIMBY REDMAN SCHANTZ SCHOENSTEIN & HENDRICKSON Refuge and Strength, Mark Hayes. To receive information about pipe organs SATB and keyboard with optional brass choir, Beckenhorst Press, BP and recognized pipe organ builders 1716, $1.75 (M). A write or call toll free 1-800-473-5270 In this practical Hayes arrangement, P or on the web @ www.apoba.com
the men have limited responsibility and PASI RICHARDS-FOWKES often sing in unison with the women, BO Associated Pipe Organ Builders of America who have long solo sections in two parts. A P.O. Box 155 • Chicago Ridge, Illinois 60415 The music is fast and spirited with driv- ing syncopated rhythms and Hayes’s signature 3+3+2 rhythms. The brass OTT PARSONS parts are available from the publisher NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP (BP1716A). This exciting music, with
SEPTEMBER, 2008 17
Sept 08 pp. 2-21.indd 17 8/13/08 8:37:57 AM Choral Works,” the book is an ebullient there is background on individual com- the work of Roelof Duyschit in 1686, a Bach, Mozart, Reger, and Widor, where- discussion of 30 composers and selected posers, the slant is most assuredly toward year after Bach was born. Christian Vater as the feminine side expresses itself in choral settings that range from Grego- engaging the reader in a passionate re- added the Bovenwerk in 1727, and the the eloquent middle movements by Mo- rian chant to the music of Dominick Ar- alization of the texts and their liturgical organ underwent many generational zart, as well as in Reger’s introspective gento. Each essay, about three pages in implications. These anthems have com- changes so that by 1939 it was unten- chorale preludes. length, concludes with a pensive prayer mon texts that are heard every day in able. The organ was rebuilt in 1989–92 Those eager to hear or play the Müller designed as a personal devotion for the churches throughout the world, and the by Flentrop Orgelbouw, based on the organ will be delighted to know that mu- reader. Another unique feature is the observations found in one work often 1686/1727 instrument, from which only nicipal organ recitals (yes, the city of Haar- fi nal section, a “Four-Session Group may be transferred to other settings of 600 pipes survived that could serve as lem owns it) take place from mid-May to Study,” which offers tips for how the the same text. reference material for the 3,000 new mid-October on Tuesday evenings—and book may be used by groups of divergent Musicians might hope that the essays pipes. In addition, three reeds were also in July and August on Thursday after- people (musicians, choir singers, and would dig deeper into the music. Giles’s added, while the original windchests and noons. In addition, there are the Interna- laymen) in an examination and investi- contributions are from the other side of mechanical action were restored. The tional Organ Improvisation Contest and gation of ancillary messages deep within the spectrum and they offer exuberant 17th-century pitch of a′ = 460Hz was the International Summer Academy, held the settings. attentiveness to overlooked details in the modifi ed to a′ = 440Hz by moving up in even years, such as 2008, 2010, etc. In The opening 20 pages of introduction texts and their meaning. The fi ve essays the pipework, and equal temperament 2006 teachers included Kooiman, van der are a scintillating discussion of the histo- on the different movements of the Mass was chosen to enable performance of Kooy, Latry, Weir, Koopman, Trotter, and ry, background, and justifi cation of music are especially perceptive. 19th- and 20th-century music with other Piet Kee;
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18 THE DIAPASON
Sept 08 pp. 2-21.indd 18 8/13/08 8:38:16 AM elaborate piece on “Should God But Suf- anything electronic. Congratulations to tions on “The Star Spangled Banner,” The recording begins with a perfor- fer to Guide Us” refl ects the composer’s Jos van der Kooy and the producers who Dudley Buck. mance of the fi rst of Mendelssohn’s Six interest in Reger with smatterings of have made these wondrous organs viv- The 1866 Koehnken & Co. organ in Organ Sonatas. In the last several years Rheinberger, Saint-Saëns, and Schubert. idly accessible and in realizing their goal the Isaac M. Wise Temple in Cincinna- a number of these sonatas have been re- On the other hand, Cor Kee’s early piece in making one yearn to jump on a plane ti, Ohio, is probably the most important corded on German instruments that are on a 17th-century Dutch folk tune shares for Holland. surviving instrument produced by the claimed to be “authentic Mendelssohn glimpses of Rossini and Dupré before his Note: The CDs can of course be played once-fl ourishing organbuilding industry organs.” As noticeably the product of a writing delved into twelve-tone. on American players, and the DVDs can of Cincinnati. This 3/45 organ has many German immigrant, Johann Koehnken, The Repertoire: Bavokerk. Bach, be enjoyed on computer media software remarkable features that are not usually who was trained by another Swiss-Ger- Toccata, Adagio and Fuga C Dur, BWV with a DVD driver and reader. found on American-built organs of its man immigrant organbuilder, Mathias 564, and Nun komm’ der Heiden Hei- —Joel H. Kuznik period, such as a 5-rank Cornet on the Schwab of Cincinnati, there is a sense in land, BWV 659. Mozart, Fantasie F New York City Great, and a 4′ Bassethorn (Corno di which the Isaac M. Wise Temple organ is moll, KV 608. Reger, from op. 79b, Ach Bassetto) on the Pedal, to name but two. equally “authentic” for the performance Gott, verlass mich nicht, Morgenglanz According to the article about it in The of Mendelssohn’s works. The fi rst organ der Ewigkeit, Seelenbräutigam, and Wer Tracker, 50:2, Rabbi Isaac Wise seems sonata sounds extremely impressive on weiss, wie nahe mir mein Ende; and Tok- New Recordings to have established an unusual rapport this organ—massive and majestic without kata und Fuge D moll / D dur, op. 59. with organbuilder Johann Koehnken being bottom-heavy, and imposing with- Widor, Toccata, Symphonie V, op. 42:1. when he commissioned what was then out being unduly loud. The same is ap- Daan Manneke, Penoo. Thom Miles plays the restored 1866 the largest instrument yet built in Cin- parent in the next four tracks on the CD, This jaw-dropping DVD disk, featur- Koehnken & Co. organ at the Isaac M. cinnati for his synagogue in 1866. The four more German compositions from ing an organ with a paralyzingly awesome Wise Temple, Cincinnati, Ohio. Thom organ is an amazing survival. Although the fi rst half of the nineteenth century. tonal aura, alternates the large works by Miles, organist. Arsis CD 157,
SEPTEMBER, 2008 19
Sept 08 pp. 2-21.indd 19 8/13/08 8:38:34 AM have been written in a distinctly Jewish English one, and the piece comes off ex- in Detroit. Shenk was one of the editors tional part for just one octave of hand- idiom. The two works found here are tremely effectively on this organ. of the Adoremus Hymnal. It was after his chimes, which carry part of the melodic from Sinfonia 2: Holy Days and Festi- The fi nal work on the compact disc Easter services in 2005 that he suddenly line. A great piece for all ages, with a vals, a compilation of fi ve movements. is Dudley Buck’s well-known Concert took ill and died very soon afterwards. unique technique, which should charm There seems some confusion about this Variations on The Star-Spangled Ban- (See “Nunc Dimittis,” The Diapason, the listener. in the notes, which state that there are ner. This is included partly because September 2005, pp. 10, 12). but three movements and that the over- Dudley Buck is believed to have played The collection includes, as the title Adagio, Wolfgang Amadeus Mozart, all title is The Three Festivals. In fact, the organ in the Isaac M. Wise Temple states, fi ve separate pieces that work well arr. Malcom Wilson for 2–3 octaves notwithstanding that there are three while participating in the Cincinnati May as wedding processionals and recession- of handbells. Agape (Hope Pub- major festivals in Judaism—Sukkoth, Festivals of the 1870s. As in the Men- als or for general church service festive lishing Company), Code No. 2421, Pesach, and Shabuoth—there are minor delssohn sonata, the Koehnken organ pieces where triumphal music is needed. $3.25, Level 2 (E+). festivals as well. The best known of these produces a very impressive and majestic The pieces in order of publication are: This lovely melody is from Mozart’s is probably Chanukah. Thus Berlinski’s effect in this piece. All told, this is a very 1. Solemn Entry (C Major), 2. Intrada Concerto for clarinet and orchestra (K. Sinfonia 2 was not limited to the three attractive and interesting recording, and (D Major), 3. Processional (E-fl at Ma- 622), and is realized on just two pages. major ones, but includes movements for I thoroughly recommend it. jor), 4. Festive Procession (F major), and It is straightforward ringing through- two of the minor festivals as well. The —John L. Speller 5. Entrée (G Major). All of these pieces out and would be a nice addition to any two movements from Holy Days and St. Louis, Missouri were written between 1974 (Solemn En- handbell library. Festivals included on the recording are try) and 1999 (Intrada). All except for No. 1 Sukkoth (Tabernacles) and No. 3 the fi rst from 1974 were obviously writ- Vision Quest, Cathy Moklebust, for Shabuoth (Pentecost). They are pleasant ten for couples on their wedding day and 5–6 octaves of handbells with hand- mystical works in a modern idiom. New Organ Music still bear the dedication to the soon to- chimes (5 octaves) and percussion. After the Berlinski movements come be-wed couple. So immortalized forever Choristers Guild, CHB494, $6.95 two of the Four Preludes on Jewish is the wedding music for Jim and Amy, (D+). Melodies by William Bolcom (b. 1938), Calvert Shenk, Maestoso: Five Pro- Peter and Alice, Dan and Heather, and According to the information pro- a work specially commissioned in con- cessionals for Wedding or General Peter and Sidney! vided in the preface, a “vision quest” is a nection with Fritz Noack’s restoration Use. Catalog #6030, $8.50, Canti- The style is generally diatonic and com- period of spiritual seeking among certain of the Koehnken organ in the Isaac M. caNOVA Publications, 304/725-2787; positionally conservative, with middle Native American peoples. It is a religious Wise Temple. William Bolcom is not a
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20 THE DIAPASON
Sept 08 pp. 2-21.indd 20 8/13/08 8:38:56 AM Inaugurating the new Craighead-Saunders Organ at the Eastman School of Music Hans Davidsson
When the Eastman School of Music Organ and recent photos, visit
SEPTEMBER, 2008 21
Sept 08 pp. 2-21.indd 21 8/13/08 8:39:17 AM From the Dickinson Collection: Memorizing Controversy Lorenz Maycher
The fi rst installment in this series, “From the Dickinson Collection: Remi- niscences by Clarence Dickinson, Part 1: 1873–1898,” was published in the July 2008 issue of THE DIAPASON. Introduction On March 28, 1893, Clarence Dick- inson, age 19, performed a recital at Church of the Messiah in Chicago in which he played his solo repertoire from memory. The following day’s favorable review in the Chicago Tribune sparked a heated debate among prominent Chi- cago organists, carried out in letters to the editor. Two months later, the journal Music published a symposium on the subject based upon these letters. The following article presents the original Chicago Tribune review and the sympo- sium from Music, documents found in Clarence Dickinson’s personal library, housed at William Carey University in Hattiesburg, Mississippi. (Clarence Dickinson’s own words concerning the memorizing controversy may be found in “Reminiscences by Clarence Dickinson” in the July 2008 issue of The Diapason.) “Memorizing Controversy” is the second Program for Clarence Dickinson’s fi rst installment in a series of articles featur- recital from memory, Church of the ing items from Dr. Dickinson’s library. Messiah, Chicago, March 28, 1893 —Lorenz Maycher Laurel, Mississippi mand of the manual keyboards, but of the pedals and the vast array of mechani- From the Chicago Tribune cal accessories. He must not only com- March 29, 1893 prehend the instrument as a whole, but Clarence Dickinson’s last free organ thoroughly understand the workings of concert this season took place last eve- every detail. It is often necessary to pre- ning in the Church of the Messiah. The pare certain combinations of stops long selections by the young organist includ- before they are brought into action, and ed a Bach Fantasia and Fugue, Ritter’s the mind is constantly forced to act far in Sonata, op. 19, an Offertoire by Batiste, advance of the fi ngers and feet. Buck’s Triumphal March, Mendelssohn’s Now, to burden the mind with memo- “Spring Song,” the Gavotte from “Mi- rizing the notes in addition to these re- gnon,” and Volkman’s Allegretto from op. quirements is as harmful as it is useless, 63. All these were played from memory, and I maintain that organists are heard at and the freedom in expression and in- their best when they are unhampered by creased animation revealed in the play- the mental strain attendant upon com- er’s work, by reason of his being unham- Review of Clarence Dickinson’s memorized recital, Chicago Tribune, March 29, mitting to memory the compositions they pered by notes, lent unusual worth to 1893 play. The “increased animation,” which the performance, and demonstrated that your reporter discovered last evening, I organists, like pianists, are heard at their Rubinstein, Tausig, Buelow, Paderewski, of consciousness, but a few minutes at observed to be rather a frequent hurrying best only when they have memorized the Joseffy, Liebling, Sherwood, Mme. Rive- the keyboard will generally recall them. and unsteadiness of the tempo, caused by compositions they play. Mr. Dickinson King, Miss Aus Der Ohe, Mme. Car- But organ playing without notes is nervousness, which rendered the work of was especially successful in the Buck reño, and many others, some of them much less common. There are organists, the player indistinct and inaccurate. March, the Volkman Allegretto, and the mere pupils, combine to show that there such as the late Arthur Creswold, Fred- In my opinion, greater “freedom of Batiste Offertoire. Miss Meeker and Mr. is nothing at all of an impossible char- eric Archer, and Harrison Wild, who oc- expression” might have been attained if Root were the assisting vocalists, and Mr. acter in memorizing some hundreds of casionally play without notes, while the the player had referred occasionally to Wild joined Mr. Dickinson in the perfor- pieces and playing at a moment’s notice. majority of their public appearances his notes, while the value of his perfor- mance of Jensen’s “Festival Prelude” for Some who teach much more than they are made with notes. It happened a few mance from an artistic standpoint would four hands and double pedal. devote themselves to public playing do weeks since that a young Chicago organ- not have suffered in the least. Among the this. Here in Chicago are Sherwood and ist played an organ programme from most noted organists of my time, whom From Music Mr. Liebling, either one of whom is able memory, and the critic of the Tribune I have known personally and with whose May, 1893 to play at a moment’s notice any one of, commented upon the fact favorably. This playing I am quite familiar are: August Organ-Playing from Memory perhaps, three hundred compositions elicited the following letter: Haupt, Gustav Merkel, A. G. Ritter, W. A Symposium you may chance to call for. Frequently, T. Best, Alexandre Guilmant, Theodore The time has gone by when a pianist these artists never refer to the notes of By Mr. Clarence Eddy: Dubois, Eugene Gigout, Charles M. dare present himself before an audience some of these pieces for years together; Your issue of today contains a report Widor, Dudley Buck, Samuel P. Warren, for a recital from notes. The example of other pieces may momentarily fade out of an organ concert which took place in John K. Paine, Eugene Thayer, Frederic this city last evening. After mentioning Archer, George E. Whiting, and George some of the selections contained in the W. Morgan. programme, your reporter makes the As a rule, all of these artists have been following assertion: “All of these were in the habit of playing from notes in pub- MANDER ORGANS played from memory, and the freedom lic, and even their own compositions. in expression and increased animation Who can say they were at such times not revealed in the player’s work, by reason “heard at their best?” New Mechanical of his being unhampered by notes, lent It would be better for critics to con- unusual worth to the performance, and fi ne themselves to a plain statement of Action Organs demonstrated that organists, like pia- facts than to express an opinion at vari- nists, are heard at their best only when ance with sound judgment based upon a they have memorized the compositions practical knowledge of the subjects they they play.” write upon. As an organist of considerable experi- Exquisite ence, and a personal friend of many dis- By Mr. Harrison M. Wild: Continuo Organs tinguished players of the organ, whose In replying to Mr. Clarence Eddy’s St. Peter’s Square views on this subject coincide with mine, letter in your issue of April 3, wherein I take exception to the import of the he seeks to belittle the memorizing of London E 2 7AF • England above statement. In only one particular organ music as well as the knowledge [t] 011 44 20 7739 4747 is the organ like the piano—namely, that of the critic, I desire to acknowledge [f] 011 44 20 7729 4718 the keyboards are similar. The structure the questionable taste of taking up the [email protected] of the organ is vastly more complicated cudgel against a former instructor, at the than that of the piano, while its scope same time deprecating the motive that www.mander-organs.com and tonal resources are incomparable. In will prompt a great artist to take from Imaginative Reconstructions order to completely master a large organ, one over a score of years his junior one one must not only have a perfect com- word of the praise extended, or to ques-
22 THE DIAPASON
Sept 08 pp. 22-24.indd 22 8/13/08 8:40:13 AM Clarence Dickinson at the Skinner Clarence Dickinson in 1893 Clarence Eddy Harrison M. Wild console, Brick Presbyterian Church, New York City and, greatest of all, by the effect pro- piano performance, simple or otherwise, have been no freedom acquired in the duced upon the audience, as evidenced is not more artistic without notes than new medium of expression, and hence tion the desirability of possession on the by its attention and applause and the ver- with them? That such memorizing is an opinion could be of little or no value, part of the latter, or anyone, of an ability bal encomiums afterward by musicians physically harmful none but the expert or might be summed up in the following never, to the writer’s knowledge, publicly not in any way interested in the welfare physician or personal experience can words: “I fi nd that I am too nervous with- displayed by the former. of the young musician. determine. That it is for best artistic re- out the notes to do myself or the compo- As for the critic, were he as capable As to memorizing, we can but look at sults, Mr. Eddy will not deny, when he sition justice,” or, “have not the time to of judging an organ performance as Mr. that from two standpoints: fi rst, the do- remembers the performances of artists adequately prepare, but must play, and Eddy, the probability is that Mr. Eddy ing away entirely with the music. The such as Archer, Creswold, Middelschul- hence must use the notes.” That oth- would fi nd in him a rival organist, bet- mere mechanical portion of an organ te, and the like, who were, or are, tried ers have not memorized and given such ter say brother artist, certainly not the performance is so trifl ing that the mind in the fi re of public appearance. I know memory performances thorough trials is critic, an evident thorn in the fl esh. The that can memorize the Bach G minor Saint-Saëns plays by memory. A pupil of no suffi cient reason why it should not be people who read criticisms know that Fantasia and Fugue, or the Thiele Varia- mine, who has studied with Guilmant, done in the future, any more than be- they are but expressions of one man, or a tions, or the Reubke Sonata, can in a says Guilmant has a wonderful memory, cause no one discovered America in the few men. No critic’s criticism tallies with few moments so fi x the registration for and plays at a moment’s notice any one fourteenth century Columbus should not all his readers’ opinions, and the greater a strange organ as to leave fantasy free. I of a host of pieces. Best told a pupil of have in the fi fteenth. the critic, the more heinous becomes the make bold to assert that Mr. Eddy could mine, when the rumor went the rounds The second way of memorizing is the crime of non-agreement. If a critic thinks write out within fi ve minutes the regis- of his failing eyesight, that he could get partial way, needing but a glimpse here as we do, let us bless him. If he doesn’t, tration of the foregoing three numbers along without the notes now, since he and there at the music. How many pos- let us curse our bad luck and hope for for any specifi cation submitted, and, knew by memory most of the music he sess it? The one who can remove the eyes better luck the following time. having done it, would not have to think would need. Mr. Middelschulte told me at any moment for any number of mea- As to the young artist’s concert, I know one beat ahead, since at any particular that Haupt knew by memory all of Bach’s sures, can do without the music, and from it as his fi rst attempt at public playing point a change could be thought of and works, and played them without notes. personal experience I can say that there is by memory, and, barring his pardonable made, when necessary for the effect at But why continue? This surely is suf- much more trouble in fi nding one’s place nervousness, which resulted in a lack of that point or further along. If Mr. Eddy fi cient. Can it be said that anyone of the after a piece is memorized than there is clearness at times, more than compen- will grant the possession of this ability, list of great organists given by Mr. Eddy, in keeping right on by memory. sating amends were made by results the remainder of the organ memoriz- that for one entire season all performanc- Now, to close by answering the ques- obtained in other parts of the works, by ing is placed upon the plane of piano es were by memory? If not, then there tion sure to be put: “You do it with your lightning-like changes of registration, memorizing, and who shall say that the was not a suffi cient trial, there could piano playing, why don’t you do it with
LOYOLA UNIVERSITY CHICAGO E>E: DG<6C 9:9>86I>DC L::@ 8:A:7G6I>DC
Both the Office of Mission and Ministry and Sacramental Life invite the community to a week-long celebration of the new Madonna della Strada Chapel pipe organ. Tours, demonstrations, recitals, guest speakers, and other special presentations will be held at the chapel throughout the week of October 19.
OCT. 19 OCT. 20 OCT. 20, 22, and 23 OCT. 24 ORGAN BLESSING CHAPEL LECTURE SERIES ORGAN DEMONSTRATION DEDICATION RECITAL: Masses at 10:30 a.m., Guest speaker Michael Joncas Find out how an organ works, GUEST ARTIST TOM TRENNEY 5 p.m., and 9 p.m. will discuss the topic of how it was built, and hear Recital at 7 p.m.; Liturgical Music Today great music. 12:30 p.m. Oct. 20 open reception to follow. at 7 p.m. and 23; midnight Oct. 22.
All events are free and open to the public. Please join us for this very special and one-of-a-kind musical celebration at the Madonna della Strada Chapel on the Lake Shore Campus.
For more information, call 773.508.8043 or visit LUC.edu/sacramental_life
Goulding and Wood Pipe Organ Builders, Indianapolis, Indiana, Opus 47
SEPTEMBER, 2008 23
Sept 08 pp. 22-24.indd 23 8/13/08 8:40:35 AM your organ playing?” If multitudinous mer, and I dare say they will, one and all, riding on the car or taking a walk, he can duties, teaching and the like, could be play with their music before them. Does play them over in his mind—certainly a laid aside and my income remain the it follow that masters like Guilmant and pleasure to him. And the more the per- Clarence Eddy autograph (from a 1923 same, I could be found any day between Best are incapable of memorizing what former gets familiar with his pieces, the letter written by Eddy to Clarence 9 and 5 o’clock upon the Unity Church they purpose to play? Indeed, it seems more he likes them, he is not afraid that Dickinson) organ bench, and every programme I to me that if anything, the effi cient or- something might happen while he is played would be by memory, to my ex- ganist is better equipped and qualifi ed to playing them, for he knows his friends treme satisfaction, and to the certain commit music to memory than any other too well. Then, while he is playing, he is enhancing of all artistic effect to such specialist in music. He is, or ought to his own listener; he not only gives plea- a degree as to do a great share toward be, thoroughly familiar with the theory sure to others, but the fi rst and best of the lifting of that onus which clings to an of music, from the simple chord to the all to himself. I have a blind friend in organ performance in the minds of the intricacies of the double counterpoint, Berlin, who studied the organ with me; majority of the people. in order to properly assume the duties I found that the ear keeps good control, of his profession, especially in Catho- while the eye has nothing to do. At the Mr. Louis Falk: lic and Protestant Episcopal churches, same time, I do not deny the diffi culty Harrison M. Wild autograph (from a Clarence Eddy, Esq.: Your reply in where improvisation in accompanying in playing polyphonic music without the 1927 letter written by Wild to Clarence yesterday’s Tribune in relation to playing plainsong is almost imperative. It may, notes. August Haupt, my teacher, played Dickinson) at organ concerts from memory pleased therefore, be understood that the reason once in a concert, where Felix Mendels- me very much. In regard to memorizing: why an organist plays with the music be- sohn was present, the F major “Toccata” I question whether playing or singing fore him is because he considers it to his of Bach by memory; while he was playing from memory is under all circumstances advantage and not because of any defect the second canon, the wind in the pedal the proper way of rendering music in in his musical training. stops suddenly gave out, which confused public, for it very frequently leads the him for a moment. Mendelssohn, who Wilhelm Middelschulte autograph performer into faults, such as inaccura- Mr. Wilhelm Middelschulte: no doubt noticed the little mistake, re- (from an undated letter written by cies, interpolations and mannerisms en- At your request I would say in regard marked, “The second canon occurred, Middelschulte to Clarence Dickinson) tirely foreign to the sense of the compo- to an organist playing from memory: The compared to the fi rst one, a little short.” sition. Witness the contortions of many virtuoso is the interpreter of the idea Haupt told me that he, in his younger in its repertory. The player, independent pianists, violinists, and singers as living of the composer; in order to interpret years, practiced every morning before of notes, has time to do this; the player, examples of my assertion. Again, why well, technical diffi culty in perform- breakfast the six organ sonatas of Seb. confi ned to notes, lets it pass. Moreover, does not Theodore Thomas conduct his ing must not exist for him, then, which Bach, and knew them by memory, but there is the same question of quality of matchless concerts from memory? Does is more important, he must be inspired never risked playing those diffi cult trios attention. When a man knows a fugue not the score, which he is constantly fol- by the idea of the composition so that in public without his notes. in the sense of knowing all the answers, lowing, detract from his ability to prop- the playing appears as a new creation A good result of playing by memory all the modulations, all the little counter erly direct his orchestra? Has he more and not as a studied piece. If he is able would be that the too much neglected themes, which come in here and there, work to perform than an organist sitting to do this, then he is a true artist, whose improvisation of organists will take more he is in much better condition to make before the great Auditorium organ? Let noble profession it is to send light into place, for the musical form of a composi- the hearer realize them also. What kind us see. The conductor uses his brains and “the depths of the human heart” (Rob. tion goes into his fl esh and blood and will of work would an actor make of the “To hands with which to guide from fi fty to Schumann). Can the virtuoso reproduce give him power and confi dence enough be or not to be” if he had to hold the 100 players; the organist uses his brains, the composer’s idea better with or with- to express his own thoughts in appropri- book in hand while giving it?—or “The hands and feet to master fi ve keyboards, out the notes? I am rather inclined to ate form without much preparation. Es- quality of mercy is not strained.” 120 registers, and innumerable combi- leave this an open question. I should say, pecially the thorough musician will profi t The question why orchestral directors nations; he is required to represent every in order to play artistically, it is not nec- by this method. do not direct without notes may as well instrument of a large orchestra, either essary to play without notes. But if the be answered here as elsewhere. They do! individually or collectively, in the per- organist prefers to memorize his pieces, The Editor of Music: Mr. Nikisch, who is always a fi ne pianist, formance of some pieces. What would I think it has its advantage—he bears the When the ground has been so cov- often conducts without notes; always, become of the player’s wits and his ac- composition of great masters like pre- ered by these eminent gentlemen, it is when he knows the work suffi ciently cumulative memory in case of the not cious jewels always with him, in his head perhaps unnecessary to add anything; well. And when he does conduct with- infrequent mishaps to some parts of the and his mind—they are like dear friends nevertheless, as there is a principle in- out notes, you will fi nd that he is doing organ during his playing? The chances to him—constantly in unity with him, volved, Music makes bold to put in its something very different with his men are that he would wish to have his music they grow on him the more he knows oar. The principle of mentally acquiring than when he is half the time keeping his before him. We shall probably have the them. In order to keep them constantly the subject matter of whatever musical place in a score where he has to turn a pleasure of listening to many organists of in memory it is not necessary to always discourse one wishes to address to an leaf at a precise moment once in about world-wide fame during the coming sum- practice at the instrument—while he is audience is exactly the same as that in- forty measures. Von Buelow often con- volved in the reading of an actor or elo- ducts Beethoven symphonies without cutionist. There was a time when actors notes, and they say that he plays them had to depend upon the prompter; now wonderfully. Mme. Carreño told the an actor who does this is recognized as present writer that of all the privileges not “letter perfect” in his part, and there- of Europe, she prized Buelow’s orches- fore not arrived at the point where he is tral readings of Beethoven symphonies Eloquence and Artistry ready to begin to “interpret” it. Elocu- better than anything else. (But this was tionists have discovered for themselves before she married D’Albert.) in Organ Building that they are much more free and effec- Hans Richter, I believe, sometimes tive in their readings when they have the conducts without notes. All conductors text securely in their mind, leaving them of light opera do so; many conductors of free to deliver it with all the emphasis grand opera do so when they have a run and nuance of an original discourse. of a single work. Von Buelow has often Piano recitals would be impossible conducted the “Meistersinger” without from notes. There is not an audience notes. Even Mr. Thomas, who belongs in the world that would sit through a to an older school of conductors, some- recital played from notes. Not even Pa- times conducts without notes, and it is derewski could hold his audience, were safe to assume that if he had to begin he hampered in this way. The reason again his career as leader at the pres- that so many play without notes is that ent time, he would acquire the habit, it is less strain. The mind is more free in order to leave his eyes at freedom to to feel the music. The interpretation control his men. comes home to the hearer. One reason The perfection of orchestral playing for this may be that the player has to be would be where all the players were “let- much more master of his discourse than ter perfect” in their parts, and played when he can depend upon the notes. He them under the eye of the conductor— must have studied it more thoroughly. such a conductor as Nikisch or Tomlins. Few players realize how half-hearted is I mention these rather than Mr. Thomas, the quality of mental attention devoted not because I think them greater, but be- to practice. When a player is trying to cause they belong to a different school— memorize, he has to pay close attention, the school of intense interpretation, and out of this attention grows a fi ner where all the smaller parts of a piece are appreciation of delicate nuances and fully brought out, without intending to beauties of the piece. crowd them into the prominence of the Now this, which is so demonstrated in grand parts. the case of the piano, is still more true In short, whether we take memoriz- of the organ, for, as Mr. Eddy says, the ing as a convenient method of sifting out organ is a very complicated instrument. the incompetents, or as the easy way for Saint Andrew’s Episcopal Church, Denver, CO Besides using the feet for playing, there those who thoroughly possess a musical Timothy Krueger, Music Director, Frank Nowell, Organist are many changes of registration, and not subject, the fact remains that it is the a little adaptation and substitution to do proper thing for all public performers, in order to realize or represent an effect and for all private performers who care which the individual organ may not have about making a living effect. Member, Associated Pipe Organ W. S. B. Mathews John-Paul Builders of America New! To be continued 112 West Hill Street Buzard Classifi ed advertising on Lorenz Maycher is organist-choirmaster Pipe Organ Builders Champaign, Illinois 61820 at First-Trinity Presbyterian Church in Lau- 800.397.3103 • www.Buzardorgans.com THE DIAPASON website: rel, Mississippi. His interviews with William Teague, Thomas Richner, Nora Williams, Al- www.TheDiapason.com bert Russell, and Robert Town have appeared in THE DIAPASON.
24 THE DIAPASON
Sept 08 pp. 22-24.indd 24 8/13/08 8:40:58 AM Celebrating the Cathedral Church of Christ Choir, Lagos, Nigeria, at Ninety Godwin Sadoh
he history of church choirs in Ni- Tgeria is interwoven with the arrival of Christianity in Nigeria, which dates back to the mid-nineteenth century. The early missionaries from the United States and Europe settled mainly in the southwest (Yoruba) and southeast (Igbo) regions of Nigeria. The conversions of the local indigenes encouraged the mis- sionaries to build several churches for worship and to continue the propaga- tion of the Gospel in Nigeria. It was in these churches that the converts were fi rst exposed to English hymns in four- part harmony. Worship at the Cathedral Church The Cathedral Church of Christ, La- gos, was founded in 1867 by a group of Cathedral Choir Christian worshipers from St. Peter’s Anglican Church, Faji, Lagos, where Sunday Worship maintained to this day. After the era of services were conducted only in Yoruba 7:15 am—Holy Eucharist (Communion Hamlyn, there was a brief period of short Thomas Ekundayo Phillips at the 1932 language. These worshipers were Si- service without choir) appointments of organists such as that organ, at the Cathedral Church, Lagos erra Leonians who spoke mainly English 9:15 am—Choral Mattins (Cathedral of D. J. Williams, J. G. Kuye in 1904, and wanted to have services in English. Choir sings) and later Frank Lacton, a Sierra Leo- Hence, it was agreed that services at the 9:15 am—Contemporary Praise and nian who served until the appointment of Cathedral Church would be conducted Worship (Every fourth Sunday) Thomas Ekundayo Phillips in 1914. exclusively in English. Consequently, the 9:15 am—Cornerstone Fellowship Thomas King Ekundayo Phillips congregation at the Cathedral Church (Youth/college students) (1884–1969) was appointed Organist and strictly committed to having all wor- 9:15 am—Children’s Church (Sunday Master of the Music after completing ship in English, including the sermons, school) his musical training at Trinity College of hymns, announcements, and all special 11:15 am—Holy Eucharist (Communion Music, London (1911–14). Prior to his musical renditions by the Cathedral with or without the Cathedral Choir) appointment at the Cathedral Church, Choir. Another reason for embracing he was organist at St. John’s Anglican worship in English was that the church Sunday Evening Worship Church, Aroloya, and St. Paul’s Angli- was designed to cater to the musical 5 pm—Evensong with the Cathedral can Church, Breadfruit, Lagos. Phillips’s and spiritual needs of the cosmopolitan Choir (fi rst and second Sunday) tenure was a remarkable turning point Lagos society as well as visitors from 5 pm—Community Hymn Singing (third in the history of church music in Lagos outside the country, foreign diplomats, Sunday) and Nigeria as a whole. He built a solid and the various ethnic groups in Nigeria 5 pm—Time of Refreshing (fourth Sun- foundation on which the present choir who communicated fl uently in English. day) stands fi rmly today as one of the best In other words, the congregation at the 5 pm—Psalmody (Whenever there is a cathedral choirs in Africa. He retired in Cathedral Church comprised the elite, fi fth Sunday) 1962 after serving in the music ministry the well-educated, intellectuals, upper- at the Cathedral Church for forty-eight Charles Oluwole Obayomi Phillips middle-class, the affl uent and apparently Weekday Worship years (Trinity Sunday 1914 to Trinity playing the organ at the Cathedral the cream of the Lagos society. I remem- 6 am—Mattins Sunday 1962). Church of Christ, Lagos ber my days at the Cathedral Church as a 6:45 am—Holy Eucharist Thomas Ekundayo Phillips was suc- chorister between 1980 and 1994: almost ceeded by his son, Charles Oluwole everyone communicated in English dur- Saturday Worship Obayomi Phillips (1919–2007), as the ing choir rehearsals and services. Occa- 7:15 am—Mattins Organist and Master of the Music; he sionally, one might hear people commu- 11:15 am—Holy Eucharist faithfully served the church for exactly nicate in Yoruba, but it was always some three decades (Trinity Sunday 1962 to few sentences and they would quickly Cathedral Choir and Masters of the Trinity Sunday 1992). Charles Obayomi switch to English. Music Phillips was born on September 28, While the Cathedral Church of The Cathedral Church of Christ Choir 1919, in Lagos. After attending C. M. S. Christ has received criticism for adopt- is the oldest choir in Nigeria, with an av- Grammar School, Lagos, he proceeded ing a complete English service within erage membership of about fi fty male to Durham University, England, receiv- a Yoruba state and in one of the most voices, half of whom are boys who sing ing a bachelor’s degree in commerce populous African countries, one could the treble part. However, that number with distinction in June 1946. Phillips argue that this decision was worthy, has recently exploded to over eighty started taking private lessons on piano considering the pluralistic nature of strong and dedicated voices—treble when he was only four years old with the indigenous languages in Nigeria. (37), alto (18), tenor (13) and bass (15). Nigeria’s most celebrated international Linguistically, Nigeria is widely diversi- The fi rst choir was organized by Robert musician, Fela Sowande, and as a choir fi ed, with three major ethnic groups— Coker in 1895, comprising young men boy at the Cathedral Church received Yinka Sowande, brother of Fela Yoruba, Igbo and Hausa. In addition, and women. Coker was acknowledged organ lessons under the tutelage of his Sowande there are multiple subdivisions of the to be the fi rst indigenous organist and father. At age fourteen, Phillips had al- major languages, known as local dia- choirmaster in Nigeria, and apparently ready started assuming leadership roles Organist at the Cathedral Church of lects that include hundreds of tongues. the fi rst to occupy this lofty position at in music; fi rst, he rose to the enviable po- Christ until his death in May 2007. Af- With such extensive linguistic diversi- the Cathedral Church of Christ, Lagos. sition of school pianist at C. M. S. Gram- ter Phillips’s retirement in 1992, Yinka fi cation, the government had to adopt Prior to his appointment as organist at mar School and was later appointed by Sowande, Fela Sowande’s younger English as the offi cial language of the the church, he was sponsored by the his father as the assistant organist of the brother who had been Substantive Or- country after independence from Great Cathedral Church to travel to England Cathedral Church in 1933. ganist under Phillips for several years, Britain in 1960 in order to unify the di- to study music in order to form a good Charles Obayomi Phillips studied was temporarily appointed as interim verse ethnic groups. To elevate one of choir suitable for Christ Church, which organ with J. A. Westrup at Durham Master of the Music; he retired on De- the local languages over another would was later elevated to a cathedral status in University, and with Christopher Idonill cember 31, 1992. have caused internal dissatisfaction and 1923. Coker was regarded as a musical in 1976 at the Royal School of Church History was made on January 1, 1993, deep division. genius of his time. He was the fi rst in- Music, London. During his tenure as with the appointment of Tolu Obajimi Interestingly, the Cathedral Church digenous musician to attempt the perfor- Organist and Master of the Music at the as the fi rst female Organist and Master of Christ was one of the few pan-ethnic mances of Western classical music in Ni- Cathedral Church, Phillips maintained of the Music of the Cathedral Church and pan-African congregations in Nige- geria, notably Handel’s Messiah. Coker the tradition of the Cathedral Choir and of Christ. She is the fi rst woman to be ria. Membership in most other churches died on February 9, 1920. developed new ideas that made the choir appointed to the position of organist and was made up of one major ethnic group; The choir was later reorganized dur- soar in standard. In spite of the tremen- music director in any Nigerian church. hence, services were conducted there in ing the tenure of N. T. Hamlyn, a Brit- dous economic upheavals in the political, Obajimi is also the fi rst Nigerian female the indigenous language of the group. ish musician and pastor of the church. social and religious life of Nigeria since organist to play recitals on the pipe or- But at the Cathedral Church of Christ, Hamlyn replaced the women of the choir independence in 1960, music at the Ca- gan. In addition to playing organ and there are Yoruba, Igbo, Edo, as well as with boys and young men, following the thedral Church continues to be the cen- piano recitals all over Lagos, she had ac- descendants of Sierra Leone, Ghana, tradition of most British cathedrals. The ter of inspiration and worship. companied several standard choral works Togo, and other West African countries choir made tremendous progress that es- In addition to his strenuous tasks at such as Messiah, Elijah, St. Paul, Ode for who migrated to Nigeria in the nine- tablished it as a model for other church the Cathedral Church, Charles Obayo- St. Cecilia’s Day, and Thomas Ekundayo teenth and early twentieth centuries. As choirs. Hamlyn provided the choir with mi Phillips served as president of the Phillips’s Samuel. the mother church of the Anglican dio- surplices and erected choir stalls at the Union of Organists and Choirmasters Tolu Obajimi certainly deserves special cese in Lagos, the Cathedral Church of east end of the church. A strict discipli- in Lagos, an organization that oversees recognition and commendation for dar- Christ is always busy with services and narian, Hamlyn was always keen on regu- the maintenance of high standards of ing to step into the very shoes that even other benevolent activities throughout lar and punctual attendance, and was thus music in all Anglican churches in the men found to be extremely challenging. the week: able to set a high standard that has been Lagos diocese. He was the Emeritus Since 1993, she has expanded the mu-
SEPTEMBER, 2008 25
Sept 08 pp. 25-29.indd 25 8/13/08 8:41:43 AM back to the hard work and foundation laid by Thomas Ekundayo Phillips. Phil- lips emphasized strict discipline, regular and punctual attendance at choir prac- tices, correct interpretation of notes, voice balance, articulation, attack, com- portment, reverence in worship, and ut- most sense of good musicianship. His ex- pectations were very high and certainly demanding, but the choir always rose to his standards. During choir practices, as the conductor, Phillips was very sensitive to intonation. He would detect and cor- rect any faulty notes emanating from any section of the choir. He would also call to order any chorister who did not hold his music book correctly, such as covering the face with it or placing it on the lap while seated. The present arrangement Tolu Obajimi, present Organist and where choristers placed their books on Master of the Music, at Cathedral the raised desk did not exist then. Church of Christ organ Thomas Ekundayo Phillips was known to be very meticulous and thorough in sic ministry of the Cathedral Church to everything he did—whether he was the delight and with the support of the dealing with twelve probationers or with choir, clergy and the entire congregation. his augmented choir of over one hun- Cathedral Church of Christ, Lagos One of her most remarkable accomplish- dred voices. One of the criteria to join ments was the creation of the Cathedral the Cathedral Choir or his augmented ents. Each week, the choir comes into Hymn Singing, Psalmody is simply the Church of Christ Choir Orchestra, which choir was the ability to sight-read mu- the church at least four times with a total alternation of readings, in this case the was launched at the 80th anniversary of sic. Furthermore, the singer must have time of about eight hours. The Organist Psalms of David, by members of the con- the choir on November 22, 1998. The had a very good voice to be able to sing and Master of the Music usually devotes gregation, with the chanting of the actual other two signifi cant programs added to under Phillips’s direction. Consequent- thirty minutes to the junior boys or those Psalms done by the congregation and/or the Cathedral Church ministries under ly, his choir learned anthems, hymns, on probation from 6 to 6:30 pm before the Cathedral Choir. The reader presents her leadership are Community Hymn chants, and other standard choral works the main choir practice begins. He/she an historical background of the Psalm— Singing and Psalmody: Chanting the in a very short time. One of the ways he trains them in sight reading of music no- who wrote it, the occasion, why, when Psalms of David. tested his choir to see if they had mas- tation, vocal exercises, and theory of mu- and where the Psalm was likely written. Tolu Obajimi’s successful activities at tered a work was with the accompani- sic. All this training ultimately leads to This approach helps the congregation to the Cathedral Church are not surprising ment. Often, at the last rehearsal of an the boys taking the external examinations have a better understanding of the theo- to those who knew her before she began anthem before Sunday worship, he of the Trinity College of Music, London. logical underpinning of the Psalm, which at the Cathedral Church. She brought would start the choir off with the organ, Successful candidates would receive cer- inevitably would enable them to sing with into the church’s ministry several years and then suddenly stop playing right in tifi cates if they passed the exams. understanding and energy. Through this of experience as a professionally trained the middle of the piece; if the choir fal- The older members of the Cathedral medium, the Master of the Music and musician. Obajimi studied music at the tered and stopped, he would ask, “sup- Choir were never left out of continu- the Cathedral Choir teach the congrega- Guildhall School of Music and Drama, pose the organ broke down during the ous training. Some prominent senior tion the latest techniques of chanting the London, in the 1960s; on her return to performance on Sunday, are you going members of the choir were occasionally Psalms of David, thereby helping them Nigeria, she taught music at Queen’s to stop singing?” His choir did not know sponsored by the Cathedral Choir to the to correct some performance errors dur- College, Lagos, for several years, and an anthem, as far as he was concerned, Royal School of Church Music, London, ing rendition. she also founded and taught at her own until they could sing it convincingly and refresher course training as the funds Interestingly, some Yoruba Psalms Tolu Obajimi Conservatory of Music, confi dently without any accompaniment were available. This normally took place set to music as anthems by Thomas Lagos. Obajimi is presently assisted by and without dropping in pitch. Honor- during summer when the choir was away Ekundayo Phillips are always included Richard Bucknor as Choirmaster, Sina able Justice Yinka Faji, who began as a on vacation in June or July. On return, in the service. Presently, this is one of Ojemuyiwa (the best and most famous choir boy under Charles Obayomi Phil- the choir member would give a report the few avenues in which Yoruba songs Cathedral Choir tenor) as Assistant lips and now sings alto, recounts the of all he learned, paying particular at- are performed in worship at the Cathe- Choirmaster, Jimi Olumuyiwa (former benefi ts of the discipline instilled in him tention to the new innovations in church dral Church of Christ. According to the Cathedral Choir Librarian) as Assisting as a Cathedral chorister: music as practiced in England—in the Master of the Music, the use of Yoruba Choirmaster, and Tunde Sosan as Sub- form of new anthems, hymns or hym- versions of the Psalms in this program stantive Organist. Membership in the choir disciplined nals, latest techniques of chanting the showcases works of talented Nigerian It is important to mention that the me. To me discipline is synonymous with Psalms or singing regular church hymns composers in sacred music and Psalmody/ Cathedral Church of Christ has a rich the choir. It is now a personal taboo for and sacred concerts. hymnody in particular. Special settings of me to miss Sunday services—Mattins and rigid tradition of appointing some- and Evensong. Choir practice at 6 pm on the Psalms were normally performed by one from within the choir to the leader- Tuesdays and Thursdays as a choir boy Choir Ministry the Cathedral Choir only, while the con- ship position of Organist and Master of and now as a choir man, no side talks dur- The role of the choir in the ministry gregation listened with dignifi ed atten- the Music. Charles Obayomi Phillips ing rehearsals, team work, orderliness, of the Cathedral Church of Christ is im- tion. Examples of works in this category received organ lessons from his father, and mutual respect; these and more have mense. The choir leads the congregation include Thomas Ekundayo Phillips’s Emi Thomas Ekundayo Phillips, and gave been and still are the norms of the choir. every Sunday in hymn singing, versicles O Gbe Oju Mi S’Oke Wonni (I Will Lift Tolu Obajimi her fi rst lessons in organ The choir made me bold. I remember one and responses (antiphonal prayers set to Up My Eyes Unto the Hills–Psalm 121) and trained her to the profi cient level Holy Eucharist Sunday service that I was music), special settings of liturgical mu- and Nigbati Oluwa Mu Ikolo Sioni Pada to sing a solo. It was the Agnus Dei. When necessary for appointment as the Cathe- it was time to sing, I stood up and opened sic such as Venite, Benedictus, Te Deum, (When the Lord Turned Again the Cap- dral Organist. Even though Obajimi was my mouth. As soon as I started singing, ev- Nunc Dimittis, Magnifi cat and the Ordi- tivity of Zion–Psalm 126). Interestingly, never a member of the Cathedral Choir, eryone in the congregation looked up and nary of the Mass. The Master of the Mu- during the tenure of Thomas Ekundayo she had been a member of the church my heart started beating fast. I then said sic uses the choir to teach the congrega- Phillips, the evening services on the last for several years and she began by play- to myself, “Yinka, they are looking at you, tion new music. Sunday of each month were always in Yo- ing piano for the 7:15 am Holy Eucha- will you fail?” I almost stopped singing; one The Master of the Music is always at- ruba. The Cathedral Choir would dress rist during Charles Obayomi Phillips’s way or the other, I completed the solo and tentive to how the congregation sings in their red cassocks and surplices, aug- tenure. She was later called upon to ac- sat down. Since then, I have become very church hymns. In order to boost the mented by the voices of the Choral Soci- bold to address a large crowd; in fact, I can company the choir at rehearsals during address the entire nation. Other good vir- standard of congregational singing, Tolu ety with the ladies dressed in white buba the week, and she participated in several tues I picked up include comportment dur- Obajimi introduced a Community Hymn and alari costumes (traditional gowns). concerts such as Mendelssohn’s Elijah ing worship, improved speech control and Singing service slated for the third Sun- The two choirs would perform Phillips’s and Handel’s Messiah in the late 1980s. good manners generally. day of each month. This was designed Yoruba compositions in these services. Tunde Sosan started off as a choir to encourage members of the Cathedral The Cathedral Church of Christ truly boy, and he was trained on the organ by Before a choir boy or man can be ad- Church to attend Sunday evening wor- proves itself to be a unique culturally Tolu Obajimi before he went to study mitted into the choir to sing in Sunday ship. Apart from the roster for church blended congregation in terms of hym- at the Trinity College of Music, Lon- worship, he must fi rst go through the rig- societies and individuals, families are nals used for worship. The church exem- don. Other notable musicians who have orous probationary period that normally also encouraged to sponsor the service. plifi es the nature of an interdenomina- served as honorary organists, substitute last several months. The probationary pe- In this service, the Master of the Music tional faith-based organization with the organists and/or recitalists at the Ca- riod of choir boys is eight months, while writes out the background information use of hymn books from diverse church- thedral Church include Fela Sowande that of adults is around three months. or history of the hymns to be sung in the es. The hymnals used for worship in- (musicologist and organist-composer), I remember my probationary period in program. There is no sermon; however, clude Ancient and Modern, Ancient and Ayo Bankole (musicologist and organ- 1980 while I was still in high school. I at- one or two Bible lessons are inserted into Modern Revised, Songs of Praise, Meth- ist-composer), Modupe Phillips (a son tended the choir practices on Tuesdays the program as epilogue. The service odist Hymn Book, Hymnal Companion, of Thomas Ekundayo Phillips, he played and Thursdays, but on Sundays I would opens and closes with prayer. The format Baptist Hymnal, Saint Paul’s Cathedral the organ at the age of twelve), Samuel sit in the congregation for worship and of the service is simply an alternation of Psalter, Church Hymnal, Alternative Akpabot (musicologist and composer), was never allowed to sing with the choir readings with hymn singing. The histori- Service Book, New English Hymnal, Re- Kayode Oni (concert organist and choir until I completed my three months of cal background of the hymns is read by demption Hymnal, Broadman Hymnal, director), Godwin Sadoh (organist-com- probation. It felt so good in those days to individual members of the congregation, Sacred Songs and Solos, More Hymns poser, choral conductor and ethnomu- put on my beautiful cassock and surplice while the choir and congregation sing for Today, and indigenous hymns written sicologist), Kweku Acquah-Harrison and sing tenor in the most famous Angli- the hymns. Before the last hymn is sung, by Thomas Ekundayo Phillips as well as (Ghanaian organist and music educator), can Church choir in Nigeria. the sponsors and committee members of other members of the choir. Albert Schweitzer (German musicolo- Whenever the boys completed their the service are usually acknowledged. gist and organist), and Ian Hare of King’s probation, they would be formally ad- Whenever there is a fi fth Sunday in Concert Performances College, Cambridge, England. mitted into the Cathedral Choir at a spe- a month, the Cathedral Choir presents The Cathedral Church of Christ Choir cial service in which their parents would special evening music entitled “Psalmo- is well known throughout the southern Choir Training assist them to put on the white surplice dy: Chanting the Psalms of David.” This regions of Nigeria for its seasonal con- The outstanding musical standards of over the black cassock. This was always was also one of the creative innovations of cert performances. The choir sets the the Cathedral Choir today can be traced a moment of joy and pride for the par- Tolu Obajimi. Similar to the Community tone and standard of music through its
26 THE DIAPASON
Sept 08 pp. 25-29.indd 26 8/13/08 8:42:03 AM exceptional renditions of standard classi- the schools of music in London. Hence, eration from the imperialists are some of the performance of the entire three parts cal works. Thus, the extremely rigorous there is a tremendous infl uence of the the commonalities in the themes of the of Thomas Ekundayo Phillips’s Samuel. schedule of the Master of the Music is British worship system at the Cathedral songs. Even though Nigeria obtained her There were some few instances when the further laden with concert activities. Church. Furthermore, most of the com- independence from the British govern- choir staged a concert on Good Friday, Apart from the weekly routine of choir posers of the music used for worship are ment in 1960, the infl uence of British such as John Stainer’s The Crucifi xion practices in preparation for Sunday British—John Ireland, William Byrd, culture is still very strong today. It per- under the direction of Thomas Ekundayo worship, the Master of the Music must John Stainer, Bernard Rose, David Will- meates every aspect of Nigerian exis- Phillips in 1916. According to the Cathe- prepare the choir for concerts, which cocks, John Rutter, Ralph Vaughan Wil- tence, from cultural life to politics, social dral historians, this was the fi rst Good include sacred masterworks, instrumen- liams, Samuel Wesley, Thomas Attwood, life, education, and Christian worship Friday cantata concert in Nigeria. tal pieces, and organ recitals. The con- and Charles Stanley. However, in fair- as observed at the Cathedral Church of There are other times in the year that cert performances are in the form of an ness to the Organists and Masters of the Christ, Lagos. the Cathedral Choir performs concerts Annual Choir Festival, Advent Carol Music, compositions from other Euro- Following the choir festival is the in and outside of the church. Notable Service, Festival of Lessons and Carols, pean nationalities are occasionally used. Advent Carol Service in December. oratorios, cantatas, and orchestral works Easter Cantata, and other types of vari- These include the works of Beethoven, The choir performs selected and tune- have been performed by the choir, such ety concerts throughout the year. Mozart, Bach, and Schubert. ful carols and hymns with themes that as Mendelssohn’s Elijah (performed in Thomas Ekundayo Phillips inaugurated To augment the works of foreign com- talk about the coming of Christ. The 1989), Hymn of Praise, and St. Paul; the Annual Choir Festival at the Cathe- posers, the Cathedral Organist and Mas- carols and hymns are interspersed with Bach’s Christmas Oratorio (performed dral Church of Christ in November 1918, ter of the Music uses the music of se- the reading of six Bible lessons that tell in 1953); Samuel Coleridge-Taylor’s Hi- to celebrate the musical accomplishments lected indigenous Nigerian composers, the story of the promises of the coming awatha’s Wedding Feast; Handel’s Ode of his lovely choir and to showcase the ex- notably past and present choir members Messiah. The lessons are mostly taken to Joy, Judas Maccabaeus, and Ode for pertise of the group. The festival is tra- and organists. The Master of the Music from the book of Isaiah in the Old Tes- St. Cecilia’s Day (performed in 1998); ditionally scheduled for the Sunday near- has always been very careful not to pro- tament, with two short ones from the Haydn’s The Creation; Stainer’s The est to St. Cecilia’s Day (November 22), mote and glorify the compositions of in- New Testament. Daughter of Jairus and The Crucifi xion and takes place in the two main morning digenous musicians who have no direct The Festival of Lessons and Carols has (performed in 1916); Walford Davies’ services (Choral Mattins and Choral Eu- connection with the Cathedral Church always been the climax of the Cathedral The Temple; and Edward Elgar’s Pomp charist) and Evensong. The choir sings Choir. Among the famous Nigerian mu- Choir musical performances for the year. and Circumstance performed by the Ca- hymns, versicles and responses, Psalms, sicians or choir members whose works Therefore, the choir is always at its best, thedral Church of Christ Choir Orches- and beautiful anthems. The evening fes- were often performed include the fa- singing with clarity, tenacity and excel- tra at the 80th anniversary of the choir tival opens with a short organ recital or ther of the choir himself, Thomas Ekun- lence. The festival takes place on the last on November 22, 1998. a variety concert of solo and chamber dayo Phillips, Charles Obayomi Phillips, Sunday in December of every year even These concerts featured solos, choral music that lasts twenty-fi ve minutes, and Fela Sowande, Yinka Sowande, Lazarus if it were after Christmas Day. This al- and instrumental music. The concerts of- it usually closes with an organ voluntary Ekwueme, Tolu Obajimi, Sina Ojemuy- lows other parish churches to have their ten attract dignitaries, professional musi- (postlude). The organ recital is played iwa, and Tunde Sosan. I am looking for- own Christmas services earlier, so that cians, and students from far and near to by one of the Cathedral organists or by ward to the day when my own compo- choirs from all over Lagos could con- the Cathedral Church. The venues of a guest organist such as Kayode Oni and sitions would be included in the music verge on the last Sunday of December to the concerts were either the Cathedral Kweku-Acquah Harrison. repertoire at the Cathedral Church. hear the Cathedral Choir. Church, Glover Memorial Hall, or other It is noteworthy that on the occasion of The choral and organ compositions The Easter season is another high concert halls in Lagos. The hall was al- the eighty-fi rst Choir Festival in 1999, the of Fela Sowande provided a musical point in the musical activities of the Ca- ways packed to capacity. Many visitors to Cathedral Choir marked the thirtieth an- and cultural link with the United States thedral Choir. The Cathedral Church of the Cathedral Church have commend- niversary of the death of Thomas Ekun- because some of Sowande’s pieces are Christ Choir is popularly known for its ed the outstanding singing of the choir dayo Phillips with the publication of some based on African-American spirituals. annual evening concert on Easter Sun- and even remarked that it could favor- of his compositions in book form, Sacred The texts of the spirituals share a com- day. This can take the form of the per- ably compare with the cathedral choirs Choral Works: English and Yoruba. The mon theme with the Nigerian songs of formance of an Easter cantata or the per- in England in terms of quality. Gerald book contains several anthems, hymns, liberation written in the 1940s through formance of a major choral work such as Knight, former Director of the Royal descants for hymns, versicles and re- the 1960s during the era of the national- Handel’s Messiah as performed on Easter School of Church Music, London, once sponses, settings for canticles and Psalms, ist movement that fought for the inde- Sunday, April 19, 1981, and on March 31, remarked that the Cathedral Church of and chants for canticles and Psalms. pendence of Nigeria from the British 2002. The Cathedral Choir traditionally Christ Choir, Lagos, is second to none in The Cathedral Church of Christ is colonialists. The Cathedral Choir could performed the entire three parts of Mes- the whole of West Africa. British in every aspect of its worship, see the spiritual connection between siah once every three years during the Some of these concerts were specifi - ranging from the use of the English lan- African-American slavery and the colo- tenure of Charles Obayomi Phillips; but cally organized to raise funds for either guage to the order of service and the nial experience in Nigeria, which lasted the choir performed only parts two and the Cathedral Church or to buy a new music selections. In fact, all the organists over a century (1840s–1960). The pain, three in 2002. Another Easter cantata organ. For example, Thomas Ekundayo have been directly or indirectly trained in suffering, anguish, and the hope for lib- took place on Sunday, April 7, 1996, with Phillips presented several concerts with
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SEPTEMBER, 2008 27
Sept 08 pp. 25-29.indd 27 8/13/08 8:42:22 AM the Cathedral Choir in various parts of excellence that the Cathedral Choir is throughout the year, but also have their Lagos to raise funds for the building of noted for. Since 2006, the Cathedral moments of relaxation, partying and a new pipe organ. He later embarked on Church of Christ Choir has embarked enjoyment. These are called the “choir a concert tour with his choir to Abeokuta on several campaigns and concerts to picnics” or “choir treats.” These are an- on August 24, 1930, and later to Ibadan, raise money to build a new four-manual nual events organized for the choir by to raise funds to build a new pipe organ organ with 64 stops and 3,658 pipes. On the older members of the choir, choir for the Cathedral Church. In these con- Sunday, January 20, 2008, the provost of patrons and/or patronesses or other af- certs, the Cathedral Choir performed the Cathedral, Very Rev. Yinka Omololu, fl uent members of the congregation. It is mostly Thomas Ekundayo Phillips’s Yo- announced to the entire congregation a way for all those who enjoy and appre- ruba songs to the delight of the natives of with great joy, that they had realized the ciate the outstanding work of the choir to southwest Nigeria. The concerts were a proposed amount. This feat was made express their gratitude. Choir treats have huge success because the choir alone was possible through the generous donations always been social gatherings held in a able to raise more than half the cost of of the Cathedral congregation and non- very relaxed and congenial atmosphere, the organ. In fact, in 1927, Phillips went members from all over the country and mostly in the homes of the sponsors. as far as England to appeal to British citi- around the world. There would be plenty of food, salad, zens for money to build the pipe organ. The Cathedral Choir has performed desserts, and drinks. And for the younger He was able to raise a substantial amount before renowned dignitaries. The choir choir boys, there are always indoor and of money through the successful rendi- performed before the British Royal outdoor games to play. A typical picnic tion of some of his Yoruba compositions Family, fi rst in April 1921 at the founda- day was and still is an occasion to display by the St. George’s Church Choir on Sun- tion laying ceremony of the Cathedral the football (soccer) prowess between day, October 23, 1927. The Yoruba songs Church of Christ by His Royal Highness, the ‘Dec side’ (right side of choir stall) were recorded by H. N. V. Gramophone the Prince of Wales. In January 1956, and the ‘Can side’ (left side of the choir Company in London, and the royalties the choir performed before Her Majesty stall) boys. Fela Sowande from the sales of the recording were Queen Elizabeth II and Prince Phillip Some selected members from other all credited to the Cathedral Church of when they worshiped at the Cathedral parish churches are always invited to international level. The products of the Christ’s account in Lagos, towards the Church, and fi nally, on October 2, 1960, celebrate with the Cathedral Choir. This choir have brought immense pride and purchase of the 1932 organ. at the Independence Day service of Ni- is not the only occasion in which choirs esteem to the pioneer choir in Nigeria. The 1932 organ, which was later re- geria, attended by Her Royal Highness, from other churches, even outside of All these musicians, including myself, furbished in 1966, is now in a very sorry Princess Alexandra. On Advent Sunday, the Anglican church, are invited to the give the credit to Thomas Ekundayo state. In spite of regular servicing and 1972, the Cathedral Choir performed Cathedral Choir program. There is a Phillips’s work as the founding Organist replacement of deteriorated parts since with the King’s College Cambridge combined choir concert that takes place and Master of the Music. The musical 1966, the organ has reached a stage Choir, during their visit to Nigeria. The once a year. For this program, two to training, performances, discipline, and whereby no amount of repairs could re- fi rst broadcast by the Cathedral Choir three members from various denomi- exposure to a variety of standard cho- store it to its greatest glory. In 2005, in on the British Broadcasting Corporation national churches would be invited to ral and instrumental works had a great order to let everyone in the church real- was aired on December 12, 1951. join the Cathedral Choir to form what impact in shaping the musical taste and ize the deplorable condition of the organ, is known as the Augmented Choir. The career of the ex-choristers. Indeed, the the Master of the Music refused to send Recordings Augmented Choir, which normally com- Cathedral Choir is a breeding ground for the repairer when some faults devel- The Cathedral Choir’s musical activi- prised both male and female in the size for future generations of talented Ni- oped. The situation got so bad that they ties have never been restricted to only live of one hundred voices or more, would gerian musicians. I cannot close this es- had to stop playing the organ, using pia- performances at services and concerts. rehearse once a week and fi nally close say without highlighting the profi les of no instead, much to the dissatisfaction of The choir has been involved in recording this glorious event with a big concert at some of the musical giants produced by the congregation, including the provost some of their favorite repertoire. During either the Cathedral Church or one of the Cathedral Choir. (senior pastor of the Cathedral Church). the tenure of Thomas Ekundayo Phillips, the churches in Lagos. Fela Sowande (1905–1987) came The provost had to issue a directive that the choir recorded two of his songs—Emi Another avenue of collaborative work under the leadership of Thomas Ekun- the faults be attended to immediately. O Gbe Oju Mi S’Oke Wonni (I Will Lift with other churches occurs when the dayo Phillips in the early 1900s as a choir The idea to build a new modern pipe Up My Eyes to the Hills–Psalm 121) and Cathedral Choir goes on their compul- boy. Under the mentorship of Phillips, organ for the church was originally con- Ise Oluwa (The Work of the Lord) for sory new year holidays in January or the Sowande was exposed to European sa- ceived by the Women’s Guild Auxiliary of the BBC series “Church Music from the summer vacation in June. Some of the cred music and indigenous Nigerian the Cathedral Church, and a committee Commonwealth.” In 2006, under the church choirs in Lagos come in to sing church music. He received private les- was later set up to achieve that purpose. leadership of Tolu Obajimi, the pres- for four weeks at the Cathedral Church. sons in organ from Phillips while singing The Women’s Guild Auxiliary was able to ent choir released its fi rst recording in These collaborative endeavors date back in the choir. Sowande claimed that Phil- raise some money. However, the funds the twenty-fi rst century, Choral Music: to the era of Thomas Ekundayo Phillips, lips’s organ playing, the choir training, could only cover the fi rst installments for Volumes I & II. The two CDs contain a and subsequent Organists and Masters and the organ lessons he received had a the purchase of the organ. selection of the most famous hymns, an- of the Music have kept up the tradition. major impact on his becoming an organ- In view of the magnitude of the thems, Psalms, Te Deum, and Jubilate ist-composer. It was Thomas Ekundayo amount required and the importance of that the Cathedral Choir have been per- Ex-Choristers Phillips who exposed Sowande to the the new organ project to the history and forming over the years. Composers of the In the ninety years of its existence organ works of European composers development of the Cathedral Church, selected works as usual are mostly Brit- (1918–2008), the Cathedral Church such as Bach, Mendelssohn, Mozart, the Standing Committee decided to step ish with the exception of the Cathedral of Christ Choir has produced some of Guilmant, and Dubois. Sowande went in, and an organ fundraising sub-com- Choir musicians, in particular, Thomas the most brilliant, outstanding and fa- on to study music in England, where he mittee was inaugurated in 2006 to raise Ekundayo Phillips. mous Nigerian musicologists, pianists, became the fi rst African to receive the the proposed amount of 164 million organists and composers. Historically, prestigious Fellowship of the Royal Col- Naira ($1,640,000 USD). Members of Choir Picnics the choir has become a ‘school of mu- lege of Organists (FRCO) in 1943 with the Cathedral Church, societies, fami- As the saying goes, “all work and no sic’ in which budding composers have distinction. He was a broadcaster, musi- lies, individuals, the choir, and corporate play, makes Jack a dull boy;” and in had their formative years. Many of the cologist, organist-composer, and music bodies were enjoined to participate in keeping with this, the Cathedral Church talented musicians belonging to the educator. Sowande taught as a professor the organ project in order to maintain of Christ Choir does not only engage in Cathedral Choir family moved to suc- of music at several institutions in Nige- and preserve the tradition of musical rigorous rehearsals and performances cessful musical careers, some at the ria and the United States, including the University of Ibadan, Howard University, University of Pittsburgh, and Kent State University. He composed several choral and solo songs, orchestra works, but he is most famous for his sixteen wonderful pieces for solo organ. Christopher Oyesiku (1925–) had his earliest musical training as a choir boy at the Cathedral Church of Christ Choir under the tutelage of Thomas Ekundayo Phillips, who gave the young Oyesiku his fi rst lessons in the theory of music, musicianship, and voice. Phillips also prepared Oyesiku for the external exam- inations of the Associated Board of the Royal Schools of Music, London. During his days as a chorister at the Cathedral Church, Oyesiku rose to become one of the leading trebles and later became the best bass in the choir. In the late 1940s, he was the leading bass soloist in some of Gilbert and Sullivan’s comic operas such as Trial by Jury, H. M. S. Pinafore, and The Mikado. Oyesiku later went on to study music at the Guildhall School of Music and Drama, London, from 1955 to 1960. Oyesiku returned to Nigeria in 1960, and in 1962 was appointed to the position of Assistant Director of Pro- grams at the Nigerian Broadcasting Cor- poration, Lagos (now Federal Radio Cor- poration of Nigeria). He served in this capacity until 1981. Oyesiku taught mu- sic and directed choirs at the Oyo State College of Education, Ilesha, from 1981 to 1987, and the Department of Theater Arts, University of Ibadan, from 1987
28 THE DIAPASON
Sept 08 pp. 25-29.indd 28 8/13/08 8:42:41 AM Lagos) at the age of thirteen, in 1948. a choir founded by Godwin Sadoh in the spirituals in the compositions of its ex- In the late 1950s, Bankole went on to 1980s. Olumuyiwa was a former Choir choristers and their musical training in study music at the Guildhall School of Director of Eko Boys’ High School, American universities. As they celebrate Music and Drama, London, University Lagos, from 1982 to 1983. Olumuyiwa their ninetieth anniversary in November of Cambridge, London, and the Univer- recently received the Bachelor of Arts 2008, they can certainly look forward sity of California, Los Angeles. In 1963, degree in music from the University of to many more years of outstanding and Bankole became the second Nigerian to Lagos, and he rose to the position of meritorious accomplishments in the Ni- receive the Fellowship of the Royal Col- Assisting Choirmaster at the Cathedral gerian church music ministry. Q lege of Organists (FRCO) diploma. He Church. Tunde Sosan joined the Ca- was an organist-composer, ethnomusi- thedral Choir as a choir boy under the The author is grateful to his very good cologist, pianist, and music educator. leadership of Charles Obayomi Phillips friend, Jimi Olumuyiwa, for providing most of Bankole was a lecturer of music at the in the late 1980s. He continued singing the documents used in writing this essay. University of Lagos, and organist/choir with the choir after Tolu Obajimi took Photos are used with kind permission of director in several churches as well as over the baton in 1993. In addition to Christopher Oyesiku. several high schools in Lagos. Bankole singing and accompanying the choir, composed mostly sacred music for choir, Sosan received private lessons in organ References solo voice, organ, and orchestra. from Obajimi. Sosan’s faithfulness to Euba, Akin. Essays on Music in Africa, Lazarus Ekwueme (1936–) is a Ni- rehearsals, services and concerts by pro- Bayreuth: Iwalewa-Haus, 1988. Godwin Sadoh at the cathedral organ gerian musicologist, composer, choral viding piano and organ accompaniment Sadoh, Godwin. “A Centennial Epitome of in 1981 conductor, singer, and actor. He is one of when there was no one else to do so has the Organs at the Cathedral Church of the pioneer lecturers of music in Nige- earned him favor with Obajimi, who has Christ, Lagos, Nigeria,” The Organ 81, No. 320 (May 2002): 27–30. ria. As a scholar, he has authored several blessed him with several promotions: ______. “The Creative Process in Ni- articles and books on African music and from Assisting Organist to Assistant Or- gerian Hymn-Based Compositions,” The the diaspora. Ekwueme was a chorister ganist and presently Sub-Organist. Sosan Diapason 93, No. 8 (August 2002): 15–17. at the Cathedral Church under Thomas will be completing his studies at Trinity ______. “A Profi le of Nigerian Organ- Ekundayo Phillips in the 1940s. He stud- College of Music, London. ist-Composers,” The Diapason 94, No. 8 ied music at the Royal College of Music, (August 2003): 20–23. London, Guildhall School of Music and Conclusion ______. “Twentieth Century Nigerian Drama, London, and Yale University, As the premiere choir in Nigeria, Composers,” Choral Journal 47, No. 10 where he obtained the Ph.D. degree in the accomplishments of the Cathedral (April 2007): 33–39. Phillips, Thomas Ekundayo. Sacred Choral music theory. In the area of composition, Church of Christ Choir are immense, Works: English and Yoruba (Book One), he is well known for his tuneful choral and it has played a major role in shaping Lagos: Babafemi Ogundipe Enterprises, works based on Igbo idioms and African- the direction and development of church 1999. American spirituals. As a music educa- music in Nigeria, especially in the Angli- Cathedral Church of Christ Choir, Lagos: tor, Ekwueme taught at the University can Church. The choir continues to play Choral Music Volumes I & II. Lagos: Midi- of Nigeria, Nsukka, and the University a leading and model role in Lagos and Corp Limited, 2006. Compact disc. of Lagos. Ekwueme retired as a profes- in Nigeria as a whole. The magnitude of Cathedral Church of Christ, Lagos: 64 Stops sor of music from the University of La- musical excellence fi ltered into the ears 4 Manual Pipe Organ Brochure. Lagos: gos in the early 2000s; he is presently a and minds of the Lagos congregations Mainland Bureau, 2006. Cathedral Church of Christ, Lagos: Calendar traditional ruler in his home town in the is felt not only in the Anglican church, of Worship and Events. Lagos: Mainland southeast region of Nigeria. but in other denominations as well. Bureau, 2003. Godwin Sadoh (1965–) joined the The annual choir festivals, Advent carol 70th Anniversary Commemorative Brochure Cathedral Choir as an adult to sing tenor services, festival of lessons and carols, of the Cathedral Church of Christ Choir. in 1980 under Charles Obayomi Phil- variety concerts and the choir picnics Lagos: S & B Printers, 1988. lips, and he was a chorister until 1994. continue to attract choristers and music Bulletins of Mattins, Holy Eucharist, Even- Jimi Olumuyiwa and Godwin Sadoh in In 1982, Phillips appointed Sadoh as an enthusiasts from the Methodist, Baptist, song, Choir Festival, Advent Carol, Fes- cathedral choir robes in 1981 Assisting Organist, gave Sadoh private Catholic, Lutheran, Presbyterian, Re- tival of Lessons and Carols, Psalmody, lessons in piano, organ and general musi- formed, African, Evangelical, and non- Community Hymn Singing, Rededication of the Cathedral Pipe Organ, and concert to 1994. He was well known in Nigeria, cianship, and prepared Sadoh for all the denominational churches from different programs. West Africa, and Great Britain as an ex- piano and general musicianship external parts of the southwest regions of Nigeria traordinary bass singer. He is popularly examinations of the Associated Board of to the Cathedral Church of Christ. The Online Sources referred to as “Tarzan” at the Cathedral the Royal Schools of Music, London. Sa- choir rightly connects the American http://www.thecathedrallagos.org Church Choir for his deep and beautiful doh became the Organist and Choirmas- culture with Nigeria through the use of http://africadatabase.org bass voice. Oyesiku performed the bass ter of Eko Boys’ High School, Lagos, at solo in several cantatas, oratorios, and the age of sixteen in 1981. He occupied variety concerts. One of the high points this position until he graduated from of his career was the opportunity given high school in 1982. Sadoh later studied professional him to perform before several dignitaries music at the Obafemi Awolowo Univer- in Nigeria and the Royal Family in Eng- sity, Ile-Ife, the University of Pittsburgh, land. He was also an outstanding choral the University of Nebraska-Lincoln, conductor as well as music educator. He and Louisiana State University, Baton musiciansicianiician is presently retired from active music ca- Rouge, where he became the fi rst Afri- reer and now lives with his wife in Lon- can to earn the Doctor of Musical Arts pastoral theological don, England. degree in organ performance in 2004. Samuel Akpabot (1932–2000) was a He studied organ and composition at choir boy at the Cathedral Church under Louisiana State University. Sadoh taught Thomas Ekundayo Phillips in the early at the fi rst three institutions mentioned 1940s. Akpabot received a most signifi - above and also at Golden West College, Master of cant introduction to European classical California, Thiel College, Pennsylvania, music as a chorister at the Cathedral Baton Rouge College, Louisiana, and Church. Akpabot sang many standard LeMoyne-Owen College, Memphis, choral works such as Messiah and Eli- Tennessee. He was appointed professor Sacred Music jah at the Cathedral Church before go- of music at Talladega College, Alabama ing to England to study music. He did State, in 2007. Sadoh is the author of www.luthersem.edu/msm advanced studies in music at the Royal several books and articles on modern College of Music, London, Trinity Col- Nigerian music, church music, ethno- lege of Music, London, the University of musicology, and intercultural musicol- Chicago, and Michigan State University, ogy. He is one of the leading authorities “We seek to give musical and theological where he received his Ph.D. in ethno- on Nigerian church music and African musicology. He was a composer, ethno- art music. In the area of composition, flesh and bone to those who are called musicologist, organist, pianist, trumpet- he has composed for every genre—vo- to serve the church as leaders of the er, and music educator. Akpabot was the cal solo and choral works, piano, organ, people’s song.” author of fi ve books and several scholarly electronic media, and orchestra. Sadoh’s articles on Nigerian music. He taught at compositions have been performed all – Dr. Paul Westermeyer, Director the University of Nigeria, Nsukka, Oba- over the United States, Europe and Ni- femi Awolowo University, Ile-Ife, the geria; some of his works have been re- University of Ibadan, and the University corded on CDs. He has been a recipient of Uyo, where he retired as a professor of the ASCAPLUS Award in recognition of music and eventually died there. He of the performances and publications of served as organist and choir director in his music since 2003 to the present. Sa- several churches in Lagos, including St. doh has served as organist and choir di- Savior’s Anglican Church. Akpabot com- rector in several churches in Nigeria and posed choral and vocal solo songs, and the United States. orchestral works. Recently, the Cathedral Choir has Ayo Bankole (1935–1976) was a proudly given two more graduates to the choir boy at the Cathedral Church professional world of music. Jimi Olu- of Christ in the early 1940s. It was muyiwa, who now sings bass, joined as a Bankole’s father who encouraged him choir boy in the early 1970s. Olumuyiwa to join the renowned Cathedral Choir. was the librarian of the Cathedral Choir Bankole became a private organ pupil for many years, and he has participated of Thomas Ekundayo Phillips, and also in several grand concerts including sing- studied organ with Phillips’s protégé, ing the bass solo in Messiah. In addition Fela Sowande. Bankole rose to the posi- to his strenuous schedule at school and Armstrong Aspaas Ferguson Rodland Westermeyer tion of school’s organist at Baptist Acad- the Cathedral Church, he directs the emy (one of the famous high schools in Golden Bells Chorale Group, in Lagos,
SEPTEMBER, 2008 29
Sept 08 pp. 25-29.indd 29 8/13/08 8:43:00 AM Cover feature
Berghaus Pipe Organ Builders, that the instrument should be French- Inc., Bellwood, Illinois inspired, both in its specifi cation and in St. John’s Episcopal Church, Nor- its appearance. Given the design of the wood Parish, Bethesda, building, we chose to represent the vi- Chevy Chase, Maryland sual aspect of this request in the design of the console. From the organbuilder The new Berghaus pipe organ at St. St. John’s Episcopal Church, Norwood John’s Episcopal Church contains 58 Parish, is located just minutes away from speaking stops and 63 ranks over three Washington National Cathedral on the manuals and pedal. The placement of border between Bethesda and Chevy the instrument along the central axis of Chase, Maryland. St. John’s began in the nave allows for optimal sound pro- 1873 as a small mission congregation in jection while enhancing the visual im- what was then rural Bethesda. By 1895, pact of the chancel space, most notably the church had been elevated to parish as natural light from the skylights refl ects status within the newly formed Diocese off the polished zinc façade. The painted, of Washington. Throughout its history, incised hardwood case is accented with St. John’s has been dedicated to “build- solid walnut trim and gold-leafed pipe ing community at the crossroads of faith mouths. The case also features columns and life.” Today, the parish continues to that emulate the columns found through- honor this tradition by offering beautiful, out the nave. The layout of the organ was liturgically oriented worship services and intended to give each division its proper by providing a wide variety of programs musical placement while providing easy that minister to the diverse needs of the Façade access for tuning and service. The Grand- congregation and community. Orgue and Pédale are situated just be- Prior to the renovation of St. John’s hind and at the top of the façade, while 500-seat Georgian-style sanctuary, the the expressive Récit and Positif divisions nave presented a feeling of light-fi lled are at the mid or impost levels. This ar- openness, while the deep and narrow rangement establishes a leadership role chancel appeared both dark and restric- for the Grand-Orgue and Pédale in ac- tive. In typical fashion, choir stalls were companying congregational singing, divided on both sides of the chancel, while the Récit and Positif, placed at a with the high altar placed against the lower level, are suitable for accompany- front wall. The existing organ consisted ing choral literature. Set at the very top of three manual divisions with the Great, of the case is a large semicircular arch Swell, and Pedal installed in chambers that continues the barrel vault design of along the east wall, and the Choir placed the nave, and allows for full projection on the west wall. Throughout its history of the Grand-Orgue chorus. While not and despite the best intentions of the strictly adhering to a particular histori- parish, the organ suffered several major cal period, the organ, both in terms of its incidents involving water damage. With stoplist and tonal approach, is a synthesis the east wall of the chancel positioned of the classical and romantic styles. This directly beneath the bell tower, it was synthesis emphasizes a clear, singing determined that the tower was, in fact, quality in the individual stops, while pro- the root of the problem. Although the viding depth and warmth when stops are tower had previously undergone exten- used in combination. Each division con- sive renovation, water was continuing tains a complete principal chorus, char- to fi nd its way into the chambers. At the acteristic fl ute stops and a full battery of urging of then director of music Douglas Console reeds that range from the very subdued Beck, an organ committee was formed to the fi ery. Those who have experienced and charged with the task of identify- vestry authorized the formation of a third effectively moved the chancel forward this instrument fi rsthand remark on how ing possible solutions. The committee committee to oversee the fund raising placing parishioners, clergy, musicians, the organ increases in fullness as more was also asked to investigate and recom- process. The combined efforts of the etc. in closer proximity. Obviously this stops are drawn. The favorable, but mend several organ builders. The com- Organ Committee, Architectural Review change also provided the means for both not overly reverberant acoustic is obvi- mittee also felt that it would be wise to Committee, and the Capital Campaign music and the spoken word to be heard ously helpful in this instance. The use engage an organ consultant and did so by Committee were incorporated under the in a clear and full fashion. of Berghaus custom slider and pallet involving Donald Sutherland from the theme “Enhance, Renew, Rejoice!” St. John’s began its journey to rejuve- windchests for the majority of the fl ue- Peabody Institute. The initial fi ndings of Early in the process of examining the nate the life of the congregation not only work and for certain reeds allows for a the committee can be summed up in the space, it was determined that placing the by overhauling the chancel and replacing natural, unforced sound that ensures fa- following two recommendations. First, organ in the gallery would be diffi cult and the organ, but also by enhancing and re- vorable blending qualities and excellent the repair of the existing organ would limiting. The lack of height and depth newing their relationship with the Cre- tuning stability. Much of the pipework in not represent a sound artistic or eco- would require that the entire rear portion ator. Staying close to its roots as a mission the organ is scroll and cone tuned. Stops nomic option. Second, a new instrument of the church be rebuilt. There was also congregation, the early parish embraced on slider windchests are voiced on 3¼″ should not be returned to the existing a great deal of concern expressed about a low-church form of worship. In the of wind, while the majority of the reeds chambers. Based on these parameters, the necessity of moving the choir to the 1970s, under rector William A. Beal, the are voiced on pressures that range be- the committee proceeded to identify a gallery. Although some members of the congregation experimented with a vari- tween 3½″ and 4″. select group of organ builders and to ask parish had initially favored this approach, ety of new worship styles, including the The Grand-Orgue is based on a large- each builder to submit their vision for an they quickly grasped the complexities Episcopal Church’s trial liturgies. This scaled 8′ Montre constructed from 75% instrument that would not only meet the involved and shifted their support to the “new tradition” included the use of the tin. This stop has a rich, full, singing liturgical requirements of the parish, but possibilities represented by the chancel. 1979 Prayer Book. The move towards quality, while at the same time provid- allow the parish to further expand its role Above and beyond the issue of the organ, higher church expression continued into ing articulation and clarity to the rest of in offering artistic expressions of faith to enhancing the worship space was an im- the 1980s and 1990s under Rev. Duane the chorus. The 8′ Gambe is a soft string the greater community. portant ingredient in St. John’s view that Stuart Alvord, and continues today under with moderate sizzle. When combined As discussions continued relative to worship should involve a greater sense of the leadership of the current rector, Rev. with the full-bodied 8′ Bourdon, it cre- the placement of the organ, it became community. One option was to open and Susan M. Flanders, and the associate ates a secondary principal-like timbre. increasingly clear that installing the or- enlarge the chancel, creating an inviting rector, Rev. Harrison West. The beauti- The 8′ Flute Harmonique is an open gan in any other area of the sanctuary space for various forms of worship. An- ful construction of the current worship fl ute throughout the compass and be- would require changes to the structure other was to bring the altar forward and form and the growing excellence of the comes harmonic at g32. It is well suited of the building. It was also at this point install a new communion rail such that it music program as initially developed as a blending stop in the jeux de fonds that the clergy and many of the parish- would bring the communion experience under the auspices of former director combination, or as a solo stop when re- ioners suggested that the parish con- closer to the congregation and enable of music, Douglas Beck, and built upon quired by the Romantic repertoire. The sider a comprehensive renovation of the more of those present to take communion by the current director of music, Anne 4′ Flute Octaviante is a lighter and softer chancel. Given this suggestion, a second at the rail. The ARC was also hopeful that Timpane, made it apparent that the new alternative to the 8′ Flute Harmonique. committee, called the Architectural Re- natural light could fi nd its way into the instrument would be required to provide Mutations in this division are based on view Committee, was formed to oversee chancel so that the space would have the ample support for congregational sing- principal scales and constructed from the process and to investigate potential same warm, inviting feel currently at- ing, but must also be an instrument that 52% tin. These stops are voiced to en- architects and contractors. With the se- tributed to the nave. This eventually led supports the Anglican choral repertoire. hance the harmonic series present in lection of Kerns Group Architects and the architect to modify two of the former The organ committee’s visits to a wide the plenum. When used in combination Forrester Construction, the “ARC” organ chambers and add skylights so variety of instruments across the full with the fl utes, the mutations provide a noted that a fi nal decision regarding an that the chancel is bathed in soft, natural spectrum of builders pointed to the fact lighter, brighter cornet in contrast to the organ builder should be made so that light. Another transforming suggestion that the parish desired an instrument of Mounted Cornet. The 8′ Trompette is all parties could work in a collaborative involved moving the choir out of its tradi- great breadth of tone and timbre, with a constructed from 52% tin, and contains fashion. On the recommendation of the tional split arrangement and facing them sound that would fi ll the space, but not English tapered shallots. Since the organ organ committee, Berghaus Pipe Organ towards the congregation. With the adop- entirely overpower it. It was also impor- has a strong solo trumpet, this Trompette Builders, Inc. was selected to build the tion of these suggestions, it was decided tant that the organ contain the subtle was voiced to blend with the fl ue stops new instrument. Recognizing that the that the ideal placement of the new pipe stops necessary to accompany children’s within the division. The Mounted Cor- combined project including renovations organ was along the central axis of the choirs while having the ability to uphold net is scaled and constructed based on to the building and the construction of building. The new organ would thereby the congregation with a sense of majes- the French classical school. The 8′ rank a new pipe organ would require a sig- occupy approximately 12 feet of the exist- ty and power. However, it was also the is a bourdon, with subsequent ranks be- 3 nifi cant fi nancial commitment, St. John’s ing depth at the front of the chancel. This desire of the former director of music ing open. The 1 ⁄5′ rank is proportionally
30 THE DIAPASON
Sept 08 pp. 30-32.indd 30 8/13/08 8:43:56 AM lighter reed character in the Pédale. The Voicing and tonal fi nishing: Kelly so the decision was made not only to entire reed chorus is placed at the back Monette, Jonathan Oblander, Mitch replace the instrument but also to think of the expression chamber with reeds Blum creatively about the chancel’s architec- voiced on 4″ of wind. Construction: Stan Bujak, Chris Czopek, tural design. Taking into consideration The Pédale is based on the 16′ Montre Steve Drexler, Jeff Hubbard, Trevor the size of the room, the number of located in the façade. Given the variety Kahlbaugh, Kurt Linstead, David people that the room will accommodate, of independent stops of varying dynam- Mueller, Daniel Roberts, Tim Roney, and the desired uses of the instrument, ics and timbre, the Pédale division pro- Paul Serresseque, Ron Skibbe, Jordan it was decided to place the new organ on vides unusually full support for the de- Smoots, Paul Symkowski, Mark Ber, the central axis of the church for optimal mands of the manual divisions. The 32′ Randy Watkins, Andy Schach. sound projection and fl exibility within Basse Acoustique is derived from the —Jonathan Oblander the space. Berghaus worked in conjunc- 16′ Montre (unison) and the 16′ Sou- Tonal director tion with our architectural review com- basse (quint). As an alternative to the Berghaus Pipe Organ Builders mittee to fi nd a harmonious blend of the 8′ Pedal Octave, the 8′ Cor de Chamois advantages and challenges associated (Gemshorn) is suitable for giving the 8′ From the director of music ministries with the organ placement and chancel line a more pointed emphasis, especially In January 2007, St. John’s signed reconfi guration. The result is our stun- in Baroque combinations. The 32′ and a contract with Berghaus Pipe Organ ning new three-manual custom-made 16′ Bombarde have wood resonators for Builders to build a new instrument that work of art. maximum fundamental. would fulfi ll and expand the music min- Berghaus was chosen by our organ All aspects of the organ console, in- istry’s mission and vision: builder selection committee after exten- cluding the bench and music rack, were sive information gathering and evalua- specifi cally designed for this instrument. to explore the journey of faith and life tion of the proposals submitted by several Positif interior The detail associated with the console through music; unite parishioners . . . by prominent organ builders. Berghaus’s ex- complements not only the casework but embracing and cultivating talents and gifts cellent reputation, design philosophy, and . . . enliven liturgy and community, nourish the largest in scale. This stop, with its many of the features that exist within the the musical and creative spirit . . .; inspire character made them the stand out choice compass from c13 to g56, is musically worship space. Since the director of mu- the people of St. John’s . . . strengthening for St. John’s. Their attention to detail, successful in literature ranging from sic at St. John’s is both organist and choir- relationships with God and one another. dedication to craftsmanship, and ability to Byrd and Buxtehude, to Couperin and master, the profi le of the console needed work within our timeframe and cost con- DuMage. The Trompette Royale is the to be low enough to allow the organist to siderations resulted in an instrument that organ’s crowning solo reed. Voiced on direct the choir from the console. The St. John’s has had a pipe organ for is not a refl ection of me, or Berghaus, but 10″ of wind, the stop contains resonators low-profi le French terraced design is more than 80 years. Organ music has of St. John’s and its parishioners. that are hooded for maximum projection. constructed from solid walnut with added enhanced important events in the life Through the generosity of our donors, Overall, the Grand-Orgue sets the tone walnut veneers to insure the consistency of the parish, from weekly worship ser- the work of Berghaus Pipe Organ Build- of the entire instrument. Its placement of the grain pattern. Curved terraces are vices, to special holiday music, to bap- ers, and the talents of the guest organists at the center of the long axis provides made from book-matched, burled walnut tisms, weddings, funerals and other oc- who helped dedicate the instrument, we an ideal vantage point for strong musi- and are home to the oblique-face, pau casions. However, progressive structural have built an instrument that will enrich cal leadership, particularly in accompa- ferro drawknobs. Stops are logically laid deterioration of the existing organ had our worship and give music to lift our nying congregational singing. One stop out with plenum and major reeds to the caused signifi cant wear and damage to spirits for year to come. from the former instrument was used organist’s right; fl utes, strings, mutations, the instrument’s infrastructure. The or- —Anne Timpane in the new instrument. A 16′ mahogany and minor reeds to the left. Keyboards gan became increasingly unreliable, and Director of music ministries Quintaton was extensively rebuilt and with maple naturals and walnut sharps revoiced to add a light 16′ timbre to the feature top-resistant touch for maximum 1 GRAND-ORGUE – Unenclosed – Manual I. 3 ⁄4″ wind pressure Grand-Orgue. responsiveness. To keep the console free ′ The musical demands of the Anglican of electronic clutter, the memory level, 16 Quintaton 61 pipes existing, mahogany, revoiced 8′ Montre 61 pipes 75% tin throughout service require that an instrument have a record/playback and clochette controls 8′ Gambe 61 pipes 1–12 zinc, 13–61 52% tin wide variety of voices and dynamic pos- are contained in a swivel drawer located 8′ Flûte Harmonique 61 pipes 1–12 zinc, 13–61 52% tin, harmonic @ g32 sibilities, particularly in music for choir on the right-hand side of the console. 8′ Bourdon 61 pipes 52% tin and organ. Given this situation, entire The blessing of the new Berghaus or- 4′ Prestant 61 pipes 52% tin tonal divisions were designed to work gan and the newly renovated chancel was 4′ Flûte Octaviante 61 pipes 75% tin, harmonic @ c25 2 as a unifi ed whole. The Positif Expressif presided over by Bishop John Bryson 2⁄3′ Quinte 61 pipes 52% tin is also based on an 8′ Principal of 75% Chane of the Diocese of Washington. In 2′ Doublette 61 pipes 75% tin 3 ′ tin and is designed to function as a sec- attendance were representatives from the 1⁄5 Tierce 61 pipes 75% tin 8′ Cornet V 220 pipes 52% tin, c13–g56 ondary chorus to the Grand-Orgue. The Lift High the Cross Capital Campaign, 1 1⁄3′ Fourniture IV 244 pipes 75% tin (19-22-26-29) gentle and singing nature of these prin- the Organ and Architectural Review 8′ Trompette 61 pipes resonators of zinc and 52% tin cipals provides ideal color for Baroque committees, Kerns Group Architects, Tremblant and Renaissance literature. Because of Forrester Construction, and Berghaus 16′ Trompette Royale 1–12 from Ped 16′ Bombarde; 13–61 from 8′ Trompette Royale its enclosed placement, the chorus is ex- Pipe Organ Builders. The organ itself 8′ Trompette Royale 61 pipes hooded resonators, voiced on 10″ wind tremely useful in accompanying choirs was dedicated on Saturday, May 10, and Clochettes 5 bells (with adjustable delay, speed, and volume) and instrumental ensembles. Flute stops featured nine prominent organists from 1 ″ ″ include an 8′ Bourdon (wood) and a 4′ the greater Washington area. RÉCIT EXPRESSIF – Enclosed – Manual III. 3 ⁄4 (fl ues) and 4 (reeds) w.p. 8′ Salicional 61 pipes 1–12 zinc, 13–61 52% tin, slotted Flûte à Fuseau. In contrast to the Grand- The completion of the organ is the 8′ Voix Céleste FF 56 pipes 6–12 zinc, 13–61 52% tin, slotted Orgue, the mutations of the Positif are culmination of many years of planning, 8′ Flûte à Cheminée 61 pipes 52% tin scaled to blend well with fl utes versus preparation, and hard work by the in- 4′ Prestant 61 pipes 52% tin 2 principals. The 2 ⁄3′ Nasard relies on dividuals and committees at St. John’s, 4′ Flûte Conique 61 pipes 40% tin Koppelgedackts in its bass octave. The 2′ as well as the organ builder, architect, 2′ Flûte à Bec 61 pipes 52% tin Quarte de Nasard is essentially a hybrid and general contractor. The result of 2′ Plein Jeu V 305 pipes 75% tin (15-19-22-26-29) 16′ Basson 61 pipes resonators of zinc and 52% tin, 1–18 L/2 stop, beginning as a light principal, than this work is a grand worship space that ′ taking on a bright fl ute tone in the treble uniquely fi ts the needs of the parish, and 8Trompette 61 pipes resonators of 70% tin, parallel open shallots ′ 8′ Hautbois 61 pipes resonators of zinc and 52% tin range. The four-rank 1 Cymbale is use- an instrument that will serve and inspire 8′ Voix Humaine 61 pipes resonators of 52% tin ful as a chorus mixture, as well as offer- the congregation as well as the larger 4′ Clairon 61 pipes resonators of 70% tin, parallel open shallots ing a bell-like timbre to lighter textures. community for generations to come. Tremblant The two reeds include a narrow-scale 8′ Berghaus Pipe Organ Builders wishes 8′ Cornet V — (G.O.) Trompette designed to blend with the to thank all those who helped make this 8′ Trompette Royale — (G.O.) principal chorus and an 8′ Cromorne, project possible. We wish to thank The 1 POSITIF EXPRESSIF – Enclosed – Manual II. 3 ⁄4″ wind pressure which can be used successfully in either Reverend Susan Flanders, rector; The ′ classical or romantic repertoire. Reverend Harrison West, associate rec- 8Principal 61 pipes 75% tin throughout 8′ Bourdon 61 pipes poplar The Récit contains a wide variety of tor; Christine Walz-Dallaire, senior war- 8′ Flûte Celestes II (console preparation) stops, each with its own unique construc- den 2006–07; Ken Lee, senior warden 4′ Octave 61 pipes 52% tin tion. The Salicional and Voix Celeste are 2007–08; Cynthia Stroman, organ com- 4′ Flûte à Fuseau 61 pipes 52% tin 2 small in scale and slotted to give the pair mittee chair; Suzanne Welch, architec- 2⁄3′ Nasard 61 pipes 52% tin a decidedly French sound. The 8′ Flûte à tural review committee chair and project 2′ Quarte de Nasard 61 pipes 52% tin 3 Cheminée features long, wide chimneys manager; Bill Fry and Richard Saltsman, 1⁄5′ Tierce 61 pipes 52% tin 1 1⁄3′ Larigot 61 pipes 52% tin for optimal harmonic development. The co-chairs of the Lift High the Cross ′ 4′ Flûte Conique is of the Spitzfl öte vari- capital campaign committee; Mike Mc- 1Cymbale IV 244 pipes 75% tin (26-29-33-36) 8′ Trompette 61 pipes resonators of zinc and 52% tin ety and is made of 40% tin. Perhaps one Conihe, chancellor; Douglas Beck, for- ′ ′ 8Cromorne 61 pipes resonators of zinc and 52% tin of the most unique stops is the 2 Flûte à mer director of music ministries; Anne Tremblant Bec, or Block Flute, which incorporates Timpane, director of music ministries; 8′ Cornet V — (G.O.) large-scale pipework. Another unique Brian Briggs, parish administrator; and 8′ Trompette Royale — (G.O.) feature of the Récit is the ability to com- the many parishioners who gave of their 1 bine the 8′ Flûte à Cheminée with the 8′ time, talent, and treasure. Berghaus also PÉDALE – Unenclosed. Wind pressure 3 ⁄4″ except Bombarde (4″) 32′ Basse Acoustique — derived from 16′ Montre and 16′ Soubasse Voix Celeste. The separation that exists wishes to thank Tom Kerns and Koji Hi- ′ between the two ranks provides the slow rota of Kerns Group Architects and Bas- 16 Contrebasse (console preparation) 16′ Montre (façade) 32 pipes 1–25 polished zinc, 26–32 75% tin undulating pattern typically heard in sem Melham, Bill Morrissette, and Will ′ ′ 16 Soubasse 32 pipes poplar fl ute celestes. Since an 8 Principal does Durham of Forrester Construction. 16′ Quintaton — (G.O.) not exist in this division, the fi ve-rank, 2′ Berghaus Pipe Organ Builders also 8′ Octave 32 pipes 75% tin throughout Plein Jeu is designed to reinforce the 8′ wishes to thank members of its staff for 8′ Cor de Chamois 32 pipes 1–12 zinc, 13–32 52% tin and 4′ pitches at earlier points than gen- their countless hours and dedication to 8′ Bourdon 12 pipes (extension of 16′ Soubasse) erally found in typical mixture composi- this project: 4′ Basse de Choral 32 pipes 75% tin tions. The 8′ Trompette and 4′ Clairon Brian Berghaus, president 4′ Bourdon 12 pipes (extension of 16′ Soubasse) 2 ′ are fi ery reeds in the Cavaillé-Coll style, David McCleary, director of sales and 2⁄3 Fourniture IV 128 pipes 75% tin (12-15-19-22) 32′ Contre Bombarde 12 pipes L/2 resonators of pine (extension of 16′ Bombarde) featuring ring and nut construction and marketing ′ ′ 16 Bombarde 32 pipes L/1 resonators of pine resonators of 70% tin. The 8 Hautbois Tonal design: Jonathan Oblander, Kelly 16′ Basson — (Récit) is reminiscent of the English variety. The Monette 8′ Trompette 32 pipes 16′ Basson is voiced to add gravity to the Visual design and layout: Steven 4′ Clairon 32 pipes Swell reed chorus while introducing a Protzman 8′ Trompette Royal — (G.O.)
SEPTEMBER, 2008 31
Sept 08 pp. 30-32.indd 31 8/13/08 8:44:14 AM New Organs
8′ Tuba Mirabilis (Ped) Glück New York, Fox Memorial Pipe Organ Fabry, Inc., Antioch, Illinois ′ Leon Lowenstein Memorial Auditorium, 4 Clarion New York, New York Immanuel Presbyterian Church, Cathedral Chimes Leon Lowenstein Memorial Audi- Congregation Emanu-El, New York, Milwaukee, Wisconsin New York Great 4 torium, Congregation Emanu-El, Located in one of the oldest neighbor- Great Unison Off New York, New York hoods in Milwaukee, Immanuel Presby- GRAND-ORGUE Great 16 The Fox Memorial Pipe Organ began 1 terian Church has held a place of honor Manual II, unenclosed, 3 ⁄4″ wind its career as M. P. Möller’s Opus 9718 of ′ on Yankee Hill, overlooking Lake Michi- SWELL 16 Bourdon ′ 1962, designed by Dr. Robert S. Baker 8′ Montre gan. In 1881 the church purchased what 16 Lieblich Gedeckt ′ 8′ Open Diapason in collaboration with John H. Hose, 8 Bois ouverte is now the core of the present instru- ′ tonal director of the Möller fi rm. The 8′ Violon sourdine ment. Nearly all of the unison voices and 8 Stopped Diapason ′ 8′ Viole d’Gambe instrument was installed behind draper- 4 Prestant lower are from the original instrument, ′ 2′ Doublette 8 Viole Celeste ies in the amphitheatre choir loft of the including the 16′ Double Open Diapa- 4′ Octave Plein jeu IV ′ 1,100-seat auditorium, which is designed ′ son and 16 Principal, both of which are 4′ Flute Traverso 8 Shofar 2 ′ to transform from a concert and lecture Tremblant wood. During the next 120 years, addi- 2⁄3 Nazard venue into a fully equipped summer tions and rebuilds occurred, bringing 2′ Flautino Jeux empruntés: 3 ′ sanctuary. Only the 16′ Contrebasse and ′ the instrument to its current state, still 1⁄5 Tierce 8 Bourdon (Pos) 1 ′ ′ ′ 1⁄3 Plein Jeu III 16 Hélicon are partially visible from the 8 Voix angélique (Pos) preserving over 75% of the original in- ′ auditorium. The placement of the instru- 8′ Voix mystique (Pos) strument. In 1965, the organ was fi tted 16 Bassoon (1–12 elec.) ′ 8′ Hautbois ment near the choir’s microphones (also 4 Flûte (Pos) with a used Austin three-manual con- ′ 8′ Hautbois (Réc) 8 Trumpet used for radio broadcasts) forced an un- sole. While the console worked well for 8′ Vox Humana happy situation of under-scaled and fee- a time, it was clear a new console was ′ RÉCIT-EXPRESSIF 4 Clarion bly winded pipes, with closed toe holes Manual III, enclosed, 4″ wind needed. When Fabry, Inc. was contacted Tremolo and mouth heights as low as 1/6 cut-ups. 8′ Viole de gambe to do the work, the previous curator had Swell 4 After 45 years, the temple contracted 8′ Voix céleste left many parts, tools and pipes in the or- Swell Unison Off with Glück New York to tonally redesign 8′ Flûte à cheminée gan area. Among these items was an 8′ Swell 16 4′ Prestant the instrument and replace its mechani- French Horn, purchased by the church CHOIR cal systems. The solid-state drawknob 4′ Flûte harmonique and awaiting installation. ′ 8′ Geigen Principal console retains the original ivory key- 2 Flûte à bec Fabry, Inc. undertook the following to ′ Fourniture III 8 Melodia boards and tiger maple pedalboard. The ′ improve the usability and tonal palette 8′ Viol d’Amour 16 Basson ′ organ’s remote pneumatic relays and 8′ Trompette of the organ. An all-new three-manual 8 Viol Celeste combination stacks were replaced with ′ drawknob console was custom crafted by 4′ Octave 8 Hautbois ′ solid-state equipment. Tremblant David G. Fabry to control the 67-rank, 4 Stopped Flute ′ 2′ Piccolo The new tonal design moved from a 8 Trompette de fête (Pos) 71-stop instrument. Utilizing the ICS- 1 1⁄3′ Larigot typical American church organ of the 4000 combination action and relay sys- 2 2⁄3′ Mixture II period toward a warmer, fuller, rounder POSITIF-EXPRESSIF tem, this console and interface brings the ′ Manual I, enclosed, 4″ & 6″ wind 8 Clarinet sound. Some of the mid-century tonal ′ 1881 Hook & Hastings into the 21st cen- 8′ Tuba Mirabilis (Ped) concepts that were of no use in the syna- 8 Violon sourdine (G-O) tury. The aforementioned French Horn ′ 8′ Voix angélique 8 Harp Celeste gogue service (such as the two pseudo- ′ received a new chest built by David G. Mockingbird ′ 8 Voix mystique baroque 4 reeds) were replaced by voic- 8′ Bourdon Fabry, and was installed in the String Cymbelstern es more essential to the liturgy. Many of 4′ Prestant (prep) division with its own dedicated electric Tremolo the fl ue pipes had been left with untreat- 4′ Flûte tremolo. A new electric extension of the Choir 4 2 Choir Unison Off 2⁄3′ Nazard ′ ed languids and were cut up only high 16 Bassoon in the Swell was installed, Choir 16 enough to get them to speak. Further- 2′ Quart de nazard fully utilizing this rescaled 8′ stop to a 3 ′ more, they had not had their toe holes 1⁄5 Tierce greater degree. Other smaller jobs, such 8′ Clarinette STRING opened, and could be considered essen- as bracing and reworking the ventilation 8′ Dulciana Tremblant ′ tially new and unvoiced, an added bonus 8′ Trompette de fête system were also completed at this time. 8 Violon Cello in the context of the project. The unusual While one half of the organ had been re- 8′ Cello Celeste ′ Shofar stop was designed by W. Adolph PÉDALE wired with PVC-coated wiring, the other 8 Violin Sordo ″ 8′ Violin Celeste Zajic (1909–1987) and built with only six Unenclosed, 4 wind half was brought up to standard. ′ 16′ Contrebasse 8 French Horn pipes; the organ’s new relay is prepared Fabry, Inc. would like to thank the Tremolo to fi ll out the stop in the future. 16′ Sous basse Rev. Deborah A. Block, pastor; Steven The new specifi cations were drawn 16′ Violoncelle sourdine (ext G-O) J. Jensen, organist; and John S. Komasa, 16′ Bourdon (G-O) PEDAL up by Sebastian M. Glück, artistic and ′ director of music. 32′ Violone (1–12 elec.) 8 Octavebasse ′ tonal director of the fi rm, who also car- 8′ Flûte —Phil Spressart 32 Contra Bourdon (1–12 elec.) ried out the voicing and tonal fi nishing. ′ 16′ Double Open Diapason 8 Bourdon (Pos) ′ Albert Jensen-Moulton, general man- 8′ Violon sourdine (G-O) GREAT 16 Principal ′ 16′ Open Diapason 16′ Bourdon ager, was responsible for all technical 4 Quinzième ′ ′ 4′ Cor de nuit 16 Bourdon 16 Lieblich Gedeckt (Sw) aspects of the project. The three other 8′ Open Diapason 16′ Violone (Gt) pipe organs in the temple complex in- Mixture II ′ ′ 32′ Aliquots graves 8 Chimney Flute 8 Octave clude a IV/135 in the sanctuary and a ′ 8′ Doppel Flute 8′ Bass Flute III/35 in Beth-El Chapel, both by the 16 Hélicon ′ ′ 16′ Basson (Réc) 8 Aeoline (TC) 8 Holzgedeckt Glück fi rm. A fourth pipe organ, a II/7 ′ 8′ Gamba 8′ Violin Cello 8 Trombone ′ ′ Wilfred Lavalée in Greenwald Hall, was 8′ Basson (Réc) 8 Gemshorn 4 Fifteenth removed in the 1990s. 4′ Octave 2′ Mixture III 4′ Harmonic Flute 32′ Bombarde (1–12 elec.) —Sebastian M. Glück 2 2⁄3′ Twelfth 32′ Contra Trombone 2′ Fifteenth 16′ Bassoon (Sw) 2′ Waldfl öte 16′ Double Trumpet (Gt) 2′ Mixture IV 16′ Trombone 16′ Double Trumpet 8′ Tromba 8′ Trumpet 4′ Tromba
32 THE DIAPASON
Sept 08 pp. 30-32.indd 32 8/13/08 8:44:31 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Jeremy Filsell; Forrest Burdette Memorial Pickle Piano & Church Organs This calendar runs from the 15th of the month of United Methodist, Hurricane, WV 3 pm NEW YORK issue through the following month. The deadline is Alan Morrison & Jeannine Morrison, organ/ Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. piano duo; Spivey Hall, Clayton State University, issue). All events are assumed to be organ recitals Morrow, GA 3 pm unless otherwise indicated and are grouped within Paul Thornock; Reyes Organ and Choral each date north-south and east-west. •=AGO chap- Hall, University of Notre Dame, South Bend, IN Christopher Babcock ter event, • •=RCCO centre event, +=new organ 2 pm, 5 pm WILLIAM AYLESWORTH dedication, ++= OHS event. Robert Munns, with soprano; St. Mary’s Ca- St. Andrew’s by the Sea, Information cannot be accepted unless it speci- thedral Basilica of the Assumption, Covington, D. M. fi es artist name, date, location, and hour in writ- KY 3 pm Hyannis Port ing. Multiple listings should be in chronological order; Frederick Swann; Music Institute of Chicago, EVANSTON, ILLINOIS please do not send duplicate listings. THE DIAPA- Evanston, IL 4 pm St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for the accuracy of calendar entries. 30 SEPTEMBER Fred Guzasky; King’s Chapel, Boston, MA 12:15 pm William Maddox; Park Congregational, Grand UNITED STATES Rapids, MI 12:15 pm East of the Mississippi Robert Munns, with soprano; Holy Spirit Ro- man Catholic Church, Louisville, KY 7:30 pm 16 SEPTEMBER Peter Bennett, with baroque trumpets; Case 1 OCTOBER Western Reserve University, Cleveland, OH Andrew Henderson; Church of St. Ignatius 7:30 pm Loyola, New York, NY 7 pm James Metzler; Park Congregational, Grand Choral concert, with orchestra; Church of St. Rapids, MI 12:15 pm Ignatius Loyola, New York, NY 8 pm Dean W. Billmeyer 17 SEPTEMBER 2 OCTOBER Scott Dettra; Princeton University Chapel, Peter Richard Conte, masterclass; Wesleyan University of Minnesota Princeton, NJ 12:30 pm College, Macon, GA 10 am; recital 7:30 pm Robert Munns, with soprano; Campbellsville Minneapolis 55455 • [email protected] 19 SEPTEMBER University, Campbellsville, KY 8 pm Edward Broms; St. Paul’s Cathedral, Boston, Gillian Weir; Rockefeller Memorial Chapel, MA 7 pm Chicago, IL 7:30 pm Douglas Major; Methuen Memorial Music Hall, Methuen, MA 8 pm 3 OCTOBER David Higgs; Houghton Wesleyan, Houghton, Choir of St. Thomas Church, New York City; THOMAS BROWN David Chalmers West Side Presbyterian, Ridgewood, NJ 7:30 NY 8 pm Concert Organist Bradley Hunter Welch; First Presbyterian, pm UNIVERSITY Elkhart, IN 7:30 pm Peter Richard Conte; Young Harris College, PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES Martin Jean; Shryock Auditorium, Carbon- Young Harris, GA 8 pm CHAPEL HILL, NORTH CAROLINA Orleans, MA dale, IL 7:30 pm David Higgs; Holy Trinity Lutheran, Akron, OH 8 pm 20 SEPTEMBER Paul Jacobs; Trinity United Methodist, Hunts- John Weaver; First Baptist, Brattleboro, VT ville, AL 7:30 pm 7 pm John Weaver; Benson Great Hall, Bethel Uni- versity, St. Paul, MN 7:30 pm STEVEN EGLER Cj Sambach, Pipe Organ INformance; First Central Michigan University Baptist, Mayfi eld, KY 2 pm DELBERT DISSELHORST 4 OCTOBER First Presbyterian Church 21 SEPTEMBER John Scott; St. Thomas Church, New York, A. MUS. D. Mt. Pleasant, Michigan 48858 NY 4 pm Herndon Spillman; Union Evangelical Luther- UNIVERSITY OF IOWA SOLO Shelly-Egler John Gouwens, carillon; Culver Academies, an, York, PA 3 pm RECITALS Flute and Organ Duo Thomas Murray; Kernersville Moravian Culver, IN 4 pm Church, Kernersville, NC 4 pm Paul Jacobs; Episcopal Church of the Nativ- Diane Belcher; Westwood First Presbyterian, ity, Huntsville, AL 7:30 pm Cincinnati, OH 3 pm Organist / Pianist Robert Bates; Metropolitan United Methodist, 5 OCTOBER JOHN FENSTERMAKER Detroit, MI 2 pm Ken Cowan; Mead Chapel, Middlebury Col- Michael Gailit lege, Middlebury, VT 3 pm Marilyn Keiser; St. Paul’s Episcopal, India- TRINITY-BY-THE-COVE www.gailit.at napolis, IN 7:30 pm Edward Broms; Wesley United Methodist offi [email protected] Cj Sambach; First Baptist, Mayfi eld, KY 2 pm Church, Worcester, MA 12:15 pm John Weaver; St. Theresa of Lisieux, South APLES LORIDA Konservatorium Wien University Jim Stoebe; Incarnation Lutheran, Milwaukee, N , F University of Music, Vienna WI 2 pm Hadley, MA 3 pm Douglas Cleveland; Chapel of Christ Trium- Carol Williams; Cadet Chapel, West Point, phant, Concordia University, Mequon, WI 3:30 pm NY 3 pm Jeannine Jordan, with visuals; Pilgrim United Gerre Hancock; First Presbyterian, Ilion, NY Church of Christ, Duluth, MN 4 pm 3 pm CHRISTOPHER John M. Gearhart III Aaron David Miller; House of Hope Presbyte- Choral Evensong; Grace Church, New York, B.A., M.Mus. rian, St. Paul, MN 4 pm NY 4 pm GARVEN Gail Archer; Christ Church, New Brunswick, St. John the Divine (Episcopal) Organist & Music Director 22 SEPTEMBER NJ 6:30 pm, following 6 pm Vespers 2450 River Oaks Blvd. Church of the Good Samaritan Jill Hunt; Elliott Chapel, Presbyterian Homes, Mary Mozelle; Providence Presbyterian, Fair- Houston, TX 77019 Paoli, Pennsylvania Evanston, IL 1:30 pm fax, VA 6 pm Janette Fishell; Old Salem Visitor Center, 24 SEPTEMBER Winston-Salem, NC 3 pm Quire Cleveland; Cathedral of St. John the Alan Morrison & Jeannine Morrison; St. Evangelist, Cleveland, OH 7:30 pm John United Methodist, Augusta, GA 3 pm James David Christie; Christ Church, Hud- Robert Glasgow JAMES HAMMANN 26 SEPTEMBER son, OH 4 pm Professor Emeritus DMA-AAGO Choir of St. Thomas Church, New York City; Gillian Weir; Mayfl ower Congregational, St. Paul’s Cathedral, Buffalo, NY 7:30 pm Grand Rapids, MI 4 pm The University of Michigan University of New Orleans Bruce Neswick; St. Michael’s Episcopal, Or- Robert Munns, with soprano; Church of the Ann Arbor Chapel of the Holy Comforter lando, FL 7:30 pm Annunciation, Paris, KY 3 pm Stephen Hamilton; Prince of Peace Lutheran, Choral Evensong; Cathedral Church of the Ad- Largo, FL 7:30 pm vent, Birmingham, AL 4 pm
27 SEPTEMBER 6 OCTOBER A two-inch Professional Card Peter Richard Conte, with Philadelphia Or- Francesco Cera, masterclass; Fairchild Cha- chestra; Macy’s, Philadelphia, PA 7:30 pm pel, Oberlin Conservatory of Music, Oberlin, OH in The Diapason Stephen Hamilton, church music workshop; 9:30 am Prince of Peace Lutheran, Largo, FL 10 am Gillian Weir, masterclass; Mayfl ower Congre- For information on rates and specifi cations, contact: gational, Grand Rapids, MI 8 pm Jerome Butera
SEPTEMBER, 2008 33
Sept 08 pp. 33-37.indd 33 8/13/08 8:45:19 AM 10 OCTOBER Robert Parkins; Chapel, Duke University, David Enlow; Trinity Church, Boston, MA Durham, NC 2:30 pm, 5 pm WILL HEADLEE Harry H. Huber 12:15 pm Alan Morrison; First United Methodist, D. Mus. Christopher Houlihan; Trinity College Cha- Waynesville, NC 7 pm 1650 James Street pel, Hartford, CT 7:30 pm William Whitehead; Trinity United Methodist, Kansas Wesleyan University, Emeritus Syracuse, NY 13203-2816 Frederick Swann; Washington Street United Youngstown, OH 4 pm University Methodist Church Methodist, Columbia, SC 8 pm Jane Parker-Smith; Holy Trinity Lutheran, Ak- ron, OH 8 pm (315) 471-8451 SALINA, KANSAS Stephen Hamilton; Second Presbyterian, In- dianapolis, IN 7:30 pm Thomas Trotter; First Congregational, Co- Francesco Cera; Winnetka Congregational lumbus, OH 4 pm Church, Winnetka, IL 8 pm Bach Society of Dayton; Kettering Seventh- MICHELE JOHNS day Adventist, Dayton, OH 4 pm Brian Jones 11 OCTOBER Huw Lewis; First Presbyterian, Farmington, A.Mus.D +Anthony Newman; Presbyterian Church, MI 4 pm Mount Kisco, NY 8 pm Jeremy David Tarrant; First Congregational, Organ — Harpsichord Director of Music Emeritus John Scott; St. Thomas Fifth Avenue, New Owosso, MI 7 pm The University of Michigan TRINITY CHURCH York, NY 4 pm The American Boychoir; Grace United Meth- School of Music BOSTON odist, Kokomo, IN 4 pm 12 OCTOBER Marilyn Keiser; Trinity United Methodist, New Diane Belcher; Vassar College Chapel, Albany, IN 7 pm Poughkeepsie, NY 3 pm Vincent Dubois; Schermerhorn Symphony Mark Pacoe; Christ Church, New Brunswick, Center, Nashville, TN 3 pm KIM R. KASLING JAMES KIBBIE NJ 6:30 pm, following 6 pm Vespers The Newberry Consort; Lutkin Hall, Northwest- ern University, Evanston, IL 3 pm D.M.A. Choral Vespers; Cathedral of Mary Our Queen, The University of Michigan Baltimore, MD 5:30 pm Thomas Murray; Rockefeller Memorial Cha- St. John’s Univeristy Ann Arbor, MI 48109-2085 Bradley Hunter Welch; Sardis Presbyterian, pel, Chicago, IL 4 pm 734-764-1591 FAX: 734-763-5097 Charlotte, NC 4 pm •Robin Dinda & Renea Waligora; St. Luke’s Collegeville, MN 56321 Frederick Swann; St. John’s United Method- Episcopal, Racine, WI 4 pm email: [email protected] ist, Aiken, SC 4 pm Ken Cowan; Westminster Presbyterian, Day- 20 OCTOBER ton, OH 4 pm Olin Jones; St. James Episcopal, Leesburg, Robert Munns, with soprano; Gethsemani FL 12 noon David K. Lamb, D.Mus. Abbey, Trappist, KY 3 pm Director of Music/Organist Richard Litterst Timothy Smith; Church Street United Meth- 21 OCTOBER odist, Nashville, TN 3 pm Stephen Hamilton; St. Paul Chapel, Colum- First United Methodist Church First Church of Christ, Scientist William Ness; Rammelkamp Chapel, Illinois bia University, New York, NY 6 pm Columbus, Indiana College, Jacksonville, IL 4 pm Jeannine Jordan, with visuals; Christ’s Evan- 812/372-2851 Rockford, Illinois gelical Lutheran, Lewisburg, PA 8 pm 13 OCTOBER Thomas DeWitt; Morrison United Methodist, Ken Cowan, masterclasses and panel discus- Leesburg, FL 12 noon sion; Westminster Presbyterian, Dayton, OH 9 Thomas Trotter; Palma Ceia Presbyterian, am, 10:30 am Tampa, FL 7 pm David Lowry BETTY LOUISE LUMBY Olivier Latry, masterclass; St. Louis Cathe- Todd Wilson; Savage Chapel, Union Univer- dral, New Orleans, LA 6:30 pm sity, Jackson, TN 7:30 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO The American Boychoir; McKinley Memorial 1512 BLANDING STREET, COLUMBIA, SC 29201 14 OCTOBER Presbyterian, Champaign, IL 7 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO Mark Bani; Church of St. Vincent Ferrer, New Olivier Latry; First Presbyterian, Jackson, MS ROCK HILL, SC 29733 MONTEVALLO, AL 35115 York, NY 7 pm 7 pm Bruce Neswick; Church of the Holy Trinity (Episcopal), New York, NY 8 pm 22 OCTOBER David Phillips; Park Congregational, Grand Harlan Ayres; Gloria Dei Lutheran, Leesburg, Rapids, MI 12:15 pm FL 12 noon Olivier Latry; St. Louis Cathedral, New Or- The American Boychoir; Episcopal Church of James R. Metzler leans, LA 7:30 pm St. Luke, Dixon, IL 7 pm 15 OCTOBER 23 OCTOBER PARK CONGREGATIONAL CHURCH Nancianne Parrella, with violin, cello, and Olivier Latry; Cathedral of St. Joseph, Hart- GRAND RAPIDS, MICHIGAN harp; Church of St. Ignatius Loyola, New York, ford, CT 7:30 pm NY 7:30 pm Jeffrey Shaw; Catholic Community of St. The American Boychoir; Christ Episcopal, Paul, Leesburg, FL 12 noon Hudson, OH 7 pm George Williams; Music Institute of Chicago, 24 OCTOBER Evanston, IL 12:15 pm Scott Foppiano, silent fi lm accompaniment; William H. Murray Portland City Hall, Portland, ME 7:30 pm A.S.C.A.P. 16 OCTOBER Jeannine Jordan, with visuals; Kenmore FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. The American Boychoir; Christ Church Grosse Presbyterian, Kenmore, NY 8 pm Pointe, Grosse Pointe Farms, MI 7 pm William Whitehead; St. Ann’s Church, Wash- 345 SADDLE LAKE DRIVE Fort Smith, Arkansas ington, DC 8 pm ROSWELL-ATLANTA, GEORGIA 30076 (770) 594-0949 17 OCTOBER Howard Fowler; First Presbyterian, Leesburg, Edward Broms; Eastern Nazarene College, FL 12 noon Quincy, MA 8 pm Suzanne Purtee; Cathedral Church of the Ad- Jeannine Jordan, with visuals; Bush Memo- vent, Birmingham, AL 12:30 pm MARILYN MASON rial Hall, Russell Sage College, Troy, NY 8 pm +Tom Trenney; Loyola University, Chicago, CHAIRMAN, DEPARTMENT OF ORGAN The Chenaults; National City Christian IL 7 pm UNIVERSITY OF MICHIGAN Church, Washington, DC 7:30 pm The American Boychoir; Westminster Presby- ANN ARBOR Chanson; Church of the Good Shepherd, terian, Rockford, IL 7:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Jacksonville, FL 8 pm with awesome technique and a thrilling command of its daring writing.” Olivier Latry; St. Joseph Cathedral, Colum- 25 OCTOBER +Nigel Potts; Christ & St. Stephen’s Episco- The American Organist, 1980 bus, OH 7:30 pm The American Boychoir; St. Mark’s Episcopal, pal, New York, NY 4 pm Grand Rapids, MI 7:30 pm Tom Trenney, improvisation masterclass; The Newberry Consort; Newberry Library, Chi- Loyola University, Chicago, IL 10 am cago, IL 8 pm VocalEssence; Cathedral of St. Paul, St. Paul, 26 OCTOBER Mary Mozelle LARRY PALMER MN 8 pm Ross Wood, with King’s Chapel Choir & solo- Concert Organist ists; King’s Chapel, Boston, MA 5 pm Professor of 18 OCTOBER Cj Sambach; St. Luke’s Lutheran, Dix Hills, John Scott; St. Thomas Fifth Avenue, New NY 3 pm “The Sights and Harpsichord and Organ York, NY 4 pm John Weaver; United Methodist Church, Mary Mozelle; National Presbyterian, Wash- Saratoga Springs, NY 3 pm Sounds of Meadows School of the Arts ington, DC 1 pm Andrew Henderson & Mary Huff; Madison Jane Parker-Smith; Broad Street Presbyte- Avenue Presbyterian, New York, NY 3 pm the Pipe Organ” SOUTHERN METHODIST UNIVERSITY rian, Columbus, OH 7:30 pm Choral Evensong; St. James’ Church, Madi- The American Boychoir; First Presbyterian, son Avenue, New York, NY 4 pm Dallas, Texas 75275 Fort Wayne, IN 7 pm The Chenaults; Wilson College, Chambers- 703.898.9609 Paul Jacobs; St. Norbert Abbey, De Pere, WI burg, PA 3 pm www.PipeOrganPro.com 2 pm David Enlow; Cathedral Church of the Nativ- Musical Heritage Society recordings The Newberry Consort; Oriental Institute, Chi- ity, Bethlehem, PA 4 pm cago, IL 8 pm Christopher Houlihan; Bridgewater Church of the Brethren, Bridgewater, VA 3 pm 19 OCTOBER Daniel Sansone; Cathedral of Mary Our Douglas Major; St. Michael’s Episcopal, Mar- Queen, Baltimore, MD 5:30 pm Arthur LaMirande blehead, MA 5 pm Thomas Trotter; Hyde Park Community Unit- LaMirande must be complimented upon investi- Bradley Hunter Welch; Trinity College Cha- ed Methodist, Cincinnati, OH 4 pm gating music that few of his fellow organists have pel, Hartford, CT 3 pm John Sherer; Kenilworth Union Church, Ke- had the foresight to examine and to bring before the CONCORA, with University Singers of Cen- nilworth, IL 5 pm public.—American Record Guide tral Connecticut State University; First Church of Debra Stolpe, with instruments; Faith Luther- Christ, New Britain, CT 7:30 pm an, Westchester, IL 3 pm L’organiste traversa son programme entier avec Craig Cramer; Sacred Heart Cathedral, Roch- The American Boychoir; First Presbyterian, une authorité, une solidité technique et une fraîcheur ester, NY 2 pm Glen Ellyn, IL 4 pm de registration qui, loin de faiblir en fi n d’exercice, Christopher Houlihan; First Presbyterian, Olivier Vernet; House of Hope Presbyterian, accompagnèrent les deux rappels d’ailleurs accordé Lockport, NY 4 pm St. Paul, MN 4 pm sans la moindre hésitation.—La Presse, Montréal Jeannine Jordan, with visuals; St. Vincent Martyr Church, Madison, NJ 4 pm 27 OCTOBER 461 Fort Washington Avenue, Suite 33 David Binkley; Camp Hill Presbyterian, Camp George Williams; Elliott Chapel, Presbyterian New York, NY 10033 Hill, PA 4 pm Homes, Evanston, IL 1:30 pm 212/928-1050 [email protected] Robert Grogan; St. Luke Catholic Church, The American Boychoir; Appleton West High McLean, VA 4 pm School, Appleton, WI 7 pm
34 THE DIAPASON
Sept 08 pp. 33-37.indd 34 8/13/08 8:45:36 AM Pamela Decker; University of St. Thomas, St. 25 SEPTEMBER Paul, MN 8:15 pm Frederick Swann; University Memorial Church, University of Redlands, Redlands, CA 3 pm LEON NELSON DOUGLAS O’NEILL 28 OCTOBER Cathedral of the Madeleine Elizabeth LaJeunesse; St. John’s Episcopal, 27 SEPTEMBER University Organist Tallahassee, FL 3:30 pm Christopher Young; Ellis Recital Hall, Mis- North Park University Salt Lake City, Utah Mark Loring; Park Congregational, Grand souri State University, Springfi eld, MO 2:30 pm Chicago, Illinois [email protected] Rapids, MI 12:15 pm 801/323-9850 The American Boychoir; Cathedral of St. John 28 SEPTEMBER the Evangelist, Milwaukee, WI 7 pm Gregory Peterson; Union Sunday School, Clermont, IA 2:30 pm 29 OCTOBER Anthony & Beard (Ryan Anthony, trumpet Stephen G. Schaeffer Scott Lamlein, PipeSCREAMS!; St. Paul’s on and Gary Beard, organ); St. John United Church DOUGLAS REED the Green, Norwalk, CT 12:15 pm of Christ, St. Charles, MO 3 pm Recitals – Consultations Tom Trenney; Schermerhorn Symphony Hall, Ralph Vaughan Williams choral festival; Sec- Nashville, TN 8 pm ond Presbyterian, St. Louis, MO 4 pm UNIVERSITY OF EVANSVILLE Cathedral Church of the Advent The American Boychoir; Central High School Gerre Hancock; Park Cities Baptist, Dallas, Birmingham, Alabama Auditorium, La Crosse, WI 7:30 pm TX 6 pm EVANSVILLE, INDIANA Bach Vespers; Christ the King Lutheran, Hous- www.AdventBirmingham.org 30 OCTOBER ton, TX 6 pm The American Boychoir; Boe Memorial Cha- Scott Montgomery; First Presbyterian, Mesa, pel, St. Olaf College, Northfi eld, MN 7 pm AZ 1 pm Isabelle Demers, works of Reger; Cathedral ROBERT L. Stephen Tappe 31 OCTOBER of St. Mary of the Assumption, San Francisco, Organist and Director of Music CA 3:30 pm Andrew Henderson & Mary Huff; Madison SIMPSON Saint John's Cathedral Avenue Presbyterian, New York, NY 3 pm Christ Church Cathedral Olivier Vernet; Finney Chapel, Oberlin Col- 3 OCTOBER Denver, Colorado 1117 Texas Avenue lege, Oberlin, OH 8 pm Tom Trenney; First Presbyterian, Fullerton, CA 7:30 pm Houston, Texas 77002 www.sjcathedral.org
UNITED STATES 4 OCTOBER West of the Mississippi Pierre Pincemaille, masterclass; University of Texas, Austin, TX 2 pm 15 SEPTEMBER Marcia Van Oyen 5 OCTOBER Joe Utterback Stephen Tharp; William Jewell College, Lib- George Baker; Mount Olive Lutheran, Minne- First United Methodist Church, erty, MO 7:30 pm COMMISSIONS & CONCERTS apolis, MN 4 pm Plymouth, Michigan Andrew Peters; St. Peter’s Episcopal, St. 18 SEPTEMBER 732 . 747 . 5227 Louis, MO 5 pm mvanoyen.com Paul Jacobs, with Pacifi c Symphony; Orange Pierre Pincemaille; University of Texas, Aus- County Performing Arts Center, Costa Mesa, CA tin, TX 3 pm 8 pm Marilyn Keiser; First Presbyterian, Houston, TX 5 pm 19 SEPTEMBER Todd Wilson; Cathedral of the Madeleine, David Wagner Alan Morrison; Central Lutheran, Minneapo- DMA Kevin Walters Salt Lake City, UT 8 pm lis, MN 7:30 pm Peter Stoltzfus Berton; Trinity Episcopal Ca- Madonna University Craig Cramer; Cathedral of the Epiphany, M.A., F.A.G.O. thedral, Portland, OR 5 pm Livonia, Michigan Sioux City, IA 7:30 pm David Hatt, works of Reger; Cathedral of St. Mary Paul Jacobs, with Pacifi c Symphony; Orange of the Assumption, San Francisco, CA 3:30 pm [email protected] Rye, New York County Performing Arts Center, Costa Mesa, CA 8 pm 12 OCTOBER Olivier Latry; St. Mark’s Episcopal, San An- 20 SEPTEMBER tonio, TX 4 pm Alan Morrison, workshop; Central Lutheran, +Larry Palmer; First Presbyterian, Santa Fe, Minneapolis, MN 10 am NM 3 pm KARL WATSON Cherie Wescott Concerts • Masterclasses • Coaching Paul Jacobs, with Pacifi c Symphony; Orange Francesco Cera; Arizona State University, County Performing Arts Center, Costa Mesa, CA Tempe, AZ 8 pm SAINT LUKE’S 8 pm Richard Gehrke, works of Reger; Cathedral 405/942-3958 of St. Mary of the Assumption, San Francisco, METUCHEN e-mail: [email protected] 21 SEPTEMBER CA 3:30 pm Gerre Hancock; Recital Hall, Texas A&M In- Thomas Foster; St. Mark’s Episcopal, Berke- ternational University, Laredo, TX 4 pm ley, CA 6:15 pm Todd Wilson; O’Donnell Auditorium, Nebras- Peter Richard Conte; Hollywood United ka Wesleyan University, Lincoln, NE 3 pm Methodist, Hollywood, CA 4 pm Davis Wortman Naomi Shiga & Jonathan Wohlers; Grace RONALD WYATT Lutheran, Tacoma, WA 3 pm 13 OCTOBER Bruce Neswick; Cathedral of St. John the Francesco Cera, masterclass; Arizona State St. James’ Church Trinity Church Evangelist, Spokane, WA 4 pm University, Tempe, AZ 10 am Isabelle Demers, works of Reger; Cathedral New York Galveston of St. Mary of the Assumption, San Francisco, 15 OCTOBER CA 3:30 pm Ken Cowan; Barrus Concert Hall, BYU-Idaho, Frederick Swann; Fair Oaks Presbyterian, Rexburg, ID 7:30 pm Fair Oaks, CA 5 pm Charles Dodsley Walker, FAGO Paul Jacobs, with Pacifi c Symphony; Orange 16 OCTOBER County Performing Arts Center, Costa Mesa, CA Ken Cowan, masterclass; Barrus Concert Artist-in-Residence Founder/Conductor 3 pm Hall, BYU-Idaho, Rexburg, ID 9 am Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico A radio program for the king of instruments www.stjohnsabq.org PHILIP CROZIER 505-247-1581 S #0835 - The Wanamaker Legacy…since its inauguration in 1919, the ORGAN DUO Wanamaker Grand Court Organ has prevailed as an internationally renowned E ¿xture of the downtown Philadelphia commercial and cultural scene. Explore 3355 Queen Mary Road, Apt 424 P its resources with artist-in-residence Peter Conte and curator Kurt Mangel. Montreal, H3V 1A5, P. Quebec T #0836 – You Can Go Home Again!…excerpts from a weekend of special Canada Pipedreams Live! events with featured artists Frederick Hohman, Mark (514) 739-8696 E Laubach and others who join Michael Barone in his ‘home territory’, M the Scranton/Wilkes-Barre region of northeastern Pennsylvania. Fax: (514) 739-4752 Iain Quinn Maxine Thevenot [email protected] Director of Cathedral Associate Organist- B #0837 - Cameron Carpenter…a close-up visit with one of the Music & Organist Choir Director most enterprising talents on the world music scene, with E excerpts from recent concert performances and his newly- R released Telarc Records compact disc, Revolutionary. DAVID SPICER #0838 - Getting Oriented…the ‘king of instruments’ from western culture has earned a place of honor in eastern venues, First Church of Christ 2 particularly in Japan and, most recently, China! Wethersfi eld, Connecticut Carol Williams 0 #0839 - Going for Baroque…a selective survey of some recently issued 0 recordings devoted to organ music from the period 1600-1750, everything San Diego Civic Organist 8 from Boyvin to Casini (plus Bach, Handel and Buxtehude, too!)
From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford
SEPTEMBER, 2008 35
Sept 08 pp. 33-37.indd 35 8/13/08 8:47:01 AM 19 OCTOBER Andrew Peters, silent fi lm accompaniment; 22 SEPTEMBER 4 OCTOBER Andrew Henderson; First Presbyterian, Hast- Second Presbyterian, St. Louis, MO 4 pm Diego Cannizzaro; Chiesa di S. Maria della John Belcher; St. Alphage, Burnt Oak, Edg- ings, NE 5 pm Bach Vespers; Christ the King Lutheran, Pace, Pralungo, Italy 9 pm ware, UK 7:30 pm Joan Lippincott; First Presbyterian, Fort Houston, TX 6 pm The New York Piano-Organ Duo (Jason Worth, TX 3 pm Gillian Weir; Cathedral Church of St. John, 23 SEPTEMBER Cutmore, piano and Daniel Sullivan, organ); Stefan Altner, with baritone and viola da Albuquerque, NM 3 pm Colin Walsh; Cattedrale di S. Stefano, Biella, St. Andrew’s Presbyterian, Barrie, ON, Canada gamba; Christ the King Lutheran, Houston, TX David Higgs, with San Francisco Girls’ Cho- Italy 9 pm 2:30 pm 6 pm rus; Calvary Presbyterian, San Francisco, CA Stephanie Burgoyne & William Vandertuin; Maxine Thevenot; Holsclaw Recital Hall, Uni- 3 pm Cathedral of St. Paul, London, ON, Canada 5 OCTOBER versity of Arizona, Tucson, AZ 3 pm 12:15 pm Michael Gailit; Abbey, St. Florian, Linz, Aus- California Baroque Ensemble; Cathedral of 31 OCTOBER tria 4:30 pm St. Mary of the Assumption, San Francisco, CA Craig Cramer; Cathedral of the Blessed Sac- 24 SEPTEMBER Vladimir Khomyakov, with trumpet; St. Kath- 3:30 pm rament, Sacramento, CA 7:30 pm Thomas Sauer; Kathedrale, Dresden, Ger- arinen, Oppenheim, Germany 6 pm Janette Fishell; Grace Cathedral, San Fran- many 8 pm David Lamb; American Church, Paris, France cisco, CA 4 pm Gillian Weir; St. Asaph Cathedral, St. Asaph, 5 pm Olivier Latry; Orange County Performing Arts INTERNATIONAL Wales, UK 7 pm Vincent Dubois; Winspear Center for Music, Center, Costa Mesa, CA 2 pm Jon Laukvik; Westminster Cathedral, Lon- Edmonton, AB, Canada 3 pm David Gell; Trinity Episcopal, Santa Barbara, don, UK 7:30 pm CA 3:30 pm 15 SEPTEMBER Mario Duella; Chiesa di San Cristoforo, Ver- 6 OCTOBER David Goode; First Congregational, Los An- Roger Sayer & Charles Andrews; All Souls, Ludger Lohmann; Église Saint-François- celli, Italy 9 pm geles, CA 4 pm Langham Place, London, UK 7:30 pm d’Assise, Ottawa, ON, Canada 8 pm Ryoki Yamaguchi; Minato Mirai Concert Hall, Ken Cowan; First United Methodist, San Di- Yokohama, Japan 12:10 pm ego, CA 7 pm 17 SEPTEMBER 7 OCTOBER Hans-Ola Ericsson, works of Messiaen; St. Margaret Chen; St. Lawrence Jewry, London, 20 OCTOBER Katharinen, Oppenheim, Germany 8 pm 25 SEPTEMBER UK 1 pm James David Christie; University of North Holger Gehring, with piano; Kreuzkirche, Adrian Gunning; Union Chapel, London, UK Jonathan Bunney; St. Giles-in-the-Fields, Texas, Denton, TX 8 pm Dresden, Germany 8 pm 7 pm London, UK 1:10 pm Matti Hannula, organ and voice; Chiesa di 21 OCTOBER San Francesco, Vergano, Italy 9 pm 26 SEPTEMBER 8 OCTOBER Gillian Weir, masterclass; Main Auditorium, Genzo Takehisa, with violin; Minato Mirai Hansjürgen Scholze; Kreuzkirche, Dresden, University of North Texas, Denton, TX 9 am, re- 18 SEPTEMBER Concert Hall, Yokohama, Japan 2 pm Germany 8 pm cital 8 pm Manuel Tomadin, with fl ute; Chiesa dei SS. Pierre Thimus; Lausanne Cathedral, Laus- Giulio ed Amatore, Cressa, Italy 9 pm anne, Switzerland 8 pm 9 OCTOBER 23 OCTOBER Birger Marmvik; St. Margaret Lothbury, Lon- Werner Koch; Stadtkirche, Waltershausen, David Lamb & John Buckel; La Trinité, Paris, The American Boychoir; Central Presbyterian, don, UK 1:10 pm Germany 7:30 pm France 12:45 pm Des Moines, IA 7 pm Thomas Sauer; Kathedrale, Dresden, Ger- Matthew Martin; St. Matthew’s Westminster, Gillian Weir, masterclass; Parker Chapel, 19 SEPTEMBER many 8 pm London, UK 1:05 pm Trinity University, San Antonio, TX 7 pm Martin Bambauer; Lausanne Cathedral, Lau- Hatsumi Miura, with percussion; Minato Mirai sanne, Switzerland 8 pm 27 SEPTEMBER Concert Hall, Yokohama, Japan 2 pm 24 OCTOBER Tarcisio Battisti, with brass; Abbazia di S. Sil- Matthew Martin; St. John the Evangelist, Is- Gillian Weir; Parker Chapel, Trinity University, vano, Romangnano Sesia, Italy 9 pm lington, London, UK 7:30 pm 12 OCTOBER San Antonio, TX 8 pm Michael Gailit; St. Martinus Church, Bigge- David Higgs, with San Francisco Girls’ Cho- 20 SEPTEMBER 28 SEPTEMBER Olsberg, Germany 5 pm rus; Calvary Presbyterian, San Francisco, CA 3 Christoph Grohmann; Kath. Pfarrkirche St. Tarcisio Battisti, with brass; Chiesa Andrea Marcon, Jose Luis Gonzalez Uriol, pm, 8 pm Michael, Germany 5 pm dell’Immacolata Concezione, Portula, Italy 9 pm Pieter Van Dijk; Basilique de la Sainte Trinité, Bern, Switzerland 3 pm Ben Saul & Michael Bonaventure; All Saints 25 OCTOBER Church, Blackheath, UK 5:15 pm 21 SEPTEMBER Ralf Bibiella, works of de Grigny; St. Kath- Frederick Swann; University Memorial Gillian Weir; Église des Saints-Anges, Martin Lücker, with choir, works of Tour- arinen, Oppenheim, Germany 6 pm Church, University of Redlands, Redlands, CA William Saunders; Westminster Cathedral, Lachine, QC, Canada 3 pm 3 pm nemire; St. Katharinen, Oppenheim, Germany 6 pm London, UK 4:45 pm Mary Preston, with Pacifi c Chorale; Orange Ian Keatley; Westminster Abbey, London, UK 15 OCTOBER County Performing Arts Center, Costa Mesa, CA Jean-Pierre Baston; Chiesa di S. Michele Ar- 5:45 pm Christian Skobovsky; Kathedrale, Dresden, 5 pm cangelo, Cavaglià, Italy 9 pm Germany 8 pm Travis Baker; Westminster Cathedral, Lon- The New York Piano-Organ Duo (Jason Cut- more, piano and Daniel Sullivan, organ); College 26 OCTOBER don, UK 4:45 pm Heights Seventh-day Adventist, Lacombe, AB, 19 OCTOBER August Knoll; Union Sunday School, Cler- Florian Pagitsch; Westminster Abbey, Lon- Canada 7 pm Ernst Kubitschek, with recorders; Kirche mont, IA 2:30 pm don, UK 5:45 pm Pierre Pincemaille; Église Saints-Anges, “Zur frohen Botschaft,” Berlin Karlshorst, Ger- many 5 pm Lachine, QC, Canada 3 pm Katrin & Ralf Bibiella; St. Katharinen, Oppen- heim, Germany 5 pm ORGAN BUILDERS 1 OCTOBER Jozef Sluys; Cathedral of SS. Michael and Wolfgang Zerer; Frauenkirche, Dresden, Ger- Gudula, Brussels, Belgium 4 pm many 8 pm Todd Wilson; Convocation Hall, University of L. W. BLACKINTON THE NOACK ORGAN CO., INC. Clive Driskill-Smith; St. Margaret Lothbury, Toronto, Toronto, ON, Canada 2 pm and associates, inc. MAIN AND SCHOOL STREETS London, UK 1:10 pm GEORGETOWN, MA 01833 www.noackorgan.com 20 OCTOBER 380 FRONT ST. 2 OCTOBER Martin Haselböck; Cathedral of SS. Michael Member: Associated Pipe Organ Builders of America EL CAJON, CA 92020 Zygmunt Strzep; St. Margaret Lothbury, Lon- and Gudula, Brussels, Belgium 8 pm don, UK 1:10 pm Peter Chester; St. Giles Cripplegate, London, UK 6:30 pm martin ott pipe 3 OCTOBER Donald Mackenzie; All Souls, Langham organ Michael Gailit; St. Augustin, Vienna, Austria Place, London, UK 7:30 pm 7:30 pm company Robert Märki, Maurice Clerc, Claude Pa- 21 OCTOBER inc. hud, Daniel Chappuis; Cathedral, Lausanne, Jan Willem Jansen; St. Lambert’s, Brussels, 1353 Baur Boulevard Switzerland 7 pm Belgium 8 pm St. Louis, Missouri 63132 (314) 569-0366
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36 THE DIAPASON
Sept 08 pp. 33-37.indd 36 8/13/08 8:47:17 AM Irene Clugston; St. Giles Cripplegate, Lon- Anne Marsden Thomas; St. Giles Cripple- PHILIP CROZIER, The Church of St. MASSIMO NOSETTI, St. Clement’s don, UK 6:30 pm gate, London, UK 4 pm Barnabas, Ottawa, ON, Canada, May 28: A Church, Toronto, ON, Canada, March 2: James O’Donnell; Church of St. John’s the Trumpet Minuet, Hollins; Werde munter, mein Concerto in a from Vivaldi, BWV 593, Bach; 22 OCTOBER Evangelist, Elora, ON, Canada 3 pm Gemüte, Pachelbel; Humoresque “L’organo Fantaisie sur deux mélodies anglaises, op. 43, Jozef Sluys, with violin; Church of the Domini- William Whitehead; Westminster United primitivo,” Yon; Prelude and Fugue in E, Lü- Guilmant; Cantilène, Final (Symphony No. 3, can Fathers, Brussels, Belgium 8 pm Church, Winnipeg, MB, Canada 7:30 pm beck; How lovely shines the Morning Star, op. op. 28), Vierne; Variations on a Japanese Folk Samuel Kummer; Frauenkirche, Dresden, 68, no. 7, Peeters; Fantaisie, Bédard. Tune (Sakura), Nosetti; Scherzo, op. 37, no. Germany 8 pm 28 OCTOBER 4, C. Bossi; Aria, Burtonwood; Toccata–Stu- Anne Marsden Thomas; St. Giles Cripple- James O’Donnell; St. Clement’s Anglican ROBERT DELCAMP, The Episcopal dio, Esposito. gate, London, UK 6:30 pm Church, Toronto, ON, Canada 8 pm Church of the Ascension, Knoxville, TN, May James Lancelot; Alexandra Palace, Muswell 5: Allegro (Symphony No. 6 in g, op. 42), PIERRE PINCEMAILLE, Cathedral of Hill, UK 7:30 pm 29 OCTOBER Widor; Four Versets on Ave Maris Stella (Fif- St. Joseph, Hartford, CT, May 16: Prelude and James O’Donnell; St. Thomas Anglican Holger Gehring, with winds; Kreuzkirche, teen Pieces, op. 18), Dupré; Voluntary in F, Fugue in E-fl at, Bach; Prelude, Fugue, and Church, St. Catharine’s, ON, Canada 7:30 pm Dresden, Germany 8 pm Stanley, arr. Wall; Concerto in d, BWV 596, Variation, op. 18, Choral No. 3 in a, Franck; Ai Yoshida; Minato Mirai Concert Hall, Yoko- Vivaldi, arr. Bach; Cinq pièces pour l’offi ce Scherzo (Symphony No. 2), Vierne; Prelude hama, Japan 12:10 pm 30 OCTOBER divin, Grunenwald; Recollection (Soliloquy and Fugue on ALAIN, Durufl é; The Celestial +Olivier Latry; St. Paul’s Cathedral, London, No. 2), Conte; Passacaglia on a Theme of Banquet, Messiaen; improvised symphony on 23 OCTOBER UK 7 pm Dunstable, Weaver. four themes of Dupré. Stefan Bleicher; Cathedral of SS. Michael and Gudula, Brussels, Belgium 8 pm 31 OCTOBER SCOTT DETTRA, Cathedral Church of PATRICK POPE, with Amy Orsinger- Angela Kraft-Cross; St. Margaret Lothbury, Martin Schmeding; Stadtkirche, Waltershau- St. Luke and St. Paul, Charleston, SC, May Whitehead, fl ute, St. John’s Lutheran Church, London, UK 1:10 pm sen, Germany 7:30 pm 26: Adagio und Allegro in f-moll, K. 594, Mo- Charleston, SC, May 27: Dialogue sur les Alan Saggerson; St. Giles Cripplegate, Lon- zart; Cantabile, Franck; Sonata V in C, BWV Mixtures (Suite Brève), Langlais; Concerto in don, UK 6:30 pm 529, Bach; Chant de Paix, Langlais; Präludi- b, Walther; Trois Mouvements pour Flute et Nicholas Shaw; Union Chapel, London, UK um und Fuge in g-moll, Brahms. Orgue, Alain; Basilica Triptych for Flute and 7 pm Organ Recitals Organ, Woodman; Pastorale for Flute and Or- JULIA HARLOW, Second Presbyterian gan, Weaver; Prelude and Fugue in G, BWV 24 OCTOBER Church, Charleston, SC, May 30: You, Radio- 550, Bach. Thomas Nowak; Church of Saint-Servais, G. DENE BARNARD, St. Matthew’s head, arr. Walker/Harlow; Church Sonata No. 8 Brussels, Belgium 8 pm Lutheran Church, Charleston, SC, May 29: in A, K. 225, Mozart; Organ Concerto in F, op. WESLEY ROBERTS, Campbellsville Uni- Robert Andrews; St. Giles Cripplegate, Lon- Sonata No. 3, op. 65, Mendelssohn; Mozart 4, no. 5, Handel; Fantasy and Fugue in g, BWV versity, Campbellsville, KY, March 13: Fanta- don, UK 6:30 pm Changes, Gárdonyi; Fugue, Honegger; Pas- 542, Bach; Chant d’oiseaux (Livre d’Orgue), sia and Fugue in g, BWV 542, Bach; Hymn for James O’Donnell; St. Paul’s Cathedral, Lon- sacaglia, Near; Suite: In Praise of Merbecke, Messiaen; Toccata Kopanitsa, Tikker. Organ, Tryptique, Weggelaar; Praise to the don, ON, Canada 8 pm Fanfare-Improvisation on Azmon, Wyton. Lord, the Almighty, Shoemaker-Lohmeyer; PAUL JACOBS, Christ & St. Stephen’s My Shepherd Will Supply My Need, Calla- 25 OCTOBER HELENA CHAN, Trinity Episcopal Episcopal Church, New York, NY, May 17: han; Lift High the Cross, Behnke; Apparition Firmin Decerf, with hunting horns; Our Lady Church, Santa Barbara, CA, May 18: Now Fantasy and Fugue on “Ad nos, ad salutarem de l’église éternelle, Messiaen; Choral No. 3 of the Chapel, Brussels, Belgium 10:30 am Thank We All Our God, Peeters; Jesu, Joy undam,” Liszt; Passacaglia in c, BWV 582, in a, Franck. Thomas Deserranno; SS. John & Etienne at of Man’s Desiring, If Thou But Suffer God Bach; Reverie, Oquin; Pageant, Sowerby. the Mineries, Brussels, Belgium 11:30 am to Guide Thee, BWV 691, Blessed Jesu, We NAOMI ROWLEY, with Nancy Reich- Bart Jacobs; Cathedral of SS. Michael and Are Here, BWV 731, Bach; Fantasie on MICHAEL McGHEE, First (Scots) Pres- mann, oboe, All Saints Episcopal Church, Ap- Gudula, Brussels, Belgium 2:30 pm Hsuan Ping, Let the Vineyards Be Fruit- byterian Church, Charleston, SC, May 28: pleton, WI, June 4: The Emperor’s Fanfare, Annelies Focquaert; Protestant Church, ful, Lord, Chan; Cantilène Pastorale (Sou- Procesión Alegre, Cornell; Fugue in C, BWV Soler, arr. Biggs; Andante, Fiocco; Movement Brussels, Belgium 3:30 pm venir), Guilmant; The Nest in Old North 564, Bach; Adagio for Strings, Barber; ‘God I (Concerto I in G), Ernst, transcr. Bach; Son- Church, Sunday Night (Views from the Save the King’ with New Variations, Wesley; atina, Ritter; Praise to the Lord, the Almighty, 26 OCTOBER Oldest House), Rorem; Reeks: Veranderin- Irish Air from County Derry, When Johnny Drischner; Ornament of Grace for Oboe and Simon Preston; Cathedral of SS. Michael and gen I, C. Kee; Finale (Sonata da chiesa), Comes Marching Home, arr. Lemare; Pasto- Organ, Sanders; Aria, Martinson; Toccata Gudula, Brussels, Belgium 4 pm Andriessen. rale, Final (Sonata in d, op. 42), Guilmant. Brevis, Gawthrop.
Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera Dia_1ColumnInchAd.ai 4/5/05 10:13:38 847/391-1045,
2151 Madison Street, Bellwood, IL 60104 phone 708-544-4052 • fax 708 544-4058 [email protected] berghausorgan.com
Visit The Diapason website: www.TheDiapason.com
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Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ .95 Regular Classifi ed minimum 19.00 ______Display Classifi ed, per word 1.25 Display Classifi ed minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 15.00 ______($25 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.
SEPTEMBER, 2008 37
Sept 08 pp. 33-37.indd 37 8/13/08 8:47:36 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS AVAILABLE RECORDINGS RECORDINGS FOR SALE
Director of Music Ministry. Evangelical Lu- Historic Organ Surveys on CD: recorded during 1940s vintage 8-rank Wangerin pipe organ for theran Church, Frederick, MD. Director serves national conventions of the Organ Historical So- Think you know the harpsichord? Touch sale. Organ is currently playing in a private resi- as organist; directs adult choirs; supervises ciety. Each set includes photographs, stoplists, and performance practice through histori- dence in the Detroit metro area. Asking $5,000 paid assistant music directors and provides and histories. As many organists as organs and cal examples. Harpsichord Technique: A OBO. Buyer to remove. Please call before 10 pm guidance and direction to volunteer directors. A repertoire from the usual to the unknown, Arne Guide to Expressivity, 2nd Ed. by Nancy EST. 248/356-0896; [email protected]. bachelor’s or master’s degree in music, church to Zundel, often in exceptional performances on Metzger. www.rcip.com/musicadulce. music, or other related/equivalent degree is re- beautiful organs. Each set includes many hymns quired. Salary commensurate with qualifi cations sung by 200–400 musicians. Historic Organs of 1975 Moller Opus 11106 Series 70-7B 2-manu- and experience. Submit cover letter, résumé Louisville (western Kentucky/eastern Indiana) CD Recording, “In memoriam Mark Bux- al pipe organ, 9 ranks. Swell and Great separate and references on or before September 15 to 32 organs on 4 CDs, $29.95. Historic Organs of ton (1961–1996).” Recorded at Église Notre- cases under expression. Excellent condition. [email protected]. Maine 39 organs on 4 CDs, $29.95. Historic Or- Dame de France in Leicester Square, London, Asking $20,000 or best offer. Located South gans of Baltimore 30 organs on 4 CDs, $29.95. between 1987 and 1996. Works of Callahan, Central PA. Contact Charles Reynolds, 800/752- Historic Organs of Milwaukee 25 organs in Wis- Widor, Grunewald, Salome, Ropartz, and Boëll- 5080 or [email protected] for information. Full-time Director of Music (Choirmaster or consin on 2 CDs, $19.98. Historic Organs of New mann, along with Buxton’s improvisations. $15 Organist-Choirmaster). Successful candidate Orleans 17 organs in the Bayous to Natchez on postpaid: Sandy Buxton, 10 Beachview Cres- will have a master’s degree and extensive 2 CDs, $19.98. Historic Organs of San Francisco cent, Toronto ON M4E 2L3 Canada. 416/699- A college in Nashville closed its music program experience in the Episcopal tradition. Mail or 20 organs on 2 CDs, $19.98. Add $4.50 shipping 5387, FAX 416/964-2492; e-mail hannibal@ in 1988 and is offering a two-manual and pedal e-mail vita and letter of application describing in U.S. per entire order from OHS, Box 26811, idirect.com. Zimmer and Sons practice organ. Excellent con- your experience in music ministry and admin- Richmond, VA 23261, by telephone with Visa or dition with new long cable installed. Cost reduced istration to the Music Search Committee. Christ MasterCard 804/353-9226; FAX 804/353-9266. to $10,000. Contact Milnar Organ Co. 615/274- Church Cathedral, 318 East 4th Street, Cincin- Aging of Organ Leather by Harley Piltingsrud 6400 or www.milnarorgan.com for details. nati, OH 45202; 513/621-1817; musicsearch@ tells how to test and select organ leathers for lon- cccath.org. The OHS Catalog is online at www.ohscata- gevity of 60 years or more. Treats other aspects log.org. More than 5,000 organ and theatre of leather production and the history of testing for 1976 Schantz—19 ranks, 2 manuals and pedal. organ CDs, books, sheet music, DVDs and longevity. New 48-page edition in 1994, $9.95 + Pristine condition; playable. Asking $185,000 + QLF Custom Pipe Organ Components has VHS videos are listed for browsing and easy $4.50 shipping for entire order (within USA). Or- cost of removal. For details contact Pastor Judy openings for qualifi ed case and chest makers ordering. Use a link for adding your address der online at www.ohscatalog.org. Anderson at [email protected]. to join our staff in Rocky Mount, VA. Wages to the OHS Catalog mailing list. Organ Histori- and benefi ts commensurate with experience. cal Society, Box 26811, Richmond, VA 23261. 540/484-1133, or e-mail qlfcomponents@ E-mail: [email protected]. HARPSICHORDS 1960s Walcker (German) 14-rank tracker aol.com. organ. Open toe voicing on 2″ wind pressure. FOR SALE Reverse console built into case. Footprint is 6′ Reflections: 1947–1997, The Organ Depart- wide by 11′6″ deep (including console and pedal PUBLICATIONS/ ment, School of Music, The University of Mich- J. C. Neupert “Bach” model harpsichord made stops), 9′10″ tall. All encased with 4′ Principal ′ ′ RECORDINGS igan, edited by Marilyn Mason & Margarete in 1995. 2 manuals, range FF–g′′′, disposed 4′, façade. Manual I—8 Gedackt, 4 Octave, II Ses- Thomsen; dedicated to the memory of Albert 2x8′, 16′, 2 Buff stops. Wooden jacks, with Delrin quialtera, II–III Mixture. Manual II—8′ Gemshorn, Stanley, Earl V. Moore, and Palmer Christian. plectra, light action. Beautiful teak veneer, abso- 4′ Rohrfl ote, 2′ Principal, 1-1/3′ Quinte. Pedal— Blessed Assurance, Were You There, Just a Includes an informal history-memoir of the lutely pristine condition. $35,000, FOB Eugene, 16′ Bourdon, 8′ Flute, 4′ Choralbass. Playing and Closer Walk, plus two others in tasteful duets for organ department with papers by 12 current OR. Photos available in JPG format. Contact: in use regularly. Asking $24,500. For recordings organ and piano. See samples at michaelsmusic- and former faculty and students; 11 scholarly Andrew Lagerquist, 541/736-1942. and pictures contact [email protected]. service.com. 704/567-1066. articles; reminiscences and testimonials by graduates of the department; 12 appendices, and a CD recording, “Marilyn Mason in Re- PIANOFORTE FOR SALE 1999 Morel & Associates organ. Two manual Request a free sample issue of The Diapason cital,” recorded at the National Shrine of the and pedal, 17 stops, 20 ranks. Originally built for for a student, friend, or colleague. Write to the Immaculate Conception in Washington, DC. a chamber installation, organ has a handsome Editor, The Diapason, 3030 W. Salt Creek Lane, $50 from The University of Michigan, Prof. Brown and Allen/Boston square grand piano- colonial-style case front. Excellent condition. Suite 201, Arlington Heights, IL 60005; or e-mail: Marilyn Mason, School of Music, Ann Arbor, forte. 73 keys. Very good condition. Best offer. Brochure and demonstration CD available. Call [email protected]. MI 48109-2085. Nelson, 847/367-5102 or 312/304-5287. 303/355-3852, or e-mail [email protected]. glück newyork orgaNbuilders
170 Park Row, Suite 20A TOTAL PIPE ORGAN RESOURCES New York, NY 10038
2320 West 50th Street * Erie, PA 16505-0325 212.608.5651 (814) 835-2244 * www.organsupply.com www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
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PEEBLES-HERZOG, INC. THE ORGAN COMPANY 50 Hayden Ave. Columbus, Ohio 43222 1220 Timberedge Road Lawrence, Kansas 66049 Ph: 614/279-2211 • 800/769-PIPE (785) 843-2622 www.peeblesherzog.com www.reuterorgan.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON
Sept 08 pp. 38-39.indd 38 8/13/08 8:48:19 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
1962, 2 manuals, Schantz (9 ranks, 8 stops). Atlantic City Pipe Organ Co.—8′ Harmonic Austin actions recovered. Over 40 years The Whistle Shop repairs and rebuilds pipe One chamber, all under expression, minimum di- Trumpet 3″ sc, 61 pipes, 54 reeds, Stinkens, 4″ experience. Units thoroughly tested and fully organs. Southwestern U.S. Also, maintenance mensions: 11′8″ W x 8′ D x 13′ H. Price: $50,000 wp, 1980s; packed and crated; $1200. Johnson guaranteed. Please call or e-mail for quotes. and tonal work. Finest materials, expert work- as is/where is. Installation, delivery, and re-con- pipework. 609/641-9422; http://mywebpages. Technical assistance available. Foley-Baker, manship. K.E.M. Pipe Organ Builders, Austin, fi guration and/or additions can be negotiated. comcast.net/acorgan. Inc., 42 N. River Road, Tolland, CT 06084. TX. 800/792-8180. E-mail inquires only, contact: MNewcome@aol. Phone 1-800/621-2624. FAX 860/870-7571. com. Rebuilt electro-mechanical windchests, [email protected]. and new solid state relay; console rebuilt, solid 1920s Gottfried French Horn, very good re- Austin actions: Come to the source. Fast de- state (32 levels of memory). E-mail for pictures storable condition. $2,000 OBO; 1929/1930 livery. Guaranteed. 860/522-8293; www.austin- and more details. Patrick J. Murphy & Associ- Skinner Harp/Celesta unit, very good restorable Highest quality organ control systems since organs.com. ates, Stowe, PA. condition $2,000 OBO. FOB Eagleville, Tenn. 1989. Whether just a pipe relay, combination 615/274-6400 or www.milnarorgan.com. action or complete control system, all parts are compatible. Intelligent design, competitive If your company was not listed in THE DIA- 1971 Berkshire tracker rebuild of Steere. New pricing, custom software to meet all of your PASON 2008 Resource Directory, be sure to be action, winding, pipework, façade. 15 stops. Ask- Wood pipes. Missing pipes made to match. requirements. For more information call Westa- part of the 2009 issue! Visit our website, www. ing $40,000. Church closing. St. John’s Luther- Damaged pipes in any condition repaired. Over cott Organ Systems, 215/353-0286, or e-mail TheDiapason.com, and from the left column an, Hudson, NY. Phone 518/828-2372 or e-mail 25 years experience. Filip Cerny, 814/342-0975. [email protected]. select Supplier Login. For information, contact [email protected] for specs and photos. Joyce Robinson, 847/391-1044, e-mail: jrobin- [email protected]. ANNOUNCEMENTS Top Quality Releathering. Pouch rails, pri- 1953 Moller Artiste (2 manuals, 3 ranks). Ask- maries, reservoirs and any other pneumatic ing $5000 OBO. Pick up only. Delivery and action. Removal and installation service avail- Send recital programs to THE DIAPASON, 3030 W. setup terms available/negotiable. E-mail inqui- EROI Festival 2008—The seventh annual EROI able. Full warranty. Skinner, Casavant and Salt Creek Lane, Suite 201, Arlington Heights, IL ries only, contact: [email protected]. Free- Festival (October 16–20) features the inaugura- Kimball specialty. Spencer Organ Company, 60005. standing case 96″ W x 42″ D x 95″ H. Chest tion of the Craighead-Saunders Organ in Christ Inc. Call, Fax or visit our website for quotation leather recent, new wiring and 110v blower. Church (Episcopal), a two-manual, 33-stop and information. 781/893-7624 Voice/Fax, New 50′ connecting cable (wrapped and with organ named after David Craighead and Rus- www.spencerorgan.com. a quick disconnect). E-mail for pictures and sell Saunders, venerable professors of organ THE DIAPASON’s classified ads are more details. Patrick J. Murphy & Associates, at the Eastman School of Music. The result of now available on THE DIAPASON a six-year interdisciplinary research project be- Stowe, PA. Need help with your re-leathering website—including photographs and tween the Göteborg Organ Art Center (GOArt) convenient e-mail links directly to the and the Eastman School of Music, Craighead- project? All pneumatics including Austin. Over 45 years experience sellers! Visit www.TheDiapason.com MISCELLANEOUS Saunders Organ is a scientifi c reconstruction and in the left-hand column, look for of an 1776 organ built by Adam Gottlob Caspa- (on the job assistance available). FOR SALE 615/274-6400. SPOTLIGHTS, then click on Classified rini for the Holy Ghost Church in Vilnius, Lithu- Advertisements. Follow the links to ania. Festival events include symposia on the the classifieds that interest you, and Schulmerich Chimatron with keyboard, $500. legacies of Craighead and Saunders, Bach and the organ, and organ reconstruction. Details: click the e-mail button to contact the Consoles, pipes, magnets and numerous miscel- sellers. What could be easier? laneous parts. Let us know what you are looking http://esm.rochester.edu/eroi/festival-2008.php. ALL REPLIES for. E-mail [email protected] (not comcast), TO BOX NUMBERS phone 215/353-0286 or 215/788-3423. American Institute of Organbuilders 35th An- that appear nual Convention takes place October 12–15 in Postal regulations require that mail 4-manual console for sale, 13 years old, 160 Knoxville, Tennessee. Events include lectures, without an address Harris knob units, oak case, walnut keycheeks, demonstrations, shop tours, and concerts. For should be sent to: to THE DIAPASON include a suite num- musicom switching system and combination information, visit: http://convention.pipeorgan. ber to assure delivery. Please send ′ THE DIAPASON action and 32 electronic stops and entire elec- org/index.html. all correspondence to: THE DIAPASON, tronic antiphonal division, amplifi ers included. 3030 W. Salt Creek Lane, Suite 201 3030 W. Salt Creek Lane, Suite 201, Photos available. $40,000 OBO. FOB Con- cord, NH. Please call 781/858-5087 or e-mail Classifi ed Ads must be prepaid and may be Arlington Heights, IL 60005 Arlington Heights, IL 60005. [email protected] for more information. ordered for 1, 2, 3, 4, 5, or 6 months.
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 Buiders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS W. Zimmer & Sons, inc. City ______❑ $55.00—2 YEARS Jacques Stinkens ❑ $35.00—1 YEAR pipe organ builders Organpipes - since 1914 State ______Zip ______FOREIGN SUBSCRIPTIONS 429 Marvin Road Fort Mill, SC 29707 ❑ $85.00—3 YEARS Flues - Reeds Phone/Fax: 803-547-2073 Please allow four weeks for delivery of fi rst issue ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" wzimmerandsons.com ❑ E-1 $45.00—1 YEAR Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] on new subscriptions. NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
SEPTEMBER, 2008 39
Sept 08 pp. 38-39.indd 39 8/13/08 8:48:43 AM KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRSCHOIRS AVAILABLEAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director April 21-27, 2008
The Choir of St. John’s College Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2008 -2009
Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Thomas Trotter*
WEBWEB SSITE:ITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com
John Weaver Gillian Weir* Todd Wilson Christopher Young