THE DIAPASON JULY 2017

Cathedral of Ss. Simon and Jude Phoenix, Arizona Cover feature on pages 22–24 50th Anniversary Year www.concertartists.com 860-560-7800 [email protected] PO Box 6507, Detroit, MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ

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

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CAROLE TERRY JOHANN VEXO BRADLEY WELCH JOSHUA STAFFORD 2016 LONGWOOD GARDENS WINNER

Organized Rhythm (percussion & organ) & Clive Driskill-Smith (solo organ) U.S. Tour: October 22—November 5, 2017 :ĞĂŶͲĂƉƟƐƚĞZŽďŝŶh͘^͘ΘĂŶĂĚŝĂŶŽŶĐĞƌƚdŽƵƌ͗KĐƚŽďĞƌϭͶKĐƚŽďĞƌϯϭ͕ϮϬϭϳĂŶĚKĐƚŽďĞƌͶEŽǀĞŵďĞƌϮϬϭဒ Johann Vexo U.S. Concert Tours: September 25—October 10, 2017, April 20—May 7, 2018, and late October 2018 THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eighth Year: No. 7, And now it’s July! Hard to believe that the year 2017 is Whole No. 1292 already half completed. And summer is nearly half over at this JULY 2017 point. For many of us, this is a time of travel, a time of planning Established in 1909 for the new church and academic year coming to us in a month Stephen Schnurr ISSN 0012-2378 or so, perhaps a time of relaxation, reading, and even perhaps a 847/954-7989; [email protected] retreat from the otherwise busy world. Be sure to set aside time www.TheDiapason.com An International Monthly Devoted to the Organ, to absorb the many offerings of this month. the Harpsichord, Carillon, and Church Music In this issue, we feature the beginning of a study of the feature presents the Peragallo organ in the Cathedral of Ss. beloved and eminently historic 1863 E. & G. G. Hook Opus Simon and Jude, Phoenix, Arizona. CONTENTS 322 formerly in the Church of the Immaculate Conception, In our regular departments, Gavin Black continues his dis- FEATURES Boston, Massachusetts, by Michael McNeil. For 145 years, this cussion of helping students choose fi ngering in “On Teaching.” 1863 E. & G. G. Hook Opus 322, Church of instrument touched the hearts of countless souls with music for John , in “In the Wind,” tells the story of an interna- the Immaculate Conception, Boston, funerals, weddings, and Masses for every imaginable church tional organ transplant: relocating a 1915 Hook & Hastings Massachusetts by Michael McNeil 17 occasion—as well as being featured in numerous concerts and organ from the to Madagascar. In “Harpsichord on recordings. Immaculate Conception was the perfect mar- News,” Larry Palmer recalls harpsichordists Scott Ross and Pipe Organs of La Grange, Illinois, and the Architectural Edifi ces That House Them, riage of studied architecture, extraordinary acoustics, and a Isolde Ahlgrimm. Brian Swager has provided us the summer Part 3: Cossitt Avenue Elementary School premiere organ, a combination rarely found elsewhere. Read- carillon concert calendar, in addition to the regular offerings of and First Baptist Church ers of The Diapason know Michael McNeil’s work and will our calendar. Also in our calendar, you will note many recitals by Stephen Schnurr 20 fi nd this study of Opus 322’s pipework and wind system to be from various conventions of the American Guild of NEWS & DEPARTMENTS valuable. (For other examples of McNeil’s work in The Dia- and the . Editor’s Notebook 3 pason, see “Exploring the Sound of Keyboard Tunings,” April Is your church or academic institution hosting a concert Here & There 3 2016, pp. 20–21, and “What the scaling of Gothic and Baroque series for the 2017–2018 season? Or even one program? Be Nunc Dimittis 10 organs of Bologna and St. Maximin can teach us,” October sure to send me notice for appropriate inclusion in our calen- Harpsichord News by Larry Palmer 11 2016, pp. 24–25.) dar and/or Here & There sections. Have you accepted a new In the wind . . . by John Bishop 12 The third installment of my series on pipe organs of La church or academic music position that we should know about? On Teaching by Gavin Black 14 Grange, Illinois, continues with descriptions of the organs of Let us know! Has your church signed a contract for a new REVIEWS the Cossitt Avenue Elementary School and the First Baptist organ or major restoration, rebuilding, or renovation project? Book Reviews 16 Church. Earlier installments of this series may be found in Or is the project completed? Encourage your organbuilder to New Organ Music 16 August 2015, pp. 20–22, and June 2016, pp. 20–22. Our cover send us notice for Here & There. Q New Handbell Music 16

SUMMER CARILLON CALENDAR 24 Here & There CALENDAR 25 ORGAN RECITALS 29 Events 8/30, Jacques Boucher with Sophie Pou- Church; 8/30, Ralph and Marillyn Free- CLASSIFIED ADVERTISING 30 lin de Courval, saxophone; September man, St. Paul Lutheran Church; 8/31, 15, Frederick MacArthur; 9/23, “Pipes to be announced. For information: and Pipes,” Car Show with tour, organ www.lunchtimeorganrecital.org. THE music, and open console; October 7, DIAPASON JULY 2017 children’s program with Joyce Painter Rice; December 1, Holiday Open House with organ music; December 2–3, “A Merry Music Hall Christmas,” with Ray Cornils and trumpets. For information: www.mmmh.org.

Cathedral of Ss. Simon and Jude Phoenix, Arizona John Gouwens at Culver Academies Cover feature on pages 22–24 carillon (photo credit: Gary Mills)

COVER Culver Academies, Culver, Indiana, Peragallo Company, Paterson, continues carillon recitals by John Gou- New Jersey; Cathedral of Ss. Simon and Jude, wens (except as noted), Saturdays at 4:00 Phoenix, Arizona 22 p.m.: July 1, 7/8, 7/15, 7/22 (Jonathan Lehrer, guest recitalist), September 2, Editorial Director STEPHEN SCHNURR 9/30. For information: www.culver.org. and Publisher [email protected] 847/954-7989 First English Lutheran Church, Apple- President RICK SCHWER [email protected] ton, Wisconsin, Wahl organ 847/391-1048 The Lunchtime Organ Recital Christ Church, Michigan City, Indiana, Consulting Editor JOYCE ROBINSON Roosevelt organ [email protected] Series in Appleton, Neenah, Menasha, 847/391-1044 and Kaukauna, Wisconsin, organized by Frank Rippl, continues its twenty- The Roosevelt Organ Summer Sales Director JEROME BUTERA [email protected] second season: July 4, Frank Rippl, Recital Series continues recitals, 608/634-6253 sing-a-long, All Saints Episcopal Church; hosted by Christ Church, Michigan City, Circulation/ 7/5, David Bohn, The History Museum Indiana, Wednesdays at 12:15 p.m. The Subscriptions DONNA HEUBERGER [email protected] at the Castle; 7/12, Devin Atteln, St. series features 1891 Frank Roosevelt 847/954-7986 Methuen Memorial Music Hall Joseph ; 7/13, Andrew Opus 506, three manuals, 28 ranks: July Birling, Memorial Presbyterian Church; 5, Carol Garret; 7/12, Ann Dobie; 7/19, Designer KIMBERLY PELLIKAN Methuen Memorial Music Hall, 7/19, Naomi Rowley, First Congrega- Mark Sudeith; 7/26, Kent Jager; August [email protected] 847/391-1024 Methuen, Massachusetts, continues its tional Church; 7/26, Derek Nickels, Zion 2, Jeremy Kiolbassa; 8/9, Lee Meyer; 2017 series of organ recitals, held at 8 Lutheran Church. 8/16, Stephen Buzard. For information: Contributing Editors LARRY PALMER p.m.: July 4, “Red, White, and Blue Fes- August 2, Jared Stellmacher, St. [email protected]. Harpsichord tival,” featuring Raymond Nagem and Mary’s Catholic Church; 8/9, Don BRIAN SWAGER Joyce Painter Rice; 7/5, Suzanne Ozorak; VerKuilen, First United Methodist 4 Sundays @ 4 announces recitals, Carillon 7/12, Jillian Gardner; 7/19, Leo Abbott; Church; 8/10, Sarah Kraaz, St. Paul Sundays at 4:00 p.m. in Virginia: July 9, 7/26, Jennifer McPherson; August 2, Lutheran Church; 8/16, Matthew Buller, Steven Koger, Pocahontas Bassett Bap- JOHN BISHOP In the wind . . . Jeremy Bruns; 8/9, Kevin Birch; 8/16, First English Lutheran Church; 8/17, tist Church, Bassett; 7/16, Robert Chap- Katie Minion; 8/23, Andrew Sheranian Samuel Buse, Lawrence University; man and Baxter Jennings, “Christmas in GAVIN BLACK with Michael Judd Sheranian, violin; 8/23, Vashni Seitzer, St. Joseph Catholic ³ page 4 On Teaching

Reviewers John M. Bullard THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Jay Zoller Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2017. Printed in the U.S.A. Leon Nelson 5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Periodical postage paid at Pontiac, IL, and at additional mailing offices. at the rate of one copy for every fi fteen students. Such copies may be reused for other POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, courses or for the same course offered subsequently. Suite 201, Arlington Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles the validity of information supplied by contributors, vendors, should request a sheet. Unsolicited reviews cannot be accepted. advertisers, or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2017 Q 3 Here & There

³ page 3 July 16, Bryan Dunnewald; August 13, The Seminary of the Immaculate July,” Broad Street Christian Church, Thomas Fielding. For information: Conception, Huntington, New York, Martinsville; 7/23, Ronn Lowe, First www.guadalupeshrine.org. hosts its Liturgical Music Institute, July Baptist Church, Martinsville; 7/30, 23–28, offering musical, liturgical, and Matthew Cates, First United Methodist pastoral formation for new and experi- Church, Martinsville. For information: enced liturgical musicians. A theology [email protected]. course, skills workshops (organ, voice, choral conducting, music theory, and music composition) and plenum work- shops are offered. Faculty includes Alan Hommerding, Frank Crosio, Christo- Chartres Cathedral organ pher Ferraro, John Miller, and others. For information: Association des Grandes Orgues www.liturgicalmusicinstitute.org. de Chartres announces its 43rd Annual Hutchings-Plaisted organ, First Parish International Organ Festival, with recit- Church, Brunswick, Maine CONCORA will host its 18th Sum- als in the cathedral of Chartres, France, mer Festival, Exploring the Great Sundays at 4:15 p.m.: July 9, Shin Young First Parish Church United Choral Masterworks, July 30–August 5 Casavant organ, Sinsinawa Mound Lee; 7/16, Lynne Davis; 7/23, Loreto Church of Christ, Brunswick, Maine, at Bethany Covenant Church, Berlin, Aramendi; 7/30, Pascale Mélis; August presents its 32nd annual summer organ Connecticut. Excerpts from works by Sinsinawa Mound, Sinsinawa, 6, Coralie Amedjkane; 8/13, Patrick concert series on Tuesdays at 12:10 Bach, Handel, Mozart, Vivaldi, Brahms, Wisconsin, continues its summer organ Delabre; 8/20, Françoise Dornier; 8/27, p.m.: July 18, Keith Reas; 7/25, Mike Mendelssohn, Rossini, Fauré, and others concert series, featuring the Casavant Véronique Leguen. For information: Logtenberg; August 1, Harold Stover; will be studied and performed. The pub- organ, designed by Lawrence Phelps, http://orgues-chartres.org. 8/8, Ray Cornils; 8/15, Alan Saggerson. lic concert will be August 5, 4:00 p.m., in in the Queen of the Rosary Chapel: The concerts are played on the church’s Bethany Church. For information: July 5, Charles Barland; 7/12, Jay The 20th Historic Organs of Biella 1883 Hutchings-Plaisted organ, restored www.concora.org. Peterson; 7/19, Robert Zanca; 7/26, no International Festival will take place in 2003. A tour of the historic church, concert; August 2, David Jonies; 8/9, July 15 through September 17 in various established in 1717 and added to the The 30th Historic Organs of Vals- Scott Montgomery; 8/16, Karen Black; towns in the vicinity of Biella, : July National Register of Historic Places in esia International Festival will take 8/23, Stephen Steely; 8/30, Peter Szei- 15, Mario Duella with Valeria Matteazzi 1969 will be available after each con- place July 30 through September 18 in bel. For information: and Enrica Maffeo, sopranos, Camburz- cert. Ray Cornils serves as minister of various towns in the region www.sinsinawa.org. ano; 7/28, Sandro Carnelos, Viverone; music. For information: 207/729-7331; of Italy: July 30, Sandro Carnelos, 7/29, Sandro Carnelos, Oropa; August rcornils@fi rstparish.net. ; 7/31, Sandro Carnelos, 12, Eugenio Maria Fagiani, Trivero/ ; August 2, Renato Negri, Sab- Bulliana; 8/13, Mario Duella with Enrica bia; 8/4, Thomas Scardoni, Varallo; 8/5, Maffeo, soprano, Sostegno; September Mario Duello with Ubaldo Rosso, fl ute, 10, Andrea Schiavio with Iroko Ito, Rastiglione; 8/6, Luca Lavuri, ; 8/7, soprano, Pralungo; 9/17, Manuel Toma- Luca Lavuri, Scopa; 8/8, Adam Sadowski din, . For information: with Kamil Kruzkowski, trombone, Gri- www.storiciorganipiemonte.com/eventi_ gnasco; 8/9, Adam Sadowski with Kamil biellese.htm. Kruzkowski, trombone, ; 8/10, Adam Sadowski with Kamil Kruzkowski, trombone, ; 8/11, Eugenio Maria Fagiani, Crevola; 8/14, Mario Duella with Enrica Maffeo, soprano, Rassa; September 3, Mario Duella with Vittorio Marchese, violin, Cressa; 9/8, Massimo Andrea Verzilli, ; 9/9, Andrea Schiavio with Iroko Ito, soprano, ; 9/16, Manuel Tomadin, Gat- tinara; 9/18, Manuel Tomadin, Saravalle. For information: 1860 E. & G. G. Hook Opus 288, St. http://www.storiciorganipiemonte.com/ St. Paul Cathedral, Pittsburgh, John’s Catholic Church, Bangor, Maine eventi_valsesia.htm. Beckerath organ St. John’s Organ Society, Bangor, The summer organ course OrgueVal St. Paul Catholic Cathedral, Maine, announces summer organ will take place July 30 through August Pittsburgh, Pennsylvania, continues its recitals on the 1860 E. & G. G. Hook 6 in Bévilard, Switzerland. Faculty will series of organ recitals, Sundays at 4:00 Opus 288 in St. John’s Catholic Church, include Betty Maisonnat and Yves-G. p.m.: July 9, Kevin Vaughn; 7/16, Jeanne Thursdays at 7:30 p.m.: July 20, Mike Préfontaine. For information: Kohn; 7/23, Gail Henry; 7/30, Joseph Logtenberg with Choeur d’Enfants https://orgueval.org. Balistreri; August 6, Nicholas Will; 8/13, Noack organ, Shrine of Our Lady of Gua- d’Ile-de-France of Levallois, France; Christopher Berry; 8/20, Don Fellows. dalupe, La Crosse, Wisconsin 7/27, Mike Logtenberg; August 3, Per- Friends of the Kotzschmar Organ, In addition, recitals are offered as fol- melia Sears; 8/10, Abraham Ross; 8/17, Merrill Auditorium, Portland, Maine, lows at 7:30 p.m.: October 20, Matthew The Shrine of Our Lady of Gua- George Bozeman; 8/24, Kevin Birch; announces programs featuring the audi- Dirst; 10/24, Giancarlo Parodi; Novem- dalupe, La Crosse, Wisconsin, contin- 8/31, Margaret Harper. For further torium’s historic Austin organ: August ber 17, Margaret Harper. For informa- ues summer organ recitals, Sundays at information: 1, Orgelfest 2017 Performance, Monica tion: http://stpaulpgh.org. 3:00 p.m., on the Shrine’s Noack organ: http://hookopus288.org. ³ page 6

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4 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon /Lecturer Organist/Conductor/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Montevideo, Uruguay Charlotte, North Carolina Ann Arbor, Michigan Birmingham, Alabama Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Sarah Hawbecker James D. Hicks Organist Organ/Carillon Professor of Organ Organist/Recording Artist Organist/Presenter Organist Holland, Michigan University of Florida University of Alabama Oconomowoc, WI , GA Califon, NJ

Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Wynford S. Lyddane Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Pianist/Instructor Brooklyn, New York San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX Washington, D.C.

Colin Lynch Philip Manwell Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Organist/Conductor Organist Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Boston, Massachusetts Reno, Nevada U of -Lincoln Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

Anna Myeong David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Organist/Lecturer Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Madison, Wisconsin Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK

Clarion Duo Duo Majoya Rodland Duo Christine Westhoff Keith Benjamin, trumpet Organ and Piano Viola and Organ & Timothy Allen University of Missouri-Kansas City Marnie Giesbrecht, Joachim Segger Eastman School of Music/ Soprano and Organ Melody Steed, organ, Bethany College U of Alberta, King's U, St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 30th year of operation Here & There

³ page 4 8/20, St. Hedwig Catholic Church, Mil- waukee; September 10, St. John Cantius Catholic Church, Chicago, Illinois; 9/19, St. Hedwig Catholic Church, Milwaukee; October 1, St. Hedwig Catholic Church, Milwaukee; 10/15, King’s Chapel, Boston, Massachusetts; November 23, Milwaukee Catholic Home; 11/29, Cathedral of St. John the Evangelist, Milwaukee; Decem- A postcard (c. 1903) of the Salt Lake ber 10, St. John’s Lutheran Church, Marilyn Keiser and participants in her City Tabernacle and its W. W. Kimball Co. Milwaukee; January 14, 2018, Salem workshop organ and console Lutheran Church, Milwaukee; February 6, Incarnation Lutheran Church, Mil- The Southwest Florida Chapter of the in the “pioneer” days by Joseph Ridges waukee; March 18, St. John’s Lutheran American Guild of Organists sponsored and Niels Johnson through the instru- Church, Milwaukee; April 5, St. Mary’s Marilyn Keiser in a workshop at its The Kotzschmar Organ, Merrill Audito- ment’s various rebuilding projects by Episcopal Church, New York, New York; annual banquet, May 5, at St. Michael rium, Portland, Maine W. W. Kimball Co., Austin Organ Com- May 14, Southwark Cathedral, London, and All Angels Episcopal Church, Sani- pany, Aeolian-Skinner Organ Company, UK; July 1, Cathedral of St. Mary of the bel Island, Florida. Pictured from left to Czausz; 8/2, demonstration concerts and the 1980s renovation by Schoenstein Assumption, San Francisco, California. right are Paula Leighton, John Renfro, and tours, Ray Cornils; 8/8, Orgelfest & Co. A part of the exhibit is the 1901 For information: Marilyn Keiser, and Hank Glass. 2017 Performance, Richard Elliott; 8/12, W. W. Kimball Co. console; personal http://karenbeaumontorgnaist.mysite.com. Kotzschmar Organ Day, performances items of various Tabernacle organists are by local organists and tours of the organ also on display. For information: windchests; 8/15, Orgelfest 2017 Perfor- https://history.lds.org. mance, Nathan Avakian; 8/22, Orgelfest 2017 Performance, Ray Cornils and Kotzschmar Festival Brass; 8/23, demon- People stration concerts and tours; September 16, Nathan Laube; October 24, silent fi lm, Phantom of the Opera, with Tom Trenney; December 19, Kotzschmar Christmas with Cornils 2017, mark- ing Ray Cornils’s fi nal performance as Philip Crozier municipal organist. For information: www.foko.org. Philip Crozier presents summer organ recitals: July 16, Friedenskirche, Siek, Kola Owolabi and Daniel Strong Godfrey The American Institute of Germany; 7/23, Wallfahrtkirche, Andechs, Organbuilders will present its mid- Germany; 7/28, Sankt Nikolai, Kiel, Ger- Kola Owolabi gave the premiere year seminar, Tracker Organbuilding, many; 7/30, Klosterkirche, Riddagshausen, performance of Caprices and Interludes August 18–19, in Staunton, Virginia. Franklin Ashdown Germany; August 3, Stadtpfarrkirche, (2016), a four-movement suite for solo The seminar will examine the process of Mödling, Austria; 8/6, Église Saint- organ by Daniel Strong Godfrey April design and building mechanical-action Franklin Ashdown announces the Georges, Cacouna, Québec, Canada. 8 at St. Francis of Assisi Catholic Church, organs at Taylor & Boody Organbuild- release of newly published organ collec- Ann Arbor, Michigan. Owolabi is associ- ers. In addition, the AIO will hold its tions and choral compositions. Adagios ate professor of organ at the University 44th annual convention in Fort Collins, of Hope and Peace, issued by Augsburg of Michigan School of Music, Theatre, Colorado, and vicinity, October 1–4. The Fortress, is a set of ten free-style and and Dance, and Godfrey is chair of the schedule includes lectures by Joseph hymn-based pieces, useful for memo- department of music at Northeastern Zamberlan, Jonathan Ambrosino, Joseph rial services, preludes, and offertories. University’s College of Arts, Media, and Rotella, Susan Tattershall, and Sebastian Come, Love Divine: Nine Pentecost Design, Boston, Massachusetts. Godfrey Glück, as well as instruments by Charles Organ Settings is also now available from has received awards and commissions Anderson (1873, the oldest organ built Augsburg Fortress (www.augsburgfor- from the J. S. Guggenheim Memorial in Colorado), Visser-Rowland, W. W. tress.org). Echoes of Praise, consisting Foundation, the American Academy of Kimball Co., E. & G. G. Hook, Casavant, of seven hymn-based and two free-style Arts and Letters, the Rockefeller Founda- Quimby, and others. For information: compositions, is a collection available tion, and the Koussevitzky Music Foun- www.pipeorgan.org. from Sacred Music Press (Lorenz, dation. His music has been performed www.lorenz.com). Two recently pub- At Washington and Jefferson College, by string quartets, chamber ensembles, The organ of the Salt Lake Taber- lished choral works are Of the Father’s Paul Jacobs stands between George and symphony orchestras throughout the Rau, his fi rst organ teacher, and Susan nacle, Salt Lake City, Utah, is mark- Love Begotten for SATB and organ Woodard, his high school piano United States and abroad. ing its 150th anniversary in 2017. The (Sacred Music Press) and A Canticle teacher. original, not-quite-fi nished instrument of Transfi guration for SATB and organ, Harold Stover played a recital May was played publicly for the fi rst time in available from Paraclete Press (https:// Paul Jacobs has been awarded an hon- 21 at Second Presbyterian Church in October 1867 at a general conference of paracletesheetmusic.com). orary Doctor of Music degree from Wash- , the program including the Mormon Church. The Church His- ington and Jefferson College, Washington, the premiere of Feria, his newest organ tory Museum of Salt Lake City opened Karen Beaumont plays recitals: July Pennsylvania. The ceremony took place work. The recital was sponsored by the an exhibit on the organ’s history May 19 16, St. Hedwig Catholic Church, Milwau- on campus on May 20. Jacobs, head of the Alexander Robertson School, operated of this year, and the event will continue kee, Wisconsin; 7/30, Milwaukee Catholic organ department of The Juilliard School by the church where Stover taught through April 2018. The exhibit details Home, Milwaukee; August 13, St. Pat- of New York City, is the fi rst organist to from 1968 until 1992 when he was the organ’s history from its construction rick’s Cathedral, New York, New York; have been presented a Grammy Award. ³ page 8

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³ page 6 Competitions

1955 Kuhn Organ in the Cathedral of the Immaculate Conception of the Holy Vir- gin Mary, , Sacred Heart Catholic Church, Waterbury, Connecticut, 1892 Johnson & Son organ Harold Stover The Second Odoyesvky Interna- (photo credit: William T. Van Pelt) tional Organ Competition will take organist and choirmaster of the church. place in Moscow, Russia, November In early May, the Catholic Archdiocese of Hartford, Connecticut, announced At a ceremony following the recital, the 19–27. Organized by the Odoyevsky its reorganization plan following two years of study. The Archdiocese reduced its 212 school announced the establishment Cultural and Educational Organ Arts parishes to 127 by June 29, a process that involved the closure of 26 parishes and the of the Harold Stover Award in Music, Center and the Gnessins Russian Acad- merger of 59 parishes, with unions involving anywhere from two to six parishes. The to be given to a graduate of the school emy of Music, the biennial competition largest reorganization in one city occurred in Waterbury, with six parishes merging each year. consists of four rounds in which partici- and four closing. While many of the merged parishes house pipe organs, arguably pants will play organs of different styles the most signifi cant involved in the reorganization was the pipe organ in Sacred and epochs in fi ve Moscow halls includ- Heart Catholic Church of Waterbury, which closed. Johnson & Son Opus 778, a ing the organ hall of Gnessins Russian three-manual, 36-rank organ installed in 1892, featured mechanical key action with Academy of Music, which houses an pneumatic assists. The instrument has been featured at Organ Historical Society con- 1871 Henry Jones organ. The fi rst part ventions, in journal articles, and on recordings, and was awarded an OHS Historic of the fi nal round will take place on the Organ Citation. 1955 Kuhn organ at Moscow’s Cathedral of the Immaculate Conception of the Holy Virgin Mary. Alexander Fiseisky is chair of the competition jury. Appli- cants should be between the ages of 17 and 33 at the time of the opening of the competition. Deadline for applications is September 20. First prize award is 120,000 rubles; second prize is 60,000 rubles; third prize is 40,000 rubles. For information, including complete rules and application: http://gnesin-academy. ru/organ_competition.

James Welch Publishers Breitkopf & Härtel announces new Paul Jacobs, Mary Huff, Andrew Henderson, John Weaver, David Enlow, and James Welch plays recitals: July 15, publications: Missa in a (opus posthu- Marianne Weaver with Erin McOmber, soprano, Oakland mous) by Friedrich Schneider is scored Temple Visitors’ Center, Oakland, Califor- for double choir a cappella, edited by John Weaver’s 80th birthday was celebrated at Madison Avenue Presbyterian nia; 7/23, with Barbara Cramer, soprano, Nick Pfefferkorn (ChB 32104, €14.50). Church (MAPC), New York, New York, on the church’s Music on Madison con- Ensign LDS Stake Center, Salt Lake City, It was composed in September 1815 cert series on Sunday, April 30. The concert featured favorite organ and choral Utah; 7/26–27, Bach Festival, Mount while the composer was productive in works performed by Dr. Weaver’s students and successors: Paul Jacobs, chair of Angel Abbey, St. Benedict, Oregon; Leipzig. Jan Dismas Zelenka’s Missa the organ department of The Juilliard School; David Enlow, organ faculty, The August 11, St. Mary Catholic Cathedral, votiva in E Minor, ZWV 18, is scored for Juilliard School; and Andrew Henderson, director of music and organist, MAPC; Gaylord, Michigan; 8/16, with Barbara choir, soloists, and orchestra. Edited by and Mary Huff, associate director of music, MAPC; with the Choir of Madison Cramer, Brigham Young University, Reinhold Kubik, this Mass is a setting Avenue Presbyterian Church. Provo, Utah; September 16, Bethania from the Dresden Baroque. There is a John Weaver served as MAPC’s director of music and organist from 1970 to 2005 Lutheran Church, Solvang, California; full score (PB 5577, €89), as well as a and was named Director of Music Emeritus upon his retirement; in addition to being 9/22, Santa Barbara Stake Center, Santa piano/vocal score (edited by Matthias chair of the organ departments of the Curtis Institute (1972–2003) and The Juilliard Barbara, California; October 31, Hal- Grünert, EB 8053, €19.90). Orchestral School (1984–2004). The concert proceeds were directed to the upcoming capital loween Concert, St. Mark’s Episcopal parts are available for rental. For further campaign of the Presbyterian Association of Musicians (PAM), “Remember Well Church, Palo Alto, California; January 24, information: www.breitkopf.com. the Future,” in honor of Dr. Weaver’s distinguished career and longtime devotion to 2018, Utah State University, Logan, Utah. ³ page 10 PAM. Donations can be made in John Weaver’s honor by visiting www.presbymusic. org/donations. Confident pedal work comes with practice and the right shoes on the pedals

x Men’s & Women’s with suede soles and heels x Whole & Half Sizes in 3 Widths Attendees at Brown University recital x Quick & Easy Returns Brown University alumna Anne Laver performed the annual E. J. Lownes Memo- rial Organ Recital on the 1903 Hutchings-Votey organ of 58 ranks in Sayles Hall, Brown OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET University, Providence, Rhode Island, March 12. Pictured left to right are Brown 44 Montague City Rd Email: [email protected] students Marla Mrowka, William Patterson, university organist and senior lecturer in Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes music, Mark Steinbach, Brown alums Anne Laver, Trevor Pollack, and Laura Brion.

8 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM JOYOUS DEDICATION FAITHFULLY COMMITTED TO INSPIRING GENERATIONS

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EXPERIENCE ELEVATED Here & There

Bach, , Jehan Alain, Nunc Dimittis Charles Vierne, Charles Tournemire, Herbert Howells, and . James Metzler of Sylvania, Ohio, died May 19 at the For information: www.proorgano.com. age of 69. Born June 20, 1947, in Worcester, Massachu- setts, Metzler was adopted at a young age and, after his adopted mother became ill, was raised as a foster child in various homes and orphanages until the age of Organbuilders 18. As a teenager, he sang in the men and boys choir of All Saints’ Episcopal Church, Worcester, and took or- St. James Episcopal Cathedral, gan lessons from Henry Hokans. He earned his Bach- Chicago, Illinois elor of Music degree from Westminster Choir College, James Metzler Princeton, New Jersey, and his Master of Music degree school offers boys and girls a musical from the Hartt School of Hartford, Connecticut. He training at no cost. By encountering and completed some doctoral work in organ and musicology studies at the Uni- mastering works of the choral repertoire, versity of Michigan, Ann Arbor. Additional studies were at the Royal School choristers will learn musical skills, team- of Church Music, Croydon, England. In addition to Hokans, his organ teach- work, discipline, and empathy. Choris- ers included Robert Carwithen, Alec Wyton, John Holtz, Marilyn Mason, and ters will have the opportunity to go on Martin Neary. Metzler held a fellowship diploma from the Cambridge Soci- tours, attend summer choir camp, and ety of Musicians (FCSM), a fellowship diploma from the Guild of Musicians make recordings, while singing music to and Singers (FGMS), a fellowship diploma from the Honourable Company a professional standard. Choristers will of Organists (FHCO), Toronto, Canada, and an honorary fellowship diploma receive a scholarship toward instrumen- from the National College of Music and Arts (HonFNCM), London, for ser- tal lessons taught at St. James by faculty vices to music. the Music Institute of Chicago. The In 1972, Metzler moved to Toledo, Ohio, to become organist and choirmas- Choir School is open to students enter- ter for Trinity Episcopal Church, serving until 1996. From 2006 until 2013, he ing grades 3 through 8, regardless of served as minister of music for First (Park) Congregational Church (United religious affi liation. The Choir School is Church of Christ), Grand Rapids, Michigan. He taught music courses at the an affi liate of the Royal School of Church Bergstrom/Hupalo & Repasky organ, University of Toledo, Grand Valley State University, Allendale, Michigan, and Music in America. For information: Christ Episcopal Church, Sausalito, Mitchell College, New London, Connecticut. As a recitalist, he performed www.saintjamescathedral.org/ California throughout the United States as well as in . choirschool. James Metzler is survived by his wife Diane, whom he married in 1988, two Hupalo & Repasky Pipe Organs, sons, Jeff Metzler and Yurii Fought, brothers and sisters-in-law, Charlie and Julie LLC, of San Leandro, California, has Schwochow of Fremont, Ohio, and Dave and Nancy Lee of Alva, Florida, and reconstructed and expanded the John nieces and nephews in Ohio, Florida, and Colorado. A funeral Mass was cel- Recordings Bergstrom organ for Christ Episcopal ebrated May 22 at Our Lady, Queen of the Holy Rosary Cathedral, Toledo. Q Church, Sausalito, California. The Berg- strom organ was built as a one-manual instrument in 1891 for Christ Church. ³ page 8 2003 until 2013. Mardirosian is dean of In 1949, the much larger congregation the College of Arts and Letters at the had the organ rebuilt and enlarged University of Tampa, Florida, as well as signifi cantly on new electro-pneumatic an organist, composer, conductor, and windchests with a Swell division and recitalist. The foreword is contributed additions to the Great and Pedal divi- by Craig R. Whitney. This annotated col- sions. After 60 years in this state, it was lection of essays examines the organ and decided to reconstruct the organ with the organist through humor, memory, a new mechanical action, retaining the business, liturgy, and artistry. For infor- Jean-Baptiste Robin original pipework, with some new ranks mation: www.morningstarmusic.com. of pipes fi tting the style of the original Brilliant Classics announces release 1891 organ. The present instrument Editions Walhall announces new of a new CD by Jean-Baptiste Robin, consists of two manuals, 20 ranks. For publications, including Il secondo Libro Fantaisie Mécanique: Music with Organ. information: www.hupalorepasky.com. di Toccate for harpsichord or organ, by The disc (95479) features music of Girolamo Frescobaldi (S1004, €36), a Robin’s composition, for organ and other facsimile of the 1637 edition printed in instruments. Instrumentalists include: Rome. Franz Josef Stoiber (b. 1959), Romain Leleu, trumpet; François Suite Nun lobet Gott im hohen Thron for Chaplin, piano; Philippe Cuper, clarinet; trumpet (fl ugelhorn) and organ; based on Frédéric Champion, organ; and the the Dorian mode hymn Nun lobet Gott Orchestre Régional de Normandie, con- im hohen Thron, this eight-movement ducted by Jean Deroyer. The featured suite is suitable for both practiced ama- organ is the Stahlhuth/Jann instrument teurs and professional musicians; part of of Saint-Martin Church, Dudelange, Series Sacri Concentus Ratisbonenses– Luxembourg. For information: Reihe geistlicher Musik der Hochschule www.brilliantclassics.com. MorningStar Publishers announces für katholische Kirchenmusik und publication of Vox Humana: Essays Musikpädagogik Regensburg (EW1014, about the World of the Pipe Organ and €13.80). For information: Those Who Play It, collected articles by www.edition-walhall.de. Haig Mardirosian from his column in The American Organist magazine from Choir programs Létourneau Opus 133, Waldensian Pres- St. James Episcopal Cathedral, byterian Church, Valdese, North Carolina Chicago, Illinois, Stephen Buzard, director of music, is establishing the St. Waldensian Presbyterian Church, James Cathedral Choir School, a new Valdese, North Carolina, has chosen offering in music education for children Orgues Létourneau of Saint-Hyacinthe, in Chicago. An after-school program, the Québec, Canada, as their organbuilder to design, build, and install a new 19-rank pipe organ in their historic church. Létour- Evocations neau’s Opus 133 will be placed in a painted case located in the apse at the front of the ProOrgano announces the release of church from where it will speak directly a new CD, Evocations, featuring Katelyn down the nave. The organ’s two-manual Emerson in her debut recording release console will be detached and reversed playing the 1936 Aeolian-Skinner Opus from the organ case and will have mechan- 940 of the Church in the Advent, Bos- ical key action. The console’s ebony stop- ton, Massachusetts. Emerson is associate knobs will be in terraced stop jambs and organist and choirmaster at the Church will operate electrically via a combination of the Advent and is a member of The action with 100 levels of memory. Comple- Diapason’s 20 Under 30 Class of 2015. tion of the instrument is expected for On this disc, Emerson performs works December 2017. For information: http:// www.pipe-organ.com of Nikolaus Bruhns, Johann Sebastian letourneauorgans.com.

10 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM Harpsichord News

By Larry Palmer three performances posted on YouTube, and a computer-generated score may be Celebrating Scott Ross followed. An Internet friend alerted my The Diapason for October 1971 student to this work, provided her with (62nd year, number 11, whole number his photo-montage of the score, and she 743) featured a non-organ event on the generously shared a copy with me. front page for the fi rst time in the maga- I am absolutely entranced by this zine’s venerable history. Under a bold modern adaptation of a French genre in headline that read “Bruges International which all the notes are present but group- Harpsichord Competition and Festival,” ing and shaping of the musical ideas is the article was my several-page review of entirely up to the performer. In this case the triennial event that had taken place Ross’s Preludio all’Imitazione del Sig. in Belgium during the previous summer, Vanieri Tantris Soldei is a wickedly clever July 31 through August 6. evocation of chromatic harmonies to be found in Wagner’s opera Tristan und The text began: A First Prize Isolde (as revealed by the acrostic Tantris Soldei, obviously a slight scrambling of At 1 o’clock in the morning, a weary, but the opera’s title). This prelude should exhilarated audience applauded an extraor- engender smiles of recognition from any dinary winner: Scott Ross, born 20 years ago operatically savvy listener, and it gains Scott Ross at the Rubio harpsichord, Bruges 1971 (Collection of Larry Palmer) in Pittsburgh, Pa., and now a resident of France, became the fi rst harpsichordist ever a most lofty status among clever recital to be awarded a fi rst prize in the Bruges In- encores, so far as I am concerned. was truly a citizen of the musical world, the player). These pieces were com- ternational Harpsichord Competition. Ross Not the least of pleasures is that which lost a major fi gure of the harpsi- posed by Philipp Christoph Hartung had been an electrifying personality since Ross’s clever addition to our repertoire chord revival when she died in 1995. for his Musicus-Theoretico-Practicus, the opening round, when, playing next-to- brought back such vibrant memories of However, her legacy lives on, well published in Nürnberg in 1749. As the last on the third afternoon, he gave fl awless his Bruges triumph and reminded this documented in Peter Watchorn’s Isolde composer wrote, “(These three num- and illuminating performances of the Bach writer of what we lost when Scott Ross Ahlgrimm, and the Early Music bers) are to be played by the right hand Prelude and Fugue in F-sharp Minor (WTC succumbed to AIDS-related pneumonia Revival (Ashgate Publishing, 2007) as or left hand alone. From this one gains II) and of the William Byrd Fantasy III. He and died at his home in France, at the age well as in the pedagogical gem Manuale an ability which can be put to good use received so much applause from a hereto- fore soporifi c audience that the secretary of of 38. The Prélude joins Scott’s recorded der Orgel und Cembalotechnik (Finger at times when it is necessary to take the jury had to ring the bell for order. legacy of French claveçin pieces and his Exercises and Etudes, 1571–1760, one hand or the other away from the complete recording of the 500-plus Key- Vienna: Doblinger, 1982) in which Ahl- keyboard.” Ahlgrimm always laughed at The seven-member jury for the 1971 board Sonatas by Domenico Scarlatti to grimm presents a collection of useful the suggestion made by some keyboard competition certainly highlighted the remind us of what was silenced by such technique-building examples from the teachers that Baroque composers did not international scope of the event, com- an early demise. heyday of our instrument. Her descrip- use exercises. Her levity is proven to be prising Kenneth Gilbert (), tive texts are printed in parallel columns deserved: she made her point with these Raymond Schroyens and Charles Koenig From a Letter to the Harpsichord of German and English, so there is no 78 pages of period examples and her (Brussels), Colin Tilney (London), Rob- Editor: need to fear this book if German does not explanations. Those who use the Manual ert Veyron-Lacroix (Paris), Isolde Ahl- Beverly Scheibert comments on the happen to be a comfortable language. will surely be more technically secure for grimm (Vienna), and Gustav Leonhardt March and April harpsichord columns: Of particular interest are the pieces having done so. Q (Amsterdam). This distinguished panel I plan to play in celebration of Frau had selected fi ve fi nalists and ultimately Re the Italian trill: In all Italian sources Ahlgrimm’s natal day: three single- Comments are always welcome. ranked them in this order: following Ross’s I have seen, it begins on the main note, ex- page fugues (pages 54–56) designed to Address them to: [email protected] or triumphant fi rst, second place went to cept from those who were working abroad be played by one hand only (with the Larry Palmer, 10125 Cromwell Drive, (and one of these illustrates in another John Whitelaw (Canada), third to Chris- writing a long trill beginning on the main choice of right or left to be decided by , Texas 75229. topher Farr (England), and fi fth place to note). My article in The Consort 64 (2008: Alexander Sung (Hong Kong). No fourth pp. 90–101, by Beverly Jerold) documents prize was awarded, but a fi nalist’s honor- that the upper-note trill was confi ned pri- able mention was presented to the French marily to perfect cadences, where it forms contestant, Catherine Caumont. a dissonance against the bass. Most other During my long tenure as harpsichord trills are simply an inverted mordent. contributing editor, a position to which Re Couperin’s petites notes: You are I was appointed in 1969 by The Dia- perfectly right, except that many are to be played on the beat, but with “no value,” pason’s second editor, Frank Cunkle, so that the main note seems to retain its there have been other issues with non- rightful position. I have located six French organ cover art and quite a few featured sources that describe this ornament as hav- articles celebrating harpsichords and ing “no value whatever,” eight that say it harpsichordists. Festive issues dedicated “counts for nothing in the measure,” and to Wanda Landowska (1979) and William fourteen that illustrate it as falling before Dowd (1992) come to mind most vividly. the beat. Because of all the harmonic er- But in claiming the surprising novelty rors created, D’Anglebert’s illustration of a fi rst-ever cover position, I am rely- (and that of his four copiers) cannot be taken literally. Notation standards 300 ing on the historical acumen of Robert years ago were not ours, as confi rmed by Schuneman, the editor who succeeded two French (and several German) sources Mr. Cunkle. Although I have bound whose explanatory text contradicts their copies of each year of The Diapason musical example. There is no accurate way beginning with 1969 (and some single to notate a realization of an ornament that issues prior to that), I cannot claim that has “no value whatever.” I have perused every one of the maga- zine’s copious publications. If any reader Our thanks to Ms. Scheibert for these knows of a prior non-organ event that musicologically supported and eminently was featured on a fi rst page or cover, I sensible observations. would appreciate being informed. Early Keyboard Journal Scott Ross and a Prélude Early Keyboard Journal Volume 30 Non-Mesuré (2013) is available at last. After many It has been true in many instances that publishing delays the intriguing and I have learned a great deal from my stu- extensive article, “The Other Mr. Cou- dents, and now that my studio comprises perin” by Glen Wilson, is fi nally in print, only two adults, each of whom visits for as is David Schulenberg’s “Ornaments, a monthly harpsichord lesson, I am still Fingerings, and Authorship: Persistent the benefi ciary! One of these delightful Questions About English Keyboard individuals surprised me with a two-page Music circa 1600.” It is available from unmeasured prelude composed by Scott the Historical Keyboard Society of Ross. Notated entirely in whole notes in North America: the style of a French baroque composi- http://historicalkeyboardsociety.org. tion, Ross’s short piece was created as a sight-reading exercise for one of the Remembering Isolde Ahlgrimm Paris Harpsichord Competitions. As far on her birthday (July 31) as we can ascertain, the work has never Born in 1914 in Vienna, my fi rst been published, but there are at least harpsichord teacher Isolde Ahlgrimm

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2017 Q 11 In the wind...

On the road again . . . What do you get when you play a country song backwards? —You get your dog back, you get your truck back, you get your wife back . . . I worked in the shop of Angerstein & Associates in Stoughton, Massachusetts, between 1984 and 1987 with an assort- ment of coworkers. There was a minister from an obscure sect who spent lunch and coffee breaks reading the King James Bible, a motorcycle mechanic who had run the service department of a Honda dealership, a carpenter who had worked on large construction projects, two conservatory organ major graduates, Dan Angerstein, and his sister, Linda, both educated and cultured people. There were frequent discussions about what would play on the radio. I preferred solid classical music, a couple co-workers were rock-n-roll devotees, and the minister had cassettes of treacly inspirational music. Country-Western Hook & Hastings organ and the Malagasy Army Organ installation, Tranovato Faravohitra music was a frequent compromise. Jack, the motorcycle guy, was exceptionally quick witted. Hardly a day passed with- out some hilarious quip fl oating across from his workstation, and I was deep in the thrall of puns, a habit that my family still shouts about, but I believe secretly envies.1 We had a blast making up new lyrics to songs like All the Girls I’ve Loved Before (Willie Nelson and Julio Iglesia), Better Keep Your Hands Off My Potential New Boyfriend (Dolly Parton), and Drop Kick Me, Jesus, Through the Historical marker in front of church Goalposts of Life (Bobby Bare). Oh boy, those were the days. husband lectured us about smoking and Willie Nelson provided another favor- brought home a smoker’s lung in a glass ite: “On the road again. Just can’t wait jar to make his point.2 to get on the road again. The life I love I’ve driven dozens of rental trucks is making music with my friends, and I across the country, one of which wound can’t wait to get on the road again.” That up on its side. I’ve been with hundreds one really resonated for me, because of people experiencing the excitement Ambassador Andrianarivelo, President Ravalomanana, and John Bishop since my fi rst days in an organ shop in of the delivery of their new organ, the summer of 1975, I’ve loved the part squealing with delight as the blower Diapason and reread the last eight (or Church of the Hurling Cliff. Tranovato of that takes you out of went on for the fi rst time and the fi rst so) paragraphs. Faravohitra commemorates a martyr town, loading an organ into trucks and pipes sounded. I’ve sat in the pews on Zina Andrianarivelo, Madagascar’s who was burned alive. The two sites are setting off for adventure, camaraderie, the fi rst Sunday after the organ case was ambassador to the United Nations, called a couple miles apart. Legend has it that mishaps, and triumphs. erected, watching the reactions of the me in the spring of 2008. Of course, I on the days of the two martyrdoms, a There was the delivery of an organ to parishioners as they saw it for the fi rst thought, you’re Madagascar’s ambassa- rainbow connected the two sites. the chapel of an exclusive island summer time. One little girl announced at the dor to the United Nations. I get calls like President Ravolamanana grew up community that required three trips on top of her voice, “I liked the old one this all the time. The ambassador attends in the rural village of Imerinkasinana, the little ferry to transport the organ better.” I’ve attended the weddings of the Fifth Avenue Presbyterian Church about an hour drive from Antananarivo across the water. the daughters of members of the organ in New York, and the organist there told (colloquially contracted to Tananriv, or There was the installation in the cha- committee, and I’ve ridden an elephant him about the Organ Clearing House. simply, Tana). As a teenager, he delivered pel of Salvation Army headquarters in in a jungle in Thailand. He asked if we could meet. yogurt by bicycle. As a young man, he Providence, Rhode Island, where the cli- But my trips to Madagascar were as Over a well-oiled lunch in an Italian made a fortune developing a system for ent was providing meals for us. Breakfast good as adventure gets for an organ guy. restaurant near the United Nations head- delivering dairy products all around the and lunch in the headquarters’ dining In these pages last month, I shared the quarters, he told me that the Church of country without refrigeration. And he room with the chapter offi cers, served by history of the Hook & Hastings Com- Jesus Christ of Madagascar, the FJKM used that fortune to build a conglomer- ex-con chef Vinnie were fi ne, but dinner pany, the venerable Boston fi rm that (which is associated with the Presbyterian ate of construction companies, television in the line at the Men’s Service Center produced more than 2,600 organs under Church of the USA), was in the middle stations, and newspapers; he was one of was a lot more colorful. several different names over a span of of an important anniversary celebration, the wealthiest men in the country. The There was the trip from Oberlin, Ohio, a hundred years, and started the tale of and he had just been in Madagascar’s church had advocated his candidacy, and to Oakland, California, to deliver a new my trips to the land of the lemurs. Take capital, Antananarivo, for the opening in turn, he was donating huge sums for harpsichord, where the client’s surgeon a look back at the June issue of The event. The church’s national Vice- the construction of new church build- President, Marc Ravalomanana, who also ings and the repair and renovation of served as the President of the Federation older buildings, and he was interested in of Madagascar, was delivering a sermon importing a fl eet of organs. Saving organs throughout to a full congregation in the city’s central The ambassador would be traveling church. From the pulpit, he pointed to to Madagascar in June to participate in America....affordably! the ambassador and said, “Mr. Ambassa- an international conference arranged by dor, I want you to go back to America and the president to increase international fi nd an organ for this church.” trade, aimed at improving the life condi- In the middle of the 19th century tions and styles of the poorest Malagasy there was an evil Malagasy (pronounced people. That would be an ideal time for Malagash) queen who was cured of a me to visit the country. All arrangements horrible disease by healers in her palace. would be taken care of. All I would have In gratitude, she outlawed Christianity, to do was get on an airplane. and 150,000 Christians were put to death I went to Madagascar’s mission at the during her rule. Her successor invited United Nations to get a diplomatic visa. Christian missionaries back into the At the advice of the State Department, I country, and four stone churches were went to a travel health clinic where I was built in Antananarivo during the 1860s vaccinated against seven nasty diseases. commemorating four early instances of I was told not to eat raw vegetables if I 1-800-621-2624 Christian martyrdom. Each bears the didn’t know how they had been handled. I name Tranovato, which means stone was given medicine to fi ght dysentery and foleybaker.com house. So for example, FJKM Tranovato to prevent malaria. And I was told not to Ambonin’ Ampararinina is the Stone drink tap water, including ice cubes.

12 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM By John Bishop

I rented a truck and gathered the pianos in Maine. Approaching the New Hampshire border, I had to stop in a weigh station. The trooper in the booth asked, “What are you carrying?” “Pianos.” “Where are you taking them?” I couldn’t resist. “Madagascar.” “Pull over.” The state police went over my truck and papers with a fi ne-tooth comb. Thankfully, Ryder had not omitted any of the required safety equipment. A few months later, my colleague Amory Atkins and I fl ew to Tana. Because the streets of Tana are steep and narrow and festooned with thousands of low-hanging wires, the container could not be trucked directly to the church. earlier. During the sermon, he intro- Instead, it would be delivered to a duced me and asked me to play. When presidential campus on the outskirts of I fi nished, he thanked me and said, “It’s the city. The Malagasy Army would pro- good—but we’re going to do better. vide a fl at-bed truck and the manpower We’re bringing a larger organ next year.” to transfer the load. An Army colonel I thought having the president announce would make the arrangements. that in public was a great way to seal the Hook & Hastings organ on an Army truck, passing a herd of xebu There was a snafu with the container. next project. President Ravolamanana had recently But I was wrong. The following Janu- an hour away from the city. Small talk implemented some new import restric- ary, Zina and I planned to meet for lunch continued as we found our assigned tions. His container was in violation and to discuss the next step. He called to tables and were ushered to a buffet din- was being held at the dock. The colonel cancel. He sounded panicky. He told me ner loaded with things I didn’t recognize. hinted that the president “had to play to visit the website, France 24 (Inter- Just as I picked up a plate and started sur- by his own rules.” It took a couple days national News Headlines). President veying the choices, the lights went out. to sort that out. When the container Ravalomanana was being ousted in a In the course of a week, I visited 12 fi nally arrived, we transferred it to the coup d’etat led by high-ranking army churches. One was under construction, Army’s truck. Amory was brilliant as a offi cers (I’ve wondered if it was “my” the gift of the president, and there were platoon leader! colonel) and Andry Rajoelina, a 27 year- chickens running around the site. One When we arrived at the church, we old former disc jockey who was mayor of chicken wound up in a pot and became learned that steel supports were being Antananarivo. So that was that. lunch for the workers—no refrigerator, added to the structure of the balcony, so I’m sorry that we didn’t get to fulfi ll no problem. Several of the churches had there would be further delay. The steel the grandiose plans. It would have been organs. One was a terrible junker with workers were barefooted (a couple were fun to help raise the standards of music no nameplate, but I had to admire the wearing fl ip-fl ops), and they were using in the Malagasy Church. I have no idea organist who had fi gured out how to keep rechargeable cutting tools. It was obvi- if the organ we brought is still working it working. I offered to do some tuning. ously going to take a long time. Amory or being used. But we sure did have an The organist held notes, and it was fun and I tried to help; the cordless tools we adventure. The next time an ambassador Tranovato Ampamarinana, “The Church to watch his face light up as each pipe had were better than theirs! Finally, we calls, I’ll know what to do. Q of the Hurling Cliff” came into tune. I gave Adolha a quick let the colonel know that we wouldn’t lesson for holding notes, and invited the have time to install the organ before the Notes 1. I was building tower crowns for a large Madgascar was a French colony until organist up on the walkboard. I showed anniversary service if we couldn’t start in organ case, which included a run of dental 1960, so Air France has scheduled him how to use the tuning iron, and he 36 hours. A couple hours later, a team moldings, crenelations that ran between departures from Paris to Tana, but they got the knack of it right away. of real steel workers arrived, equipped a couple rows of ogees. It was a trick to lay them out so the gaps were symmetrical don’t schedule return fl ights until they We arrived at another church where with acetylene torches, welding gear, across mitered joints. I stood staring at a could fi ll a plane. Mine would be a one- there was a simple organ façade. I and steel-toed boots. Problem solved. joint I was prepared to cut, ruler and pen- way ticket. I got on the plane knowing opened the fallboard to reveal the clas- (They were from one of the president’s cil in hand, when Dan walked by and asked what I was doing. I replied, “I’m in a trance I’d arrive in Tana around 1:00 a.m., but I sic Cavaillé-Coll logo and burst into construction companies.) of dental meditation.” didn’t know who would meet me, I didn’t tears. I had travelled 8,700 miles to fi nd The church was full. The regular 2. I quit smoking cigarettes on New Year’s know where I’d be staying, and I didn’t a Cavaillé-Coll organ in an East African organist played on a Hammond. The Eve, 1981, three months before my son Mi- know what I’d be doing once I got there. island nation. It didn’t look like much, congregation sang hymns. The president chael was born. 3. Hook & Hastings #2369 (1915). One When we landed at Ivato Interna- and there were a lot of dead notes, but it preached from the same pulpit where he manual: 8′ Open Diapason, 8′ Gedeckt, 8′ tional Airport, there were three snazzy had that sound. directed the ambassador eight months Dolce, 4′ Flute Harmonic. young men in white shirts with presi- As I cavorted around town, Zina was dential IDs; one was holding a card with working on getting an appointment for my name. They showed me into a VIP us to talk with President Ravolamanana. lounge and offered me a drink (gin and A couple times were set and changed, tonic). It only took a couple minutes off and fi nally Zina took me to the presi- the plane for me to have my fi rst Mala- dential palace. As I sat in a waiting room ii — 19 ranks ii — 19 gasy ice cubes. They drove me to the while Zina met alone with the president, Carlton Hotel in Antananarivo, where I thought of Alan Laufman, the founder the president’s name was on my reserva- of the Organ Clearing House. “Alan winchester, virginia tion. There was a gift basket and a bottle would have loved this!” of wine in my room. It may have seemed surreal, but it was opus 130 So far, so good. I woke early and went real. I sat with President Ravalomanana to the hotel dining room for breakfast, for about 45 minutes. I shared some wondering what the day would bring. highlights of my studies with him, and While I was eating, another guy with an promised a report on all the churches I ID tag came to my table to tell me that had visited. He asked if we could bring

my driver was waiting outside. He took an organ for Tranovato Farovohitra in The Village at Orchard Ridge me to Tranovato Faravohitra and there time for the anniversary celebration in was Zina to greet me, along with a group November, and made it clear he would of church offi cials he had gathered. They like to follow up with more projects later. rneauor had planned an itinerary that had me vis- Bringing a pipe organ from the United ou ga et n .l s .c iting 15 churches—some which needed States to Madagascar with fi ve months w follow o w us on m organs, and some which had organs notice seemed like a tall order, but we w facebook! in need of repair. One of these people had a four-rank Hook & Hastings organ3 would be my guide, making the schedule in Boston that would be easy to move. and making contacts with the churches. We would consider it a temporary instal- Richard, who had picked me up at the lation and move it to a smaller church hotel, would be my driver, and Adolha later. The president’s offi ce arranged for Vonialitahina would be my translator. I a shipping container. There would be had an entourage. plenty of extra space, so a clothing drive 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA t That evening, Zina took me to the was organized, and I lined up donations 450 774-2698 [email protected] annual awards banquet of the Rotary of surplus pianos to be delivered to Club, held in a rural country club, about churches and an orphanage I had visited.

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2017 Q 13 On Teaching

Helping Students learning process other than fi nger- Choose Fingerings III ing. It might better clear the decks by I continue here the discussion of letting the teacher largely take over the whether it is better to let students work fi ngering task while the student concen- out their own fi ngerings or to provide trates on whatever that aspect is. them fi ngerings to learn. In the former 5) The teacher can incorporate case they “learn by doing.” In the latter historical, composer-derived, or oth- case they learn about the art of fi nger- erwise specialized fi ngerings into the ing from having been given and having learning process without requiring learned (presumably good) representa- the student to think about all of the tive fi ngerings. As I said last month, the complexities of incorporating histo- “correct” option is likely a combination of ricity or other specialized concerns both. I should also mention that in refer- into the fi ngering decision-making ring to each approach in a concise way, process. (See below for more about this.) there is a danger of caricaturing a bit. 5) The teacher’s providing fi nger- When I talk about letting students, even ings may relieve anxiety for the stu- An early teaching piece of J. S. Bach with fi ngering in his own hand beginning students, work out their own dent. This is sometimes very important, fi ngerings, I never mean that a teacher but it is also a bit of a potential trap. In get direct practice in working out and on the organ in, say, 1720, or between would or should just shrug their shoulders the end the student has to learn not to fi ngerings. The question of how much the piano and the organ in 1860? and say, “You’re on your own.” I wouldn’t greet the fi ngering project with anxiety, of a disadvantage we think that this is as Were there personal differences expect any teacher who is inclined to work or at least to control that anxiety and opposed to the question of whether it is between players in the way that they used out fi ngerings in advance for students to work through it. outweighed by advantages depends on fi ngering in all eras (or in any era)? That do so with no regard to the student’s own what we think about the relative effec- is, not just between Chopin and Liszt or hands or to insist on the student’s using a Disadvantages of providing tiveness of the “work it out yourself” between different “schools,” but between fi ngering that, in practice, was manifestly fi ngerings to students model and the “modeling” concept. individuals, even if in some sense they uncomfortable or that was clearly not giv- What are some of the particular disad- 5) Finally, it is a serious problem belonged to the same school? Were any ing good results. To a certain extent, the vantages of the teacher providing fi nger- if the teacher does not take into of these differences not about fi ngering differences are those of emphasis. ings to the student? account any specifi c individual fi n- as it related to personal logistics or habits, In last month’s column I looked at 1) There is the loss of an opportu- gering needs of the student. I would but as it related to the response of instru- some advantages and disadvantages of nity for the student to experience the be rather astonished if any teacher con- ments? Could this have been about very the fi rst approach. Here I want to start joys (and anxieties) of autonomy. It is sciously attempts to not do this. When I specifi c instruments, this or that particu- by doing the same with the second, more part of the give and take of the learning have noticed myself occasionally falling lar organ or piano, harpsichord, or clavi- interventionist approach. To some extent process for any student to operate with into this trap it has been through inat- chord? Was there a difference among the advantages here mirror the disadvan- limited autonomy some of the time. The tention or an unconscious desire to save composer/players as to how much they tages of the fi rst approach, and the disad- danger is in the student becoming too time. (My general preference for letting thought of fi ngering as infl uencing inter- vantages mirror the advantages. But it is accustomed to (or addicted to) that state of students work out their own fi ngerings pretation and how much they thought of interesting to look from the other direc- affairs. Are we moving a student towards has saved me from committing this it as being about personal habit, logistics, tion, and some new wrinkles may appear. being a mid-career player who is still look- particular error too often, but I have or comfort? What did composers who ing for an outside source of fi ngerings? certainly done so from time to time.) were not players or not accomplished Advantages of providing 2) There is a danger that the stu- You can probably think of advantages players think about fi ngering, not just as fi ngerings to students dent will endow fi ngerings with too and disadvantages to each approach to details, but at a meta level? Did they First, some of the advantages of the much of the weight of authority. That beyond the ones that I have suggested have anything to say about it, or did they approach of largely giving students well is, the student will have a permanent, at here. Think it over. Next month I will leave it to the performers? worked-out fi ngerings and expecting least mild, nagging feeling that this must try to describe where I come down in Were there composers who thought them to learn them: be right because it is what I was taught. synthesizing all of this. A “headline” very explicitly and clearly that they wanted 1) The main advantage has to be I suspect that in specifi c cases students version of that would be something like every player to use the fi ngering that they that the fi ngerings will be really are more reluctant to change, later on, this: I want to leave as much as possible themselves used? Were there composers good. As I wrote last month, I will get fi ngering that they were given than fi n- of the process up to the student, but with who specifi cally thought the opposite? to the question of what it means for a gering that they worked out themselves. absolute certainty that we don’t let any There are so many questions of this sort fi ngering to be “good,” regardless of But there is also the danger of drawing actually harmful fi ngerings slip by, and that the subject is the basis of many books whether it is the teacher or the student a wrong, more abstract, conclusion: that with a humane attention to avoiding and articles, and indeed of many research who has come up with that fi ngering. this way of approaching fi ngering must frustration and anxiety. I will discuss careers. For me, the relevance of it to This is a multifaceted concept and one be right because it is what I was taught. how that approach can be carried out our subject has two dimensions. First, it about which there must a lot of fl exibil- This is a different concept to distill from effi ciently and with avoidance of pitfalls. seems to me that it is a necessary part of ity. It should be a bedrock assumption the learning process than “this is how I I will follow it with some thoughts about a student’s education about fi ngering at that any fi ngering that a teacher writes have learned to understand what is going how a teacher can guide the student in least to become aware that these sorts of into the music will be one of the good on with my fi ngers, this instrument, and taking a more interventionist approach, issues exist. It is valid, as a way of getting fi ngerings for the passage. this music.” (Note: Am I right to call this if and when that seems best. started and keeping things from becom- 2) The student will learn what a “disadvantage?” That is partly a philo- ing overwhelming, to allude to some of good fi ngering is by being led to sophical matter, and people can and should Historical awareness in fi ngering the questions about historical fi ngering experience it. Modeling good fi ngering disagree and debate about it. As a practical It is well known that in different times with a student, but frankly admit that you can teach good fi ngering. The process matter, I feel pretty sure that any sense of and places keyboard fi ngering has been will not be suggesting a detailed historical resembles the old (joking?) description of authority behind fi ngering choices can dis- approached in different ways, and there approach for now. (This approach might learning medical procedures in medical pose players, students or former students, are a number of possible ways of dis- be most relevant with beginners.) It is also school: “Watch one, do one, teach one.” to stick for too long to fi ngerings that are cussing this. It is possible to talk about entirely possible to introduce some histor- But it should be much more than one, as manifestly not successful. I will come back an overall difference between “early” ical fi ngerings from the very beginning of it really is in medical school. If a student to this in talking both about editorial fi n- or “old” fi ngering and “modern” fi nger- even a beginner’s study. There is not likely plays the fi rst passage that he or she gerings and about historical fi ngering.) ing. It is also possible to talk about the to be anything intrinsically harder or less works on with a really successful teacher- 3) The student loses the opportu- difference between Chopin’s reputed suited to the learning process about the given fi ngering, a little bit of what was nity to imprint the notes (learn the fi ngering approach, in which each fi nger fi ngerings that a composer had in mind good about the fi ngering will rub off on piece) more solidly by grappling with was understood to have its own differ- than about other fi ngerings. If this aspect the student’s awareness, consciously or the logistics of notes and fi ngers. This ent characteristics and which harkened of fi ngering study is not going to form an subconsciously. That experience will then mirrors advantage #4 from last month. I back to practices that were already old- integral part of the early stages of learning predispose the student to get a little bit wrote then that if the note-learning and fashioned, and Liszt’s approach, in which the instrument or learning how to think more of the same from encountering the piece-learning advantages that come from the discipline of requiring each fi nger to about fi ngering, that is not because the next such fi ngering, and so on. The abil- working out careful fi ngerings are taken be able to behave just like every other one fi ngerings are somehow less suitable. It is ity to recognize what is successful about away, they need to be replaced: they are was crucial and which was a harbinger of because the layers of different things to a given fi ngering will grow incrementally. that important. There are general ways in the development of piano fi ngering ever think about are complex. 3) The process can save time. The which they can be replaced, other modes of since. We get as specifi c as we want, and The teacher’s suggesting some fi nger- more experienced a teacher is, he or she intense study. But a teacher who is provid- as available information allows, about ings beyond what a student would be should be able to come up with good ing fi ngerings should, as much as possible, approaches to fi ngering in different times able to devise is a valid course of action. fi ngerings quite effi ciently. Even though explain the rationale behind the fi ngerings and places. Was there a common approach It should be remembered that because the fi ngerings have to go through a fi l- to the student. This interacts with the time to fi ngering in Italy in the 1630s and did all these questions are complex, there ter of “How will this work for someone considerations: a teacher explaining about it differ from the approach in England, isn’t necessarily a clear answer to what else?”, it should still be a quicker process every fi ngering is likely to be prohibitively say, at that same time? Did it differ from the “historically correct” fi ngering is. than the student working everything out time-consuming. It can be reserved for the approach in Italy in the 1670s? How Sometimes there are possible fairly clear from scratch. fi ngerings that are either particularly tricky did Brahms’s fi ngering relate to that of answers, sometimes not. And often a fi n- 4) Related to #3, there may be or particularly instructive about how to Chopin or Liszt (or Clara Schumann or gering that arises out of considerations of circumstances in which the teacher handle a certain situation. Anton Rubinstein)? Was there a consis- interpretation and of how the instrument thinks it best for the student to focus 4) The most fundamental disad- tent difference between the way players responds will converge with fi ngerings on some aspect of the piece or of the vantage is that the student doesn’t deployed fi ngering on the harpsichord that a composer might have used.

14 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM By Gavin Black

But the second point is important and As I have suggested, I am always choice to do something that is different interesting. A composer’s own fi nger- concerned that students not feel too from what a composer would have done. ings, to whatever extent we know them, much weight of authority. Therefore, But it makes sense to be aware of what acknowledging the complexities about I am tempted sometimes to downplay we know and what we don’t know before what composers wanted or expected, the importance, or even the interest, we make that decision. Second, an have a sort or type of authority that of knowledge about a composer’s own awareness of the proper authority of the fi ngerings provided by anyone else can- practices. This is in spite of my being in composer should enable us to bear the not have. It is up to all players, includ- my own performing life an “early music” burden of other sorts of authority more ing teachers and students, to establish specialist, and even in a sense an “expert” lightly. It is to me a pretty clear fork in some practice about how to receive on some of these matters. the road. If I know that some informa- and react to this authority. Any player’s I think it is more fruitful to separate tion about a piece comes from the com- ideas about this will and should evolve. out the different kinds of authority. poser, then I want to make a decision But a composer’s fi ngering is part of the Recognizing that by defi nition anything about what to do with that information piece, its identity and meaning, in a way that the composer wanted is part of the based on that knowledge. If I know that an editor’s fi ngering, any great per- piece, while anything that comes from that an idea about a piece came from former’s fi ngering, my fi ngering, your somewhere else is not, enables us to do someone else, then I want to feel free fi ngering, anyone’s teacher’s fi ngering, two important things. First, it allows us to regard that as someone’s opinion or Gavin Black is director of the Princeton cannot be. I think that it is important to make a conscious decision about how idea: maybe an interesting one, maybe a Early Keyboard Center in Princeton, New for a student to take this idea in as part we want to treat that composer’s author- well-informed and well-thought out one, Jersey. His website is gavinblack-baroque. of the honest intellectual framework for ity. There is nothing illegal or presum- but not by defi nition part of the meaning com. He can be reached by e-mail at working on fi ngering. ably immoral about making an informed of the piece. Q .

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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2017 Q 15 Reviews

Book Reviews yearning in the slave songs that forever (Dvorák and Harry Burleigh, leading to characteristic motives, it is so altered that In Their Own Words: Slave Life and elevates them above and beyond the Dvorák’s dictum that Spirituals could form I had to look the tune up to remember the Power of Spirituals, by Eileen mundane neutral category “folk music.” the basis of a uniquely American musical how it actually moves! The same form, Guenther. MorningStar Music, St. After an Overview-Introduction setting language), and Spirituals in the Civil which begins in G major, moves steadily Louis, Missouri, 2016. 492 + xv forth the book’s purpose and method, Rights Movement (Ch. 17). A most valu- through B-fl at major and E major before pp., illustrated, softbound, $28.00. Guenther proceeds to tell the story, pas- able chapter (18) devoted entirely to the returning to G. It worked very well for www.morningstarmusic.com. sionately, in three parts. Part I comprises: Themes of Spirituals, and a concluding me as a postlude one Sunday. This is an intensely moving book. In The Origins of Spirituals (defi ned and chapter (19), Slavery and Spirituals: a Syn- In my opinion, some of the other 1774 the Reverend John Wesley in Lon- described, Ch. 1); Musical Characteristics opsis, wind down this powerful narrative. pieces do not work quite as well as In don wrote a letter to abolitionist William and Performance Practice (characteristics, Finally, and of highest usefulness to busy Babilone. One of these is the soft little Wilberforce, encouraging his efforts to musical styles, improvisation, the “Ring church musicians, appear two appendices: toccata on Nun danket all’. The right eradicate slavery in Great Britain. In his Shout,” Ch. 2); The “Maafa” (Disaster) A. 100 Spirituals: A Biblical Concordance, hand follows the left hand on a different letter Wesley declared American slavery and History of Slavery (Ch. 3); Antebel- and B. 100 Spirituals: A Reverse Concor- manual, at the same pitch, exactly one “the vilest that ever saw the sun.” In 1807 lum Slave Narratives and Interviews dance. These brief, insightful exegetical sixteenth note later than the left and the Parliament abolished slave trade in the (Ch. 4); Witness Slave Testimonies (Ch. comments on the lines of the texts, tie the two parts patter around above the tune, British Empire, but slaves were not freed 5); Christian Religion and Slavery (Ch. Spirituals to their biblical roots and enable which appears slowly in the pedal. It is to until 1833. It took a bloody and devastat- 6); Slave Religion, the “Tertium Quid” directors and clergy to make maximum be played softly, and I never could quite ing Civil War (1861–65) to end slavery or Third Item (Ch. 7). Part II deals with use of this rich heritage in worship and get the hang of it! in America. Its vile aspect is exposed in slave life and work, using some of the other programming. This volume covers a liturgical season in Eileen Guenther’s new book as the key research of Dena Epstein in her classic Eileen Guenther has provided an which there are fewer resources available motivation in the anonymous creation Sinful Tunes and Spirituals (1977 and authoritative, scholarly, historically than in some other seasons and is, there- of Negro Spirituals, which she dubs subsequent editions): The Big House informed, and practical resource that fore, a welcome addition to the literature. “among the most powerful music ever and the Master (relationships, food, and no church musician can now afford to One handy feature is that Dinda has given created.” Utilizing thousands of primary clothing, Ch. 8); Life in the Slave Quarter be without. To ignore this indisputable more than one English title to many of sources, notably letters by participants (housing, education, broken promises of treasure of distinctly American music for the pieces so that they may be used in and observers and actual interviews in freedom, Ch. 9); The Most Vulnerable worship in these times of sporadic racial multiple liturgical situations. It is a fi ne the 1930s with living former slaves in (women and children, the elderly, fami- disharmony is criminal. Though popular, volume to own, and I recommend it. their own words (a project of President lies, Mulattos, Ch. 10); Work Conditions Spirituals are not inappropriate “pop” —Jay Zoller Franklin Roosevelt’s Works Progress and Grinding Routine (Ch. 11); Rituals music. Hall Johnson wrote, “It is always Newcastle, Maine Administration), she paints a truly and Celebrations in Slave Life (Ch. 12); serious music and should be performed devastating picture of the most shame- “Sold Down the River” (Auctions, Ch.13); seriously, in the spirit of its original con- ful aspects of American slavery. That Control of Slaves (overseers, drivers, ception” (p. 343). Performed that way, New Handbell Music picture is indispensable to any authentic patrollers, punishment, infractions and they are at home in every denomination’s Holy, Holy, Holy, arranged for 3, understanding of the creation of Spiritu- consequences, impunity of the master, worship. The book ends with a very thor- 4, 5, or 6 octaves of handbells with als, and it helps explain their disarming Case Law, Ch. 14); Slave Rebellion (Ch. ough bibliography and careful index. optional trumpet(s), brass quintet, or poignancy when performed. Underlying 15) and Escape (Underground Railroad, —John M. Bullard organ, by Jason Krug. SoundForth (a the whole experience is the fact that in ingenious and failed escapes, challenges, Spartanburg, South Carolina division of The Lorenz Corporation), order to enslave persons they fi rst must Ch. 16). Part III encompasses: Spirituals MSF201969SF, handbell part, $5.50; be dehumanized, downgraded to the after the Civil War, names the earliest MSF201973SF, handbell and organ level of animals, particularly if they are to publications and most signifi cant early New Organ Music score, $7.95; MSF303440, trumpet be worked like beasts of burden as farm arrangers of Spirituals: Harry Burleigh, Seasonal Hymn Preludes, Volume parts, $5.95; MSF303441SF, score laborers. The auctioning off into slavery James Weldon Johnson and Rosamund 8: Pentecost and Ascension, Robin and parts for brass quintet, $25.46, of human family members, resulting in Johnson, R. Nathaniel Dett, John Wesley Dinda. Wayne Leupold Editions, Level 3+ (D). tragic separation and uncontrollable Work, Jr., Hall Johnson, William Daw- WL600281, $18.00. Available from The stirring setting of the familiar grief, generated a genuine emotional son, infl uence on other musical genres www.wayneleupold.com. tune Nicaea will be the highlight Robin Dinda is well known as a com- of your next celebratory service or poser in many styles, and this volume concert. While the arrangement is of Pentecost and Ascension pieces is majestic with handbells alone, options a welcome addition to his published for brass and organ will add even a works. There are settings of eleven hymn more festive touch. A variety of ring- tunes, which, in general, are of two to ing techniques have been employed to four pages in length each. Although keep ringers challenged and listeners’ they are not diffi cult, Dinda employs interest engaged. ostinato fi gures that can be tricky to THE AEOLIAN-SKINNER LEGACY PRESENTS keep going at times as he occasionally Amazing Grace, arranged for 3 alters the rhythm of the tune itself to fi t octaves of handbells or hand- the ostinato. The tunes featured in the chimes, by Tyleen Stults. Concordia MUSIC FESTIVAL volume are St. Agnes, St. Magnus, Publishing House, 97-7718, $4.25, Trentham, Veni, Creator Spiritus, Level 2 (E+). Twenty-three choirs, three conductors, and Munich, Mendon, Morecambe, Nun Here is a lovely, gentle setting incor- a clutch of organists and soloists came danket all’, Bryn Calfaria, Hyfry- porating the tunes O Waly Waly, Away dol, and In Babilone. In A Manger (James R. Murray), and together to honor CLARENCE DICKINSON. My favorite piece is the fi nal one, In Amazing Grace in a creative and Babilone. Set as a trumpet tune, the inspiring manner. Simply written and Today, the name of participant VIRGIL solo trumpet alternates with the accom- adapted, yet hauntingly effective. FOX still commands attention, but the paniment and the statement of the mel- —Leon Nelson THIS 2-DISC SET honors ody. Although it has some of the tune’s Vernon Hills, Illinois CLARENCE DICKINSON, veneration with which Dickinson and his Founder of the wife were then honored was notable. American Guild of Organists, The event celebrates her life, his 85th at the Riverside Church in birthday, and his 50 years’ service New York City on as organist/choirmaster of the Brick April 27, 1958. Presbyterian Church in New York City. MEMBER PRICE: $18.98 NON-MEMBER PRICE: $19.98 ENJOY! JL Weiler , Inc. IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM 4,367 SELECTIONS! Museum-Quality Restoration of Historic Pipe Organs jlweiler.com ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG

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16 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM Pipe organ documentation

1863 E. & G. G. Hook Opus 322 Church of the Immaculate Conception Boston, Massachusetts Part 1 By Michael McNeil

Preface that cornices, corbels, and moldings The 1863 E. & G. G. Hook organ, bring to a structure. These classical Opus 322, is not only one of the best elements live and reverberate into the preserved of the earlier instruments of new millennium. that fi rm, it had the good fortune to be Detailed documentation of such a The façade of the 1863 E. & G. G. Hook Opus 322 in the former Church of the Immaculate placed in the superlative acoustics of universally acclaimed organ is important Conception, Boston, Massachusetts (photo credit: Peg Newman, by permission of the Jesuit Urban the Church of the Immaculate Concep- for several reasons. We can learn how Center) tion in Boston, Massachusetts. Rooms the Hooks designed their organ to suit 3′ Twelfth 8′ Melodia with long acoustical reverberation are the acoustics. We can make useful com- 2′ Fifteenth 8′ Gedeckt rare in the United States. Rarer still is parisons with other organs and learn how III 8′ Viola a room where all frequencies of sound this Hook differs from other styles of V Mixture 8′ Dulciana die away cleanly at a similar rate. At organ design. And perhaps most impor- VII Cymbal 4′ Octave 16′ Trumpet 4′ Fugara Immaculate Conception the clean dif- tantly, we can document this organ for 8′ Trumpet 4′ Hohlpfeife fusion of sound without slap echoes posterity. Organs are consumed in wars 4′ Clarion 4′ Flauto Traverso was enabled by a profusion of complex and fi res; they are replaced or modifi ed 2′ Piccolo cornices and a coffered ceiling with with the changing tastes of time; and Swell 8′ Clarinet 16′ intricate ornamentation; it is a wonder- they never survive a restoration without 8′ Open Diapason Pedal ful example of a fusion of form and changes. In a quirk of fate that makes 8′ Stopped Diapason 32′ Contra Bourdon musical function. this documention all the more valuable, 8′ Viol di Amour 16′ Open Diapason Designed by noted architect Patrick the organ was dismantled in 2008 and 8′ Voix Celeste 16′ Violone 8′ Quintadena 16′ Bourdon Charles Keely, the classical façade placed in storage for Boston College. 4′ Octave 12′ Quint Floete of the church is executed in granite. Plans by developers now exist to convert 4′ Violina 8′ Violoncello The organ resided directly behind the the Church of the Immaculate Concep- 4′ Flauto Traverso 8′ Flute windows above the main doors. The tion into condominiums. 2′ Flautino 16′ Trombone V Mixture 8′ Trumpet Church of the Immaculate Conception In June of 2000 the Jesuit Urban Cen- 16′ Contra Fagot is situated in a historic district of Bos- ter and its director, Fr. Thomas Carroll, 8′ Cornopean Solo ton. Nearby elegant row houses refl ect SJ, invited the author to reside with them 8′ Oboe 8′ Open Diapason an age when architectural design val- for a week at the Church of the Immacu- 8′ Vox Humana 8′ Concert Flute 4′ Clarion 4′ Flute Harmonique ued a balance of form and the texture late Conception with the goal of acquir- 8′ Tuba Mirabilis ing detailed data on the Hook organ. The Choir 8′ Orchestral Oboe author immersed himself in this work to 16′ Contra Dolce 8′ Orchestral Clarinet such a degree that he often lost track of 8′ Open Diapason 4′ Tuba Octave the passage of time. The resident Jesuits would ascend to the organ loft to remind the author that it was time to end a long day of work, promising good conversa- tion and good libations as a reward, to A Precious Gift which the author always happily acqui- esced. The following study is an analysis from the Past of the data taken while a guest of the author’s most generous hosts. The data showed that the Hook for the Present organ is in remarkably original condi- tion, primarily the result of its careful maintenance by many generations of the and the Future Lahaise family. The data also revealed Supremely beautiful and blendable some crude interventions originating from the repitching of the organ and the tonal color – a Gift from the Venetian 1902 installation of the Solo division, all School of organbuilding, a monumental part of our of which are reversible. JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN Current stoplist Great Intriguing? Let us build your dream. 16′ Open Diapason 8′ Open Diapason Forte 8′ Open Diapason Mezzo Period row houses in the neighbor- 8′ Viola da Gamba hood of the Church of the Immaculate 8′ Clarabella Conception 4′ Octave 4′ Flute Harmonique

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Casework and façade The form and presentation of Built in 1863, the Hook organ case- the data work is constructed of pine, not a hard- Pipe measurements, which include wood. Perhaps the Civil War took its enough data to reconstruct the , toll on the availability of materials. The were taken on selected pipes of the case façade was designed by the church principal chorus of the Great division. architect, Patrick C. Keely.1 Although Measurements taken by the author were it employs extreme over-lengths in the entered into a laptop computer with the façade pipes, the case and nave are a suc- gracious help of Paul Murray, a volunteer cessful fusion of the architectural style. at the church. The computer was set up within the expansive casework to make effi cient use of time. A total of 25 measurements and notes were taken on each of the selected pipes of the principal chorus; 34 measurements and notes were taken on a Clarion . While this may seem excessive by normal practice, the standard for this type of documentation was pioneered by Pierre Chéron in his classic work on the Isnard organ at St. Maximin, L’Orgue de Jean- Esprit et Joseph Isnard dans la Basilique de la Madeleine à Saint-Maximin, France.

The nave of the former Church of the The computer is set up in the organ inte- Immaculate Conception (by permission of rior to take data on pipe measurements. The Jesuit Urban Center) The scaling sheets devised by Mr. There are seven fl ats of pipes in the Chéron were adapted by the author to façade. The fl ats at the extreme sides a spreadsheet.2 Analysis of that data contain three dummy pipes each. The enabled a detailed understanding of Hooks utilized bass pipes from both the the changes made to the 1863 organ. 16′ Open Diapason and the 8′ Open The missing gaps in the data refl ect the Diapason Forte in the façade. A few bass inability to gain easy access without risk pipes that would normally be a continu- of damage to some pipes, along with the ous part of the façade were placed just limitations of time. behind the façade on offset boards in an The author has shown how this data can effort to keep a normal progression of be portrayed to advantage in his book, The widths when using the pipes of two dif- Sound of Pipe Organs, published in 2012.3 ferent stops. This resulted in some very This book describes models which can be large overlengths with many cutouts at used to intuitively compare the scaling and the back of some pipes. Here is the order voicing of different organs, allowing us to Figure 1 of speaking case pipes, facing the case, visualize and understand the differences. from left to right: The reader is referred to this book for a this study of the Hook principal chorus late 18th-century French Classical tradi- 9 pipes: 8′ F#, 8′ E, 8′ D, 8′ C, 16′ G#, deeper understanding of the models which is graphically presented side-by-side with tions of the Isnards to the fully Romantic 16′ c, 16′ d, 16′ e, 16′ f#; are presented in this study of the Hook. a graphical reduction of the data com- middle 19th-century traditions of the 3 pipes: 16′ c′, 16′ a#, 8′ A#; The basic data set to describe scaling piled by Chéron from the famous Isnard American Hooks. 9 pipes: 16′ A#, 16′ F#, 16′ E, 16′ D, and voicing must include, at a minimum, organ at St. Maximin, France. This is an Normalized data is presented for 16′ C, 16′ C#, 16′ D#, 16′ F, 16′ A; pipe diameters, widths of mouths, heights instructive comparison. The two organs inside pipe diameters, mouth widths, 3 pipes: 8′ B, 16′ a, 16′ b; of mouths (“cutups”), diameters of foot are of similar size and were designed for and mouth heights (cutups). The tables 9 pipes: 8′ G, 16′ d#, 16′ c#, 16′ B, 16′ toe holes, depths of mouth fl ueways, and similar acoustics, but they represent very in Figure 1 show how the raw data was G, 8′ C#, 8′ D#, 8′ F, 16′ f. treatment of the languids. The data in different tonal ideals ranging from the converted into normalized data.

Figure 2 Figure 3

18 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM Figure 4 Figure 5

Scaling and voicing Wind pressure has a very large effect will produce less power, even if the pipe a well-balanced full spectrum of fre- on power, but fortunately the wind pres- diameters are wide. quencies, while the Hook is tailored for Pipe diameters sure of the Hook organ at 76 mm water The chorus of the Hook organ in Fig- warm and powerful foundations with a The Normal Scale of pipe diameters column is close to that of the Isnard ure 4 is again compressed, much like the restrained full frequency spectrum. Q is a way to visualize relative power, organ at 83 mm. Power balance differ- pipe diameters in Figure 2. The Mixture where a fl at line from bass to treble ences in these two organs result from III is scaled as wide as the foundation Notes and Credits will produce relatively constant power. differences in the pipe construction stops. Note how the Cymbal VII and the All photographs, tables, graphs, and data are by the author except as noted. Pipes with data extending higher in (pipe diameters and mouth widths) and Mixture V are the only narrow upperwork 1. Owen, Barbara. “A Landmark within a the graph will produce more power. differences in the voicing parameters stops. Furthermore, the mouth scales of Landmark: The 1863 Hook Organ,” undated Each half tone on the vertical scale (toe hole diameters and fl ueway depths). those two mixtures actually descend from typescript. represents 0.5 dB of power. Interested bass to treble. The Cymbal VII was made 2. Excel fi les with all raw data taken on the readers can refer to The Sound of Pipe Mouth widths and installed in 1870 by William A. John- Hook and the spreadsheets that produced 4 the graphs and tables may be obtained at no Organs, pp. 8–32 for a discussion of the The Normal Scale of mouth widths son, and it is representative of his typical charge by e-mailing the author at: mmcneil@ underlying theory. operates just like the pipe diameters, chorus scaling with wide foundations and k2cable.net. With the exception of the narrower where a fl at line from bass to treble much narrower upperwork. 3. McNeil, Michael. The Sound of Pipe ′ Organs (Mead, Colorado: CC&A), 2012, 191 Mixture V and Cymbal VII, the chorus will produce relatively constant power. In Figure 5 the scales of the 4 and pp., Amazon.com. of the Hook organ in Figure 2 is com- Pipes extending higher in the graph will Mixtures on the Isnard organ ascend 4. Huntington, Scot L., Barbara Owen, pressed, i.e., the foundation and upper- produce more power. Each half tone on dramatically from 1′ pitch to 1/8′ pitch. Stephen L. Pinel, Martin R. Walsh, John- work stops have a similar, or “constant,” the vertical scale again represents 0.5 Isnard’s intent here is two-fold: the son Organs 1844–1898 (Richmond, Virginia: scale, and the trebles are relatively fl at dB of power. upperwork not only ascends in scale for OHS Press), pp. 17–18. in scaling. In stark contrast in Figure Mouth widths are often a better an ascending treble, it is also scaled to 3, the Isnard scales become narrower as indicator of power balances than pipe compensate for the losses of power due To be continued. the pitch of the stops ascend, while the diameters, simply because mouth widths to the atmospheric absorption of sound 4′ and Mixture scales widen dramati- can be designed to vary within the same over long distances at higher frequen- Michael McNeil has designed, con- cally in the treble. diameter of a pipe. Narrower mouths cies. Interested readers can refer to The structed, and researched pipe organs Sound of Pipe Organs, pp. 13–14, for a since 1973. He was also a research engi- discussion of the foundations of this very neer in the disk drive industry with 27 important scaling principle. patents. He has authored four hardbound These two graphs show the basic books, among them The Sound of Pipe differences in the tonal balances of Organs, several e-publications, and many these organs, where the Isnard exhibits journal articles.

The former Church of the Immaculate Conception, Boston, Massachusetts

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2017 Q 19 Pipe organ history

Pipe Organs of La Grange, Illinois, and the Architectural Edifi ces That House Them Part 3: Cossitt Avenue Elementary School and First Baptist Church

By Stephen Schnurr

III Mixture (mounted, metal, This article is a continuation of a fea- 15-19-22—183 pipes) ture in the August 2015 and June 2016 8′ Cornopean (5″ scale, metal— issues of The Diapason. This essay was 73 pipes) delivered as a lecture for the Midwinter 8′ Flügel Horn (“common,” metal— 73 pipes) Pipe Organ Conclave on January 19, 8′ Vox Humana (“common,” mounted, 2015, in La Grange, Illinois. The research metal—61 pipes) for this project provides a history of a Tremolo number of pipe organs in the village, but Choir (Manual I, Enclosed) not all. For instance, organs in residences 8′ Concert Flute (“#1,” wood and and theaters are not surveyed. metal—61 pipes) 8′ Dulciana (“little more stringy in Cossitt Avenue Elementary treble,” scale 56, metal— 61 pipes) School 4′ Flute Harmonique (“common,” Named for Franklin Cossitt, a founder metal—61 pipes) of La Grange, the fi rst school building 8′ Clarinet (“common,” metal— was constructed in 1883 of native stone 61 pipes) Tremolo on the present property. The present Harp (TC—61 tubes) edifi ce of brick with stone trim with Celesta (Harp) Gothic infl uence dates from 1921. This building featured a tiled swimming pool Pedal Cossitt Avenue Elementary School and a kindergarten with a fountain, fi re- 16′ Diapason (wood—44 pipes) 16′ Bourdon (“common,” wood— place, and birds in cages. An auditorium 44 pipes) was equipped with opera seating chairs, 16′ Echo Bourdon (Swell, 16′ Bourdon) stage lighting, a projector and screen, 8′ Octave (extension, 16′ Diapason) elaborate decorative ceiling tiles, and, of 8′ Bourdon (extension, 16′ Bourdon) 8′ Still Gedeckt (Swell, 16′ Bourdon) course, a pipe organ. Chimes (Great, Chimes) The Skinner Organ Company of Bos- ton, Massachusetts, was commissioned Couplers to install its Opus 405, a three-manual, Great to Pedal 8 Great to Pedal 4 24-rank organ in chambers in the audito- Swell to Pedal 8 rium in 1923. This was an era when there Swell to Pedal 4 was a nationwide effort to install pipe Choir to Pedal 8 organs in public school auditoriums. Great to Great 4 Swell to Great 16 The organ was sold and removed in Swell to Great 8 the 1980s and was eventually installed in Swell to Great 4 Sacred Heart Catholic Church of Whiting, Choir to Great 16 Indiana. There, the organ was doubled in Choir to Great 8 Choir to Great 4 size with pipework of various sources. Choir to Choir 16 The contract for Opus 405 was signed Choir to Choir 4 on March 7, 1923, by the donor, Mrs. Swell to Choir 8 Ross H. (May B.) Kidston of La Grange, Swell to Swell 16 First Baptist Church at a cost of $15,765. An addendum to Swell to Swell 4 the contract provided for installation Accessories with Christ” window. It is now framed by is in a chamber to the right. Wind pres- 1 of the Chimes and Harp at a cost of 4 Great pistons (thumb) sections of the present pipe organ. sure is 2 ⁄4 inches. The completed organ 6 Swell pistons (thumb) $1,760 ($800 for the Harp, $960 for 3 Choir pistons (thumb) The original church was outfi tted was dedicated in service on Sunday, the Chimes). Construction of the organ 4 Pedal pistons (toe) for other uses and retained until it was November 19, 1978. In 2006, the combi- commenced on May 7, and pipework General Cancel (thumb) demolished in 1948 to make way for a nation action was replaced by a Peterson was completed on May 11. Of eight Pedal to Great Manual Combination on/off 1950 addition that featured a chapel, ICS-4000 system. (thumb) Skinner organs installed in public Pedal to Swell Manual Combination on/off fellowship hall, classrooms, and kitchen, schools, this was the only one in an (thumb) at a cost of $125,000. The present edu- Berghaus Organ Company elementary school. Pedal to Choir Manual Combination on/off cation and administration building was (thumb) dedicated in 1964. Great (Manual II) Great to Pedal reversible (toe) 8′ Principal (5 zinc basses, remainder 1923 Skinner Organ Company Balanced Swell expression shoe The origins of the fi rst pipe organ for 50% tin—61 pipes) Opus 405 Balanced Choir expression shoe this congregation are not known. It may 8′ (wood—61 pipes) Balanced Crescendo shoe (with indicator have been a second-hand instrument by 4′ Octave (5 zinc basses, remainder Great (Manual II) light) M. P. Möller of Hagerstown, Maryland. spotted metal—61 pipes) 8′ Diapason (scale 42, leathered, Sforzando reversible (toe, with indicator light) 4′ Waldfl öte (5 zinc basses, remainder metal—73 pipes) At some point, likely in the 1960s, some spotted metal—61 pipes) 8′ Clarabella (73 pipes) alterations were made to the instrument, 2′ Spitzfl öte (spotted metal—61 pipes) ′ 8 Erzähler (“usual,” metal—73 pipes) First Baptist Church including addition of a Positiv divi- IV Mixture (spotted metal—244 pipes) 4′ Octave (“medium,” scale 58, 8′ Trumpet (spotted metal—61 pipes) metal—73 pipes) The First Baptist Church of La sion. By 1973, the instrument, cobbled ′ Great 16 8 French Horn (“#2,” in Swell, Grange was founded in 1884 during together of many disparate parts, was Great Unison Off metal—61 pipes) a meeting in the residence of Myron practically unplayable. Great 4 Chimes (in Swell, 20 tubes) T. Baldwin. The fi rst was the The present instrument was built by 8′ Solo Trumpet (prepared) Chimes (from tenor A—21 tubes) Swell (Manual III, Enclosed) Reverend Joshua E. Ambrose. The cor- the Berghaus Organ Company of Bell- ′ 16 Bourdon (“common,” wood— nerstone of the fi rst frame church was wood, Illinois, between 1976 and 1978, Positiv (Manual I) 73 pipes) ′ laid in 1886. Additions were made to the retaining the Möller console, the Positiv 8′ Holz Gedackt (wood—61 pipes) 8 Diapason (“big,” scale 43, metal— ′ 73 pipes) building in 1893 and 1906. division, two ranks in the Pedal division, 4 Koppelfl öte (spotted metal— 8′ Gedeckt (“common,” wood— The congregation laid the cornerstone the blower, and a few other parts. New 61 pipes) 73 pipes) 2′ Klein Principal (spotted metal— 8′ Salicional (“common,” scale 64, for its present edifi ce in 1924. The build- slider chests were provided for the Swell, 61 pipes) 1 ′ ′ metal—73 pipes) ing is of Greendale brick with Bedford Great, and Pedal divisions. The Great, 1⁄3 Quinte (from 2 Klein Principal) 8′ Voix Celeste (“common,” scale 64, stone trim of English Gothic infl uence. Positiv, and Pedal divisions are visible 1′ Octave (from 2′ Klein Principal) metal—73 pipes) 8′ Holzregal (mahogany—61 pipes) 8′ Aeoline (scale 60, metal—73 pipes) Construction cost was about $60,000. In above the chancel fl oor, with the Great Tremolo 4′ Flute (“common,” harmonic from 1947, a stained glass window was installed to the left, the Positiv in the center, and Positiv 16 tenor C, metal—73 pipes) above the chancel, called the “Laborers the Pedal to the right. The Swell division Positiv Unison Off

20 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM First Baptist Church, Berghaus organ Vintage postcard view of First Baptist Church

Positiv 4 6 Swell pistons (thumb) Auto Solo (thumb) music for St. Paul Catholic Church, 8′ Solo Trumpet (prepared) 6 Positiv and Choir pistons (thumb) Balanced Swell expression shoe 3 Echo pistons (thumb) Balanced Choir expression shoe Valparaiso, Indiana, and adjunct 4 Pedal pistons (thumb) Balanced Echo expression shoe instructor in organ for Valparaiso Swell (Manual III, enclosed) Great to Pedal reversible (thumb and toe) Balanced Crescendo shoe (green indicator ′ University. His most recent book, 8 Rohrfl öte (12 zinc basses, remainder Swell to Pedal reversible (thumb) light) spotted metal—61 pipes) Sfz. Reversible (thumb and toe, with red in- Organs of Oberlin, was published in ′ Choir to Pedal reversible (thumb) 2013 by Chauncey Park Press (www. 8 Gemshorn (12 zinc basses, Cancel (thumb) dicator light) remainder spotted metal— Set (thumb) Wind indicator (yellow light) Q organsofoberlin.com). He has authored 61 pipes) several other books and journal articles, 8′ Celeste (from tenor C, spotted Chimes dial (5 volumes and off) metal—49 pipes) Zimbelstern dials: Delay, Speed, Volume Stephen Schnurr is editor and pub- principally on pipe organ history in the 4′ Principal (5 zinc basses, remainder Auto Pedal (thumb) lisher of The Diapason, director of Great Lakes region. spotted metal—61 pipes) 4′ Spillfl öte (5 zinc basses, remainder spotted metal—61 pipes) 2 2⁄3′ Nasat (spotted metal—61 pipes) 2′ Blockfl öte (spotted metal—61 pipes) 3 1⁄5′ Terz (breaks at C#5, spotted metal—61 pipes) IV Scharf (spotted metal—244 pipes) 16′ Holzdulzian (mahogany—61 pipes) 8′ Schalmei (spotted metal—61 pipes) Tremolo W HY CHOOSE Swell 16 Swell Unison Off Swell 4 8′ Solo Trumpet (prepared) AN APOBA FIRM? Choir (Manual I, prepared) 8′ Holzfl öte 8′ Viole 8′ Viole Celeste 4′ Fugara 4′ Traversfl öte W E PROMISE: 2′ Zauberfl öte II Sesquialtera 8′ Trumpet ◆ KNOWLEDGE ROOTED IN EXPERIENCE 8′ Vox Humana Tremolo ◆ TRADITION BLENDED WITH INNOVATION Echo (prepared) 8′ Metalgedackt 4′ Flachfl öte ◆ ECLECTICISM ENSURING MUSICAL RELEVANCE 2′ Klein Principal II Rauschquinte ◆ QUALITY THROUGH CRAFTSMANSHIP Pedal 32′ Resultant (from 16′ Subbass) ◆ 16′ Principal (prepared) COMMITMENT TO BUILD HISTORY 16′ Subbass (wood—32 pipes) 8′ Octave (12 zinc basses, remainder spotted metal—32 pipes) ◆ AUTHENTIC SOUND FROM REAL PIPES! 8′ Gedackt (wood—32 pipes) 4′ Choralbass (5 zinc basses, remainder spotted metal—32 pipes) NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING AND SERVICE FIRMS III Mixture (spotted metal—96 pipes) ′ 16 Fagott (7 zinc basses, remainder BUILDER MEMBERS spotted metal—32 pipes) 4′ Rohrschalmei (brass and spotted A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. metal—32 pipes) Andover Organ Company Holtkamp Organ Company Schoenstein & Co. Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs Inter-divisional Couplers Bond Organ Builders, Inc. Muller Pipe Organ Company Great to Pedal 8 Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS Great to Pedal 4 C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. Swell to Pedal 8 Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems Swell to Pedal 4 Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation Positiv to Pedal 8 Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources Choir to Pedal 8 Garland Pipe Organs, Inc. Quimby Pipe Organs, Inc. Peterson Electro-Musical Products Choir to Pedal 4 Swell to Great 16 Swell to Great 8 Swell to Great 4 Positiv to Great 16 Positiv to Great 8 Positiv to Great 4 Choir to Great 16 Call today for Please watch and share Choir to Great 8 APOBA’s free 66+ our short video at: Choir to Great 4 page color prospectus www.apoba.com/video Echo to Great 8 Swell to Positiv 16 Swell to Positiv 8 Swell to Positiv 4 Echo to Positiv 8 Echo to Swell 8 Accessories Apoba.com 1-800-473-5270 12 General pistons (thumb and toe) 6 Great pistons (thumb)

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Peragallo Pipe Organ Company, requisite tools one would expect to see Paterson, New Jersey but several noteworthy perks. Cathedral of Ss. Simon and At the urging of the consultant, we Jude, Phoenix, Arizona included a manual 32′ Flûte Conique. The overall effect of adding this subtle From the Builder fl ue to the chorus is most favorable in executing French music from both the Make no little plans; they have no magic to stir men’s blood. Classical and Romantic schools. The —Daniel Burnham Grand Orgue is also equipped with softer accompanimental stops from the As organbuilders, we are uniquely expressive divisions to offer a seamless privileged to experience many rewarding crescendo and versatility in . moments in the process of seeing a new The Positif Expressif houses the pow- pipe organ come to life. Those moments erful Tromba Magna. This high-pressure are all the more amplifi ed when this reed, fi tted with German tapered shallots process includes a vibrant ministry that that are modifi ed with a straight bore, will realize the full potential of the new benefi ts from the extremely effective instrument. From our fi rst interactions expression of the Positif chamber. When with the staff and organ committee at adding the Tromba to the chorus with the the Cathedral of Ss. Simon and Jude, we box closed, it can serve as a bigger chorus sensed that the pipe organ was going to reed. With the box fully open, the Tromba serve as the cornerstone of sacred music broadens the Grand Jeu while not over- Console (photo credit: Billy Hardiman) within the Diocese of Phoenix. The powering the balance of the ensemble. instrument would need to musically sup- Another notable inclusion is the large- port and visually complement a refresh- scaled 8′ Cor di Bassetto in the Récit ingly unapologetic traditional ministry of division. Sitting alongside the traditional sacred music. The organ’s timbres would Hautbois and Trompette, this throaty need to function in both humble and color is available at 16′ pitch on the Solo. 1 glorifying ways to illuminate to the con- The Récit also includes a Sept/Neuf (1 ⁄7′ 8 gregant the power through which chant, and ⁄9′) that imparts a reedy shimmer to hymnody, and improvisation can reveal the full chorus and also serves as part of the sacred mystery to us all. the collective VIII à la Neuvieme. We were immediately in awe of the The versatile nature of the organ’s unwavering faith of this congregation. mechanism afforded the ability to create The extended lines wrapping around the composite stops for the Solo division, church of people of all ages waiting to such as the III Grande Montre that is receive the Sacrament of Reconciliation, drawn from the three largest-scaled the sight of people crawling on hands Montre stops. Likewise, the II Flûte and knees down the middle aisle to Majeure, II Flauto Veneziano Celeste, beg forgiveness, the perpetual proces- and VII Cor de Violes go one step in sion of groups gathering to recite the depth and volume beyond their divisional Rosary—all attest to the tremendous counterparts. The Solo provides access faith of this special place. The large to two collective Cornets, as well as the cross that adorned the altar of Sun Devil Tromba Magna, at a variety of pitches. Stadium during the visit of Pope John Finally, the Solo offers access to sev- Paul II in 1987 is now a familiar beacon eral colorful reeds at pitches other than as you approach the cathedral. With this those found in their respective divisions. steadfast faith and this prominent cross For example, the Chalumeau à Chemi- as a starting point, we set out to design née sits well in the Positif chorus at 4′ an organ to complement this parish. pitch along with the 8′ Cromorne and The tonal design of the instrument the 16′ Cor Anglais. The Chalumeau and is the collaborative effort of John Pera- the Cor Anglais are both available at 8′ gallo, III; Mark Husey, consultant for pitch on the Solo. the project; and Matthew Meloche, the The Pédale division holds four inde- Open house in the Peragallo factory director of sacred music at Ss. Simon pendent 32′ pitches of varying color and and Jude. The specifi cation is in keeping power, and the façade pipework includes design follows cues of the cathedral’s The organ’s console design features with the tonal concepts and philosophies both the 16′ Violone and 16′ Montre. unique arches refl ected in the doubly curving details gleaned from the organ one can expect of a Peragallo instru- The 16′ Bombarde reeds are fi tted with curving towers. The sightlines and hier- casework and the cathedral’s ecclesi- ment. Each division is tonally complete special bored German shallots. archies seek to elevate the eye upward. astical appointments. The music desk and features a wealth of foundation The Trompette en Chamade features The organ also features chamber wall incorporates a Southwest motif with stops. The gallery casework showcases English shallots with fl ared resonators designs borrowing from concepts devel- inlay of three wood species: maple, oak, an unenclosed Grand Orgue, expressive in polished zinc splayed in a spectacular oped for structurally insulated panels that and cherry. Positif and Récit divisions, and a sub- arrangement high in the casework. are used in green building systems. These At the pinnacle of the casework, a stantial Pédale. An Antiphonale organ The digital makeup of the fl oating walls perform a double function of keeping hand-carved cherry Étoile Sonora (spin- provides pitch and accompaniment for Antiphonal organ ensures that it will the chamber temperatures even in the Ari- ning star zimbelstern) adorns the case the song leader and serves as a coun- always be in tune with the gallery organ zona heat and creating a stark pianissimo and rotates when activated. The star’s terpoint to the Grand Orgue. The Solo when called upon. effect when the expression shades are design represents the fi ve charisms of provides easy keyboard access to the The design and fabrication of the closed. New techniques for racking were Mary Ward, the fi ve Loreto Sisters who chamades and a plethora of solo color. organ’s casework was carried out under developed for the double curves within the founded the school, and the founding Each division possesses not only the the direction of Frank Peragallo. The towers and the Trompette en Chamade. pastor, Father Paul Smith. The Loreto

Peragallo Pipe Organ Company Opus 743

Grand Orgue – Manual I 8′ Trompette 61 pipes 4′ Chalumeau à cheminée 61 pipes 4′ Flûte traversière 61 pipes 2 32′ Flûte conique Positif and Pédale 4′ Clairon (ext 8′ Tr) 12 pipes 8′ Tromba magna 61 pipes 2⁄3′ Nasard (TC) 30 pipes 16′ Contre Violone 61 pipes 4′ Clairon magna (ext 8′ Tr) 2′ Doublette 61 pipes 8′ Montre 61 pipes 8′ Trompette en Chamade Solo Tremulant 2′ Quarte de nasard (ext 4′ Fl) 12 pipes 3 8′ Flûte harmonique 61 pipes Positif 16′ 1⁄5′ Tierce (TC) 30 pipes 8′ Bourdon à cheminée 61 pipes Positif Expressif – Manual II Positif Muet III/IV Plein jeu 220 pipes 8′ Gambe 61 pipes 16′ Flûte conique 61 wps Positif 4′ IV Cymbale composite 8′ Cor de nuit (ext Bd Dx 16′) Récit 8′ Montre 61 pipes Harp 49 wps II Sept/Neuf 122 wps 8′ Cor de chamois Positif 8′ Bourdon 61 pipes Celesta 12 wps 16′ Basson 61 pipes 8′ Cor de chamois Céleste Positif 8′ Cor de chamois 61 pipes 8′ Trompette en Chamade Solo 8′ Trompette 61 pipes 4′ Prestant 61 pipes 8′ Cor de chamois Céleste (TC) 49 pipes 8′ Cor di bassetto 61 pipes 4′ Flûte ouverte 61 pipes 4′ Principal italien (ext 8′ Mt) 12 pipes Récit – Manual III 8′ Hautbois 61 pipes 4′ Cor de chamois Céleste II Positif 4′ Flûte à fuseau 61 pipes 16′ Bourdon doux 61 wps 8′ Voix humaine 61 wps 2′ Doublette 61 pipes 2′ Octavin 61 pipes 8′ Montre 61 pipes 4′ Clarion (ext 8′ Tr) 12 pipes 1 2′ Flûte à bec (ext 4′ Fl) 12 pipes 1⁄3′ Larigot 61 pipes 8′ Flûte à cheminée 61 pipes Tremulant II Cornet (c2–c6) 98 pipes 1′ Piccolo (ext 4′ Fl) 12 pipes 8′ Viole de gambe 61 pipes Recit 16′ III/IV Grande Fourniture composite II Cymbale 122 pipes 8′ Voix Céleste (TC) 49 pipes Recit Muet IV Fourniture 244 pipes 16′ Cor anglais 61 wps 8′ Flauto Dolce Céleste II 122 wps Recit 4′ III Cymbale 183 pipes 8′ Cromorne 61 pipes 4′ Prestant 61 pipes 8′ Trompette en Chamade Solo 16′ Contre Trompette 61 wps

22 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM Peragallo Opus 743, Cathedral of Ss. Simon and Jude, Phoenix, Arizona Frank Peragallo tuning the chamade

the country once more. We are proud to archived on YouTube. At his initiative extend our tradition and look forward to and through the support of cathedral building more instruments and reaching clergy and an exceptionally generous more parishes across the country in the donor, Peragallo Opus 743 was built as years to come. this cathedral’s fi rst pipe organ, replac- We are grateful for the support of the ing two electronic instruments in vari- Most Reverend Thomas James Olmsted, ous stages of decay. Bishop of Phoenix; the Very Reverend While the cathedral’s richly cel- John Lankeit, Cathedral ; Mat- ebrated choral Masses include a wealth thew J. Meloche, director of sacred of unaccompanied choral music, the music; Mark Husey, consultant; Pam liturgy’s psalm, hymns, voluntaries, and Lambros, parish stewardship and com- improvisations demand an instrument munications coordinator; the Cathedral with a diverse tonal palette capable of Organ Committee; and all those that dramatic dynamic fl exibility, attributes supported the cathedral music initiatives that undoubtedly come into play should and this project. the instrument fi nd itself exploring the —John Peragallo, IV breadth of accompanied choral reper- Architectural Designer tory. The three independent principal choruses (two of them enclosed) on the From the Consultant main organ contrast brilliantly in terraced Environments of congregations that dynamics when played alone and when support professional musical excellence coupled form a sumptuous plenum. Frank and Anthony Peragallo regulating Cross from visit to Sun Devil Stadium in America seem as rare and delicately The addition of the 32′ on the Grand the Recit reeds by Pope John Paul II balanced as ecosystems of planets Orgue provides for a most unusual, subtle that can support intelligent life in the gravitas that makes for a spectacular Sisters have faithfully served the Diocese was placed on display on the main fl oor known universe. The alchemical blend Grand Plein Jeu for French Classic reper- of Phoenix since 1954. of the cathedral so parishioners could of visionary leadership, talent pool, and tory. A most colorful battery of reed stops After four months of engineering and have a chance to view it before it was patronage all need to be in alignment is available, complete with a powerful planning and six months of fabrication, raised up to the balcony. for music of a professional standard enclosed Solo Tromba in an “air-tight” the organ was fully assembled at the fac- One week later, the initial sounds were to be the norm, and typically manifest , which goes from a comfortable tory in Paterson, New Jersey. An open heard and the four-week voicing process after many years of careful cultivation. forte when played against a modest com- house was held for the community before began. This culminated with the blessing The Cathedral of Ss. Simon and Jude bination of stops, to a thrilling stentorian it was disassembled and loaded onto the of the organ by Bishop Thomas Olmsted, in Phoenix was built as a parish church tone that rivals the glory of Peragallo’s truck for the four-day journey to Arizona. shepherd of the Diocese of Phoenix, on in 1965 and elevated to a cathedral in signature chamades. The duplexing and Ten Peragallo employees fl ew to November 21, 2016. 1969. While an exhaustive history of unifi cation that form the instrument’s Phoenix for six weeks of installation of This installation in Phoenix is our fam- the cathedral’s sacred music program Solo division might elicit an arched the new organ. Each morning the crew ily’s fi rst instrument west of the Missis- is mercurial and fascinating, that is not eyebrow from some purists (as it did drove from their outpost in northern sippi River since John Peragallo, Sr., took my story to tell; Matthew Meloche’s from me, who am anything but). I would Phoenix to the cathedral, passing dozens the American Master Organ Company appointment as director of music in extend some of the liberties afforded to of hot air balloons and witnessing the Opus 3 by rail to the Rialto Theatre in November of 2013 has produced an Isnard’s 1772 Resonance division at St. priceless morning sunrises of the greater Butte, Montana, in 1917. One hundred exceptionally well-trained professional Maximin-en-Var in Provence, though I Phoenix valley. It took only one week to years and 743 organs later, four members choir that sings unaccompanied chants realize this is a stretch. While the Solo rebuild the massive organ casework and of the Peragallo family and ten craftsmen and polyphony for a weekly Solemn division has only one rank to call its own, chambers in the balcony. The console on our dedicated staff headed out across Choral Mass broadcast on television and its Grand Montre, Flauto Venezia, and

Cathedral of Ss. Simon and Jude, Phoenix, Arizona

Solo – Manual IV Solo Muet 8′ Octavbasse 12 wps 8′ Flute doux Récit 8′ Grande Montre III G.O. composite Solo 4′ 8′ Bourdon 12 wps 4′ Doublette (ext 8′ Oct) 12 pipes 8′ Flûte majeure II G.O. composite 4′ Flûte couverte 32 wps 4′ Flûte octaviante Grand Orgue 8′ Cor de Violes VII Récit composite Antiphonale – Floating 8′ Cor d’orchestre Ant. IV Fourniture composite 8′ Flauto Veneziano Céleste II 8′ Montre 61 wps 4′ Cor d’orchestre Ant. 32′ Contre Bombarde 32 wps Récit composite 8′ Flûte angelique 61 wps Pédale Tremulant 16′ Bombarde 32 pipes 4′ Flûte magique G.O. fr. 8′ Fl har 8′ Viole angelorum 61 wps 16′ Contre Trompette Grand Orgue V Grande Cornet G.O. composite 8′ Voix seraphique 61 wps Pédale 16′ Basson Récit VIII Cornet à la neuvieme Réc composite 8′ Unda maris II 122 wps 32′ Flûte ouverte 32 wps 8′ Bombarde (ext 16′) 12 pipes 16′ Cor di bassetto Récit 4′ Prestant 61 wps 32′ Contre bourdon 32 wps 8′ Trompette en chamade Solo 8′ Cromorne Positif 4′ Flûte bouchée 61 wps 32′ Flûte conique 32 wps 8′ Tromba magna Positif 8′ Trompette en chamade 49 pipes 2′ Doublette 61 wps 16′ Contrebasse 32 wps 4′ Cromorne Positif 8′ Chalumeau à cheminée Positif 8′ Cor d’orchestre 61 wps 16′ Montre 32 pipes Campanile Cathédrale Solo 8′ Cor anglais Positif Tremulant 16′ Violone Grand Orgue Étoile Sonora 16′ Tuba magna (1–12 wps) Positif Antiphonal Octave Célestes 16′ Flûte conique Positif 8′ Tromba magna Positif 16′ Bourdon 32 wps wps = Walker pipe sample 4′ Clairon magna Positif Antiphonale Pédale 16′ Bourdon doux Récit Tremulant 16′ Contrebasse 32 wps 8′ Octavbasse 32 pipes Four manuals and pedal, 51 ranks Clochettes 37 wps 16′ Bourdon 32 wps 8′ Bourdon 12 wps Solo 16′

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2017 Q 23 Cover feature 2017 Summer Carillon Concert Calendar

Allendale, Michigan Fort Washington, Pennsylvania Grand Valley State University, Cook Caril- St. Thomas Church, Whitemarsh lon, Sundays at 8 pm Tuesdays at 7 pm July 2, Open Tower, Julianne Vanden July 4, James Fackenthal Wyngaard, host July 11, Lisa Lonie July 9, James Fackenthal July 18, Wesley Arai July 16, Sharon Hettinger July 25, Thomas Lee July 23, Dave Johnson July 30, Laura Ellis Frederick, Maryland August 6, Sue Bergren Baker Park August 20, Julianne Vanden Wyngaard First and third Fridays at 12:30 pm John Widmann, City Carillonneur Bloomfi eld Hills, Michigan Christ Church Cranbrook Sundays at 4 pm Gainesville, Florida July 2, Carol Lens University of Florida, Century Tower July 9, Gordon Slater Sundays at 3 pm July 16, James Fackenthal July 16, University Carillon Studio July 23, Julie Ford August 20, Laura Ellis July 30, Jonathan Lehrer Glencoe, Illinois Kirk in the Hills Presbyterian Church Chicago Botanic Garden, Mondays at 7 pm Sundays at 10 am & noon July 3, Mark Lee July 9, Gordon Slater July 10, Hunter Chase July 16, James Fackenthal July 17, Wylie Crawford July 23, Julie Ford July 24, Jonathan Lehrer July 30, Jonathan Lehrer July 31, Parker Ludwig Day 1: the many pieces of the cathedral organ August 7, Lynnli Wang St. Hugo of the Hills Catholic Church August 14, Roy Kroezen Thursdays at 7 pm August 21, Linda Dzuris Cornet stops are laudable composites that Palestrina, Byrd, and even of modern July 6, Gordon Slater August 28, Brandon Blazo yield breathtaking results and must be composers—began being promoted July 13, James Fackenthal September 4, Sue Bergren heard to be fully appreciated. The judi- and used extensively. The fi nal piece July 20, Sharon Hettinger cious use of digital voices also should be of the puzzle for the cathedral was to July 27, Julie Ford Grand Rapids, Michigan mentioned: the expanded repertory that move the choir from the north transept Grand Valley State University Centralia, Illinois Wednesdays at noon can be explored through their use, and where they were relocated several Centralia Carillon July 5, Carol Lens the versatility afforded to their voicing decades back to the choir loft and the Saturdays at 4 pm July 12, James Fackenthal July 15, Lisa Lonie & Janet Tebbel July 19, Helen Hawley and balance, is considerable. In summary, installation of a pipe organ. July 22, Elizabeth Berghout this instrument is what it is and does what The pipe organ design put forth by July 29, John Gouwens July 26, Jonathan Lehrer it does without apology: brilliantly. the Peragallo’s and the tonal specifi ca- August 5, Tiffany Ng August 5, Julianne Vanden Wyngaard I played Peragallo Opus 643 at St. tions put together over many months August 26, Jeremy Chesman September 2, Roy Kroezen with hand- Middlebury, Vermont Peter’s Catholic Church in Columbia, pushed beyond the cathedral’s initial bell choir Middlebury College, Fridays at 5 pm South Carolina, for ten years, and the vision. With time and the advice of September 9, Roy Kroezen with Little July 14, Nikita Gratchev success of that instrument in leading great musicians (Mark Husey, Dr. Dan- Egypt Brass July 21, Elena Sadina sung worship is documented on over 700 iel Page, Ryan Dingess, Bruce Ludwick, July 28, David Maker Chicago, Illinois August 4, Margaret Pan videos with nearly four million views as among others), a wonderful instrument University of Chicago, Rockefeller Chapel August 11, Linda Dzuris of this writing. I am proud to have intro- came forth. The many tonal colors of Sundays at 5 pm August 18, George Matthew, Jr. (3 pm) duced the Peragallo family to the good the organ make it an ideal instrument July 23, Jonathan Lehrer people of Ss. Simon and Jude. I applaud for creative improvisations on Gre- July 30, Parker Ludwig Minneapolis, Minnesota August 6, Lynnli Wang Central Lutheran Church Matthew Meloche, his clergy, and their gorian chant themes, and many of its August 13, Roy Kroezen Sundays at 11:30 am patrons for blazing new trails in organ ranks seem to be made to accompany August 20, Linda Dzuris July 9, Julianne Vanden Wyngaard & building while upholding the best of congregational settings of the chanted George Gregory Catholic musical orthodoxy, providing Ordinary of the Mass. Cohasset, Massachusetts July 16, Jonathan Lehrer St. Stephen’s Episcopal Church July 30, Tin-shi Tam a broken world with beauty and hope The dedication series of six concerts Sundays at 6 pm August 6, Kipp Cortez when we need it most. I predict that (played by Dr. Paul Weber, Dr. Skye July 2, George Matthew, Jr. Peragallo Opus 743 will likewise inspire Hart, Dr. Emma Whitten, Dr. Meaghan July 4, Open Tower & Book Reading: “Rosie Meets the Carillon” (2:15 pm) Naperville, Illinois subsequent renewal in sacred music on a King, Mr. Mark Husey, and Mr. Jona- July 4, Christina Meyer & Lee B. Leach Naperville Millennium Carillon local as well as global scale. Ad majorem than Ryan) was eye opening to many (3 pm) Tuesdays at 7 pm July 9, Thomas Lee July 11, Hunter Chase Dei gloriam. cathedral parishioners and visitors from July 18, Wylie Crawford —Mark Husey around the diocese. The pipe organ July 16, Michael Solotke & Tiffany Lin July 23, Nikita Grachev July 25, Jonathan Lehrer is used to accompany congregational July 30, Gordon Slater August 1, Parker Ludwig From the Director of Sacred Music music regularly at the Diocese of Phoe- August 6, Margaret Pan August 8, Lynnli Wang August 13, John Whiteside August 15, Roy Kroezen It has been a great pleasure of mine, nix televised Mass, which is viewed by August 22, Linda Dzuris since 2013, to continue the good work over 60,000 people each Sunday. His Culver, Indiana of my predecessor Adam Bartlett in , Bishop Thomas J. Olmsted, Culver Academies Northfi eld, Vermont promoting legitimate Catholic sacred in his homily during the Vespers service Saturdays at 4 pm Norwich University, Saturdays at 1 pm music at the Cathedral of Ss. Simon and at which he blessed the pipe organ, joy- July 1, John Gouwens July 1, Tatiana Lukyanova July 8, John Gouwens July 8, George Matthew, Jr. Jude, the Mother Church of the Diocese fully celebrated this instrument and the July 15, John Gouwens July 15, Nikita Gratchev of Phoenix, Arizona. Perhaps the most inspiration it would bring to parishioners July 22, Jonathan Lehrer July 22, Elena Sadina quoted liturgy document of the past 50 and Catholics from around Arizona. It is September 2, John Gouwens July 29, Gordon Slater years has been Sacrosanctum Concilium, my hope that this instrument will begin September 30, John Gouwens the Constitution on the Sacred Liturgy a resurgence in the Diocese of Phoenix Norwood, Massachusetts Danbury, Connecticut Norwood Memorial Municipal Building promulgated by the Second Vatican and be the fi rst of many pipe organs to St. James Episcopal Church Mondays at 7 pm Council. In that rather broad document a fi nd its way into Catholic parishes here Wednesdays at 12:30 pm July 3, George Matthew, Jr. few specifi c musical items are mentioned: that may have never had one. July 5, Kristin O’Connor July 10, Thomas Lee July 12, George Matthew, Jr. chant, polyphony, and the pipe organ. —Matthew J. Meloche July 17, Michael Solotke & Tiffany Lin July 19, David Katz July 24, Nikita Grachev Though the cathedral’s history July 26, Carolyn Bolden July 31, Gordon Slater with Gregorian chant long predates See time lapse video of week one of August 2, Tatiana Lukyanova August 7, Margaret Pan myself and my immediate predeces- the organ being built at: www.youtube. August 14, John Whiteside , Colorado sor (the 11:00 a.m. Solemn Mass has com/watch?v=579Rc0svbbg. University of Denver, Williams Carillon had the authentic Gregorian Introit Sundays at 7 pm Ottawa, Ontario sung at it for a decade or more), it Photo credits: John Peragallo, unless July 23, Parker Ludwig Peace Tower Carillon August 6, Carolyn Bolden July & August, weekdays at 11 am was under Bartlett and then my watch otherwise indicated August 20, Carol Jickling Lens Andrea McCrady, Carillonneur that polyphony—especially that of Cover photo: Billy Hardiman July 1, Andrea McCrady (10 am) East Lansing, Michigan July 11, Andrée-Anne Doane (11 am) Michigan State University, Beaumont Tow- July 18, Gordon Slater (11 am) er Carillon, Wednesdays at 6 pm July 25, Jonathan Hebert (11 am) Access to The Diapason’s website July 5, Carol Jickling Lens July 12, James Fackenthal Owings Mills, Maryland has been made easier for subscribers July 19, Julianne Vanden Wyngaard McDonogh School, Fridays at 7 pm July 26, Jonathan Lehrer July 7, James Fackenthal You can now login once by using your subscriber number and August 2, Ray McLellan July 14, Kipp Cortez July 21, Lisa Lonie & Janet Tebbel your e-mail address, and then create your own password. Erie, Pennsylvania July 28, Thomas Lee Penn State University, Behrend Campus, When you log in again, you no longer need your subscriber code, Smith Chapel Princeton, New Jersey only your password and e-mail address. Thursdays at 7 pm Princeton University, Grover Cleveland July 13, John Widmann Tower, Sundays at 1 pm July 20, Tatiana Lukyanova July 2, James Fackenthal Check it out! Visit www.TheDiapason.com. July 27, Janet Tebbel July 9, Kipp Cortez August 3, Linda Dzuris July 16, Wesley Arai

24 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM By Brian Swager Bert Adams, FAGO PATRICK ALLEN July 23, Thomas Lee Spokane, Washington Park Ridge Presbyterian Church July 30, Lynnli Wang Cathedral of St. John the Evangelist Park Ridge, IL GRACE CHURCH August 6, Lisa Lonie July 4, Wesley Arai, 9 pm Pickle Piano / Johannus Midwest NEW YORK August 13, Lisa Lonie & Janet Tebbel Bloomingdale, IL August 20, Tatiana Lukyanova Stamford, Connecticut August 27, Andy Zhang First Presbyterian Church September 3, Joey Cotruvo Thursdays at 7 pm July 6, Tatiana Lukyanova Rochester, Michigan July 13, George Matthew, Jr. Christopher Babcock Michael J. Batcho Oakland University, Elliott Carillon July 20, Charles Semowich Fridays at 6 pm July 27, Marietta Douglas Director of Music July 7, Julie Ford St. Andrew’s by the Sea, July 14, James Fackenthal CATHEDRAL OF ST. JOHN July 21, Dennis Curry Valley Forge, Pennsylvania Hyannis Port July 28, Jonathan Lehrer Washington Memorial Chapel MILWAUKEE Wednesdays at 7:30 pm July 5, James Fackenthal St. Paul, Minnesota House of Hope Presbyterian Church July 12, Kipp Cortez Sundays at 4 pm July 19, Wesley Arai Dean W. Billmeyer July 4, Dave Johnson July 26, Thomas Lee July 9, Julianne Vanden Wyngaard & August 2, Lynnli Wang George Gregory August 9, John Widmann University of Minnesota July 16, Jonathan Lehrer August 16, Doug Gefvert with Irish Thun- July 30, Tin-shi Tam der Pipes & Drums Minneapolis 55455 • [email protected] August 6, Kipp Cortez August 23, Tatiana Lukyanova August 13, Dave Johnson August 30, Doug Gefvert

GAVIN BLACK Byron L. Blackmore Calendar Princeton Early Keyboard Center Crown of Life Lutheran Church 732/599-0392 Sun City West, Arizona 25 JULY This calendar runs from the 15th of the month www.pekc.org Mike Logtenberg; First Parish UCC, 623/214-4903 of issue through the following month. The deadline is the fi rst of the preceding month (Jan. 1 for Brunswick, ME 12:15 pm Feb. issue). All events are assumed to be organ David von Behren; Old West Church, recitals unless otherwise indicated and are grouped Boston, MA 8 pm THOMAS BROWN within each date north-south and east-west. •=AGO Michael Britt; The Riverside Church, DELBERT DISSELHORST chapter event, • •=RCCO centre event, +=new organ New York, NY 7 pm UNIVERSITY dedication, ++= OHS event. Isabelle Demers, masterclass; Long- PRESBYTERIAN CHURCH Professor Emeritus Information cannot be accepted unless it wood Gardens, Kennett Square, PA 9 am CHAPEL HILL, NORTH CAROLINA University of Iowa–Iowa City specifi es artist name, date, location, and hour in ThomasBrownMusic.com writing. Multiple listings should be in chronological 26 JULY order; please do not send duplicate listings. Jennifer McPherson; Methuen Memo- THE DIAPASON regrets that it cannot assume rial Music Hall, Methuen, MA 8 pm responsibility for the accuracy of calendar entries. Katelyn Emerson; Christ Episcopal, JAMES DORROH, AAGO, PhD STEVEN EGLER Charlottesville, VA 7 pm Central Michigan University Kent Jager; Christ Church, Michigan Saint Luke’s Episcopal Church UNITED STATES Samford University School of Music East of the Mississippi City, IN 12:15 pm Derek Nickels; Zion Lutheran, Appleton, Birmingham, Alabama Mt. Pleasant, MI 48859 WI 12:15 pm [email protected] 16 JULY Organ Consultant Organ Recitals Jeanne Kohn; St. Paul Cathedral, Pitts- 27 JULY burgh, PA 4 pm Mike Logtenberg; St. John’s Catholic Robert Chapman & Baxter Jennings; Church, Bangor, ME 7:30 pm JOHN FENSTERMAKER Broad Street Christian, Martinsville, VA 4 pm Susan Goodson Stigall Scholar Recital; Providence Bap- 30 JULY TRINITY-BY-THE-COVE tist, Charlotte, NC 7 pm Joseph Balistreri; St. Paul Cathedral, Emanuel United Church of Christ Michael Hey, with orchestra; Cathedral Pittsburgh, PA 4 pm Manchester, Michigan of St. John the Evangelist, Milwaukee, WI Matthew Cates; First United Methodist, NAPLES, FLORIDA 2 pm Martinsville, VA 4 pm Karen Beaumont; St. Hedwig Catholic Monty Bennett; Park Road Baptist, Church, Milwaukee, WI 2 pm Charlotte, NC 7 pm Norberto Bryan Dunnewald; Shrine of Our Lady Weston Jennings; Interlochen Center TEPHEN AMILTON of Guadalupe, La Crosse, WI 3 pm for the Arts, Interlochen, MI 5 pm Guinaldo S H Jan Kraybill; Loyola University, Chicago, Karen Beaumont; Milwaukee Catholic recitalist–clinician–educator IL 3 pm Home, Milwaukee, WI 2 pm His Music See—Listen—Buy www.stephenjonhamilton.com 18 JULY 1 AUGUST www.GuinaldoPublications.com Keith Reas; First Parish UCC, Bruns- Harold Stover; First Parish UCC, Bruns- wick, ME 12:15 pm wick, ME 12:15 pm Stephen Rumpf; Old West Church, Bos- Monica Czausz; Merrill Auditorium, ton, MA 8 pm Portland, ME 7:30 pm Wilma Jensen; The Riverside Church, Khrstian Erich Bauer-Rowe; Old West David Herman New York, NY 7 pm Church, Boston, MA 8 pm Matthew Brown; Myers Park Presbyte- Katelyn Emerson; Riverside Church, Trustees Distinguished Professor Emeritus of Music and University Organist rian, Charlotte, NC 7 pm New York, NY 7 pm The University of Delaware Q [email protected] 19 JULY 2 AUGUST Leo Abbott; Methuen Memorial Music Jeremy Bruns; Methuen Memorial Mu- Hall, Methuen, MA 8 pm sic Hall, Methuen, MA 8 pm A Professional Card in Mark Sudeith; Christ Church, Michigan Jeremy Kiolbassa; Christ Church, Mich- City, IN 12:15 pm igan City, IN 12:15 pm Naomi Rowley; First Congregational, Jared Stellmacher; St. Mary’s Catholic The Diapason Appleton, WI 12:15 pm Church, Menasha, WI 12:15 pm For rates and digital specifi cations, contact Jerome Butera Robert Zanca; Sinsinawa Mound Cen- David Jonies; Sinsinawa Mound, Sin- 847/391-1045; [email protected] ter, Sinsinawa, WI 7 pm sinawa, WI 7 pm

20 JULY 3 AUGUST Mike Logtenberg, with choir; St. John’s Permelia Sears; St. John’s Catholic Catholic Church, Bangor, ME 7:30 pm Church, Bangor, ME 7:30 pm

22 JULY 4 AUGUST Choral concert; Christ Church Grosse Chelsea Chen; First Congregational Lorraine Brugh, Ph.D. Pointe, Grosse Pointe Farms, MI 4:30 pm UCC, Rhinelander, WI 7 pm Professor of Music 23 JULY 5 AUGUST University Organist Gail Henry; St. Paul Cathedral, Pitts- ++James Hammann; First Congrega- Valparaiso, Ind. burgh, PA 4 pm tional UCC, Menomonie, WI 1:15 pm Ronn Lowe; First Baptist, Martinsville, ++Rhonda Sider Edgington; First Bap- valpo.edu VA 4 pm tist, Hudson, WI 3:20 pm 219.464.5084 Elizabeth Lenti; St. Peter’s Episcopal, ++Justin LaVoie; Phipps Center for the [email protected] Charlotte, NC 7 pm Arts, Hudson, WI 7 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2017 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 6 AUGUST 22 AUGUST New York, NY Syracuse, NY 13203-2816 Katelyn Emerson; Church on the Cape, Ray Cornils, with brass; Merrill Audito- www.andrewhenderson.net Cape Porpoise, ME 7 pm rium, Portland, ME 7:30 pm (315) 471-8451 Nicholas Will; St. Paul Cathedral, Pitts- Emerson Fang & Laura Gullett; Old burgh, PA 4 pm West Church, Boston, MA 8 pm Alden Wright; Sardis Presbyterian, Charlotte, NC 7 pm 23 AUGUST Richard Barrick Hoskins Andrew Sheranian; Methuen Memorial Brian Jones 7 AUGUST Music Hall, Methuen, MA 8 pm Director of Music & Organist Director of Music Emeritus David Jonies; St. Joseph Catholic Vashni Seitzer; St. Joseph Catholic St. Chrysostom's Church Church, Homewood, IL 7 pm Church, Appleton, WI 12:15 pm Chicago TRINITY CHURCH ++John Schwandt; Mount Olive Luther- Stephen Steely; Sinsinawa Mound Cen- [email protected] BOSTON an, Minneapolis, MN 9:40 am ter, Sinsinawa, WI 7 pm ++Daniel Schwandt, with violin; Pros- pect Park United Methodist, Minneapolis, 24 AUGUST MN 11:25 am & 12:30 pm Kevin Birch; St. John’s Catholic Church, KIM R. KASLING JAMES KIBBIE ++Greg Zelek; Holy Cross Lutheran, Bangor, ME 7:30 pm D.M.A. The University of Michigan Minneapolis, MN 2:10 pm ++John Ferguson; Central Lutheran, 27 AUGUST St. John’s University Ann Arbor, MI 48109-2085 Minneapolis, MN 3:30 pm The Chenault Duo; Myers Park United 734-764-1591 FAX: 734-763-5097 ++Nathan Laube; Basilica of St. Mary, Methodist, Charlotte, NC 7 pm Collegeville, MN 56321 Minneapolis, MN 7:30 pm email: [email protected] 29 AUGUST 8 AUGUST Clara Gerdes; Old West Church, Boston, Ray Cornils; First Parish UCC, Bruns- MA 8 pm David K. Lamb, D.Mus. wick, ME 12:15 pm 30 AUGUST Richard Elliott; Merrill Auditorium, Port- Director of Music Jacques Boucher; Methuen Memorial land, ME 7:30 pm Trinity United Methodist Church Music Hall, Methuen, MA 8 pm Thomas Sheehan; Old West Church, ORGAN CONSULTANT Ralph & Marillyn Freeman; St. Paul Lu- New Albany, Indiana Boston, MA 8 pm www.gabrielkney.com theran, Neenah, WI 12:15 pm 812/944-2229 Christopher Johnson; The Riverside Peter Szeibel; Sinsinawa Mound Center, Church, New York, NY 7 pm Sinsinawa, WI 7 pm 9 AUGUST 31 AUGUST Kevin Birch ; Methuen Memorial Music Margaret Harper; St. John’s Catholic Hall, Methuen, MA 8 pm A.S.C.A.P. Church, Bangor, ME 7:30 pm FELLOW, AMERICAN GUILD OF ORGANISTS Lee Meyer; Christ Church, Michigan City, IN 12:15 pm 345 SADDLE LAKE DRIVE UNITED STATES Don VerKuilen; First United Methodist, ROSWELL-ATLANTA, GEORGIA 30076 West of the Mississippi (770) 594-0949 Appleton, WI 7 pm Scott Montgomery; Sinsinawa Mound Center, Sinsinawa, WI 7 pm 15 JULY James Welch, with soprano; Oakland 10 AUGUST Temple Visitors’ Center, Oakland, CA 7 pm Abraham Ross; St. John’s Catholic Church, Bangor, ME 7:30 pm 16 JULY Professor Emeritus – University of Michigan – Ann Arbor Sarah Kraaz; St. Paul Lutheran, Neen- Mark Babcock; St. Matthew’s By-the- Professor of Organ for 67 years ah, WI 12:15 pm Bridge Episcopal, Iowa Falls, IA 4 pm MarilynThe University’s longest-serving faculty memberMason Etienne Walhain; Cathedral of St. 11 AUGUST Mary of the Assumption, San Francisco, James Welch; St. Mary Catholic Cathe- CA 4 pm dral, Gaylord, MI 7 pm A two-inch Professional Card in The Diapason 17 JULY 13 AUGUST Isabelle Demers; Spreckels Organ Pavil- For information on rates and specifi cations, contact Jerome Butera: Karen Beaumont; St. Patrick’s Cathe- ion, Balboa Park, San Diego, CA 7:30 pm dral, New York, NY 4 pm [email protected] 608/634-6253 Christopher Berry; St. Paul Cathedral, 23 JULY Pittsburgh, PA 4 pm James Welch, with soprano; Ensign LDS Stephen Gourley; Myers Park Baptist, Stake Center, Salt Lake City, UT 7:30 pm Charlotte, NC 7 pm Norman Paskowsky; Cathedral of St. Thomas Fielding; Shrine of Our Lady of Mary of the Assumption, San Francisco, Guadalupe, La Crosse, WI 3 pm CA 4 pm PHILIP CROZIER LARRY PALMER 15 AUGUST 25 JULY CONCERT ORGANIST Harpsichord – Organ Alan Saggerson; First Parish UCC, Tom Trenney, worship service; Christ ACCOMPANIST Brunswick, ME 12:15 pm Episcopal, Little Rock, AR 11:15 am Professor of Music, Emeritus Nathan Avakian; Merrill Auditorium, 3355 Queen Mary Road, Apt 424 Portland, ME 7:30 pm 26 JULY Montreal, H3V 1A5, P. Quebec Katelyn Emerson; St. Kieran Commu- Tom Trenney, worship service; First SMU, Dallas, Texas nity Center for the Arts, Berlin, NH 7 pm United Methodist, Little Rock, AR 8 pm Canada Gigi Mitchell-Velasco; Old West James Welch; Mt. Angel Abbey, St. (514) 739-8696 Recitals — Lectures — Consultancies Church, Boston, MA 8 pm Benedict, OR 6 pm [email protected] 16 AUGUST 27 JULY [email protected] + 214.350-3628 Katie Minion; Methuen Memorial Music Tom Trenney, worship service; Christ Hall, Methuen, MA 8 pm Episcopal, Little Rock, AR 11:15 am Duo MusArt Barcelona (Raúl Prieto James Welch; Mt. Angel Abbey, St. Ramírez, organ; Maria Teresa Sierra, pia- Benedict, OR 6 pm no); Grace Covenant Presbyterian, Rich- mond, VA 7 pm 28 JULY announces... Stephen Buzard; Christ Church, Michi- Tom Trenney, silent fi lm, One Week; St. gan City, IN 12:15 pm James United Methodist, Little Rock, AR Matthew Buller; First English Lutheran, 7:30 pm 2020 UnderUnder 30 30 Nominations Class of 2017 Appleton, WI 12:15 pm Renée Anne Louprette; St. James Ca- Deadline: February 1, 2016 Karen Black; Sinsinawa Mound Center, thedral, Seattle, WA 7:30 pm Sinsinawa, WI 7 pm We congratulate the young people 30 JULY whose career accomplishments 17 AUGUST Paul Stubbings; Cathedral of St. Mary of place them at the forefront of the George Bozeman; St. John’s Catholic the Assumption, San Francisco, CA 4 pm organ, church music, harpsichord, Church, Bangor, ME 7:30 pm Samuel Buse; Lawrence University, Ap- carillon, and organbuilding 31 JULY pleton, WI 12:15 pm Ken Cowan; Spreckels Organ Pavilion, fields—before their 30th birthday. Balboa Park, San Diego, CA 7:30 pm 20 AUGUST SeeVisit the TheDiapason.com video of the Class of 2017 Don Fellows; St. Paul Cathedral, Pitts- 5 AUGUST burgh, PA 4 pm James Gerber, Vierne, Symphonie I; atfor www.TheDiapason.com more information and to nominate. Lester Ackerman; St. Mark’s Lutheran, Catalina United Methodist, Tucson AZ 12 Charlotte, NC 7 pm noon Karen Beaumont; St. Hedwig Catholic APOBA graciously provides a subscription to The Diapason Church, Milwaukee, WI 2 pm 6 AUGUST to all members of our 20 Under 30 Class of 2017. David Hurd; Loyola University, Chicago, ++Jessica Park; St. Clement Episcopal, IL 3 pm St. Paul, MN 1 pm

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Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH ++Fran Linhart; James J. Hill residence, 13 AUGUST Southminster Presbyterian Church St. Paul, MN 1 pm Stefan Donner; Cathedral of St. Mary of SHORT HILLS Arlington Heights, IL 60005 ++Fred Graham; Assumption Catholic the Assumption, San Francisco, CA 4 pm Church, St. Paul, MN 1 pm ++Jennifer Anderson; Central Presby- 16 AUGUST terian, St. Paul, MN 1 pm James Welch; Brigham Young Univer- A one-inch Professional Card ++Brian Carson; Church of St. Louis, sity, Provo, UT 7 pm DEREK E. NICKELS, DMA in The Diapason King of France, St. Paul, MN 1:30 pm Church of the Holy Comforter ++Choral Evensong; St. John the Evan- 20 AUGUST For information on rates and specifi cations, gelist Episcopal, St. Paul, MN 4 pm James Hammann, with clarinet; St. Kenilworth, IL 60043 Matthew’s By-the-Bridge Episcopal, Iowa contact Jerome Butera: ++Ken Cowan; Cathedral of St. Paul, St. (847) 251-6120 • [email protected] Paul, MN 7:30 pm Falls, IA 4 pm [email protected] 608/634-6253 Dominic Pang; Cathedral of St. Mary of Jin Kyung Lim; Cathedral of St. Mary of the Assumption, San Francisco, CA 4 pm the Assumption, San Francisco, CA 4 pm Stephen G. Schaeffer 7 AUGUST 23 AUGUST JEFFREY SCHLEFF Christian Lane; Spreckels Organ Pavil- David Jonies; Basilica of St. Mary, Min- Recitals – Consultations Organist – Author – Consultant ion, Balboa Park, San Diego, CA 7:30 pm neapolis, MN 7 pm Director of Music Emeritus Church Organ Associates, Inc., Lewisville, Texas 8 AUGUST 27 AUGUST Cathedral Church of the Advent First Presbyterian Church, Grand Prairie, Texas ++Jonathan Gregoire; First Lutheran, Jonathan Ryan; Cathedral of the Holy Birmingham, Alabama [email protected] St. Peter, MN 10:30 am Trinity, New Ulm, MN 1 pm ++Peter Crisafulli; Bernadotte Lutheran, Jason Jia; Cathedral of St. Mary of the Lafayette, MN 2 pm Assumption, San Francisco, CA 4 pm ++Isaac Drewes; St. George Catholic ROBERT L. Church, New Ulm, MN 3:25 pm INTERNATIONAL STEPHEN SCHNURR ++Chelsea Chen; Our Lady of Good Saint Paul Catholic Church SIMPSON Counsel Chapel, Mankato, MN 7 pm 15 JULY Christ Church Cathedral Valparaiso, Indiana 1117 Texas Avenue 9 AUGUST Gunnar Schmid, Harald Schuberth, , Texas 77002 ++Gregory Crowell; St. Wendelin Cath- Ulrich Theißen, & Herbert Weß; Stadt- olic Church, Augusta, MN 10:25 am pfarrkirche St. Martin, Bamberg, Germany

++Joseph Ripka; St. Joseph’s Univer- 5:30 pm ] sity; Collegeville, MN 11:50 am Mario Duella, with sopranos; San Mar- Joe Utterback ++Christopher Stroh; Sacred Heart tino, Camburzano, Italy 9 pm Mark Steinbach ]] ] Catholic Church, Freeport, MN 2:45 pm www.jazzmuze.com ++Mark Anthony Rodriguez; Ss. Peter 16 JULY Brown University & Paul Catholic Church, Richmond, MN Philip Crozier; Friedenskirche, Siek, 4:20 pm Germany 5 pm 203 386 9992 ++Monica Czausz; St. Boniface Catholic Lynne Davis; Cathedral, Chartres, Church, Coldspring, MN 7 pm France 4:15 pm Gail Archer; Methodist Central Hall, 10 AUGUST London, UK 3 pm ++Aaron David Miller & Robert Vick- Kevin Walters Iain Quinn; Westminster Abbey, London, David Wagner ery; House of Hope Presbyterian, St. Paul, UK 5:45 pm DMA MN 9:45 am M.A., F.A.G.O. ++Nicole Simental www.davidwagnerorganist.com ; Jehovah Lutheran, 18 JULY Rye, New York St. Paul, MN 11:35 am Mark Keane; St. Lawrence Jewry, Lon- ++Grant Wareham; First Baptist, St. don, UK 1 pm Paul, MN 2:05 pm ++Rosalind Mohnsen; St. Mary’s Cath- Ghislaine Reece-Trapp; St. George’s Hanover Square, London, UK 1:10 pm olic Church, St. Paul, MN 3:15 pm Alan G Woolley PhD ++Bill Chouinard; St. Andrew’s Luther- KARL WATSON 19 JULY Musical Instrument Research an, Mahtomedi, MN 8 pm Jean-Baptiste Monnot; Frauenkirche, SAINT LUKE’S Edinburgh

11 AUGUST Dresden, Germany 8 pm [email protected] ++Isabelle Demers & Jillian Gardner; David Enlow; St. David’s Cathedral, St. METUCHEN First Lutheran, Duluth, MN 11:35 am & 2 pm David’s, Wales, UK 7:30 pm ++Jillian Gardner; Masonic Lodge, Du- luth, MN 1:30 pm 20 JULY ++David Tryggestad; St. Mary Star of the Jonjoo Park; Dom St. Petri, Bremen, RUDOLF ZUIDERVELD Sea Catholic Church, Duluth, MN 3:15 pm Germany 7 pm RONALD WYATT ++Bruce Bengtson; Sacred Heart Mu- Lionel Rogg; St. Margaret Lothbury, Illinois College, Jacksonville sic Center, Duluth, MN 4:15 pm London, UK 1:10 pm Trinity Church Galveston First Presbyterian Church, Springfi eld

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/391-1044 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253 $PHULFDQ7DSHVWU\ZKHWKHUSLFWXUHVTXHRU 1 SURYRFDWLYHWKHVHFRPSRVHUVZHDYHDQLQWULJXLQJVSHOO $Q$XVWUDOLDQ$GYHQWXUHDVDPSOHURIVRPH A two-inch Professional Card in The Diapason < RIWKHVRXQGV\RX¶OOHQMR\ZKHQSDUWLFLSDWLQJLQWKH XSFRPLQJ3,3('5($06*URXS7RXUμGRZQXQGHU¶ 3 For information on rates and specifi cations, contact Jerome Butera: @ 7KH0LQQHVRWD0XVHDVDPSOHURIVRPH [email protected] 608/634-6253 LQVWUXPHQWVKHDUGQH[WPRQWKGXULQJWKH2UJDQ +LVWRULFDO6RFLHW\¶VQDWLRQDOFRQYHQWLRQ  %DFNZLWK%DFKDVXPPHUWLPHUHVSLWHZLWK  SHUIRUPDQFHVQHZDQGROGRIPXVLFZKLFKWKRXJK ArtistArtist Spotlights Spotlightspotlight s FKURQRORJLFDOO\ROGLVDOZD\VIUHVKDQGQHZ  Artist Spotlights 3DUWLWD7LPHZLWKYDULHGWH[WXUHVDQGWRQH  FRORUVWKHVHPXOWLPRYHPHQWVFRUHVVKRZFDVH are available on Your professional card LQVWUXPHQWVDQGSOD\HUVHTXDOO\ The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK Butera for rates or 608/634-6253 [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM and specifi cations. [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY ]PH .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ 608/634-6253 WPWLKYLHTZVYN VM7PWLKYLHTZŽHWVIHJVT [email protected] :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2017 Q 27 Calendar

21 JULY David Enlow; Pfarrkirche St. Erasmus, Philip Crozier; Église Saint-Georges, Christian Schmitt; St. Justinus Höchst, David Enlow; Ingelheimer Kaiserpfalz, Steinach-am-Brenner, Austria 8:30 pm Cacouna, Québec, Canada 2 pm Frankfurt am Main, Germany 5 pm Ingelheim (Frankfurt), Germany 7:30 pm Philip Crozier; Klosterkirche, Riddags- Judith Zöhrer, with violin; Stadtkirche, hausen, Germany 5 pm 7 AUGUST 18 AUGUST Bad Hersfeld, Germany 7:30 pm Pascale Mélis; Cathedral, Chartres, Luca Lavuri; Chiesa di S. Bartolomeo, Emma Gibbins; St. Stephen Walbrook, France 4:15 pm Scopa, Italy 9 pm London, UK 12:30 pm 22 JULY Simon Morley; Westminster Abbey, Lon- David Jonies; St. Margaret, Munich, 8 AUGUST 20 AUGUST Germany 11:30 am don, UK 5:45 pm Adam Sadowski, with trombone; Chiesa Winfried Bönig; Klosterkirche, Fürsten- 23 JULY 31 JULY di Maria Vergine Assunta, Grignasco, Italy feld, Germany 12:10 pm Françoise Dornier; Cathedral, Chartres, Philip Crozier; Wallfahrtkirche, An- Sandro Carnelos; Chiesa dei SS. 9 pm Giovanni e Giuseppe, Mollia, Italy 9 pm France 4:15 pm dechs, Germany 5 pm Peter King; Methodist Central Hall, Lon- David Enlow; Stadtkirche, Bad 9 AUGUST Cannstatt, Stuttgart, Germany 8 pm 2 AUGUST Adam Sadowski, with trombone; Chie- don, UK 3 pm Loreto Aramendi; Cathedral, Chartres, Peter van de Velde; Kreuzkirche, Dres- sa della Beata Vergine Assunta, Scopello, Alexander Hamilton; Westminster Ab- France 4:15 pm den, Germany 8 pm Italy 9 pm bey, London, UK 5:45 pm Daniel Cook; Westminster Abbey, Lon- Renato Negri; Chiesa di S.Giovanni Bat- don, UK 5:45 pm tista, , Italy 9 pm 10 AUGUST 23 AUGUST Bálint Karosi; Dom St. Petri, Bremen, Kerry Beaumont; Kreuzkirche, Dres- 25 JULY 3 AUGUST Germany 7 pm den, Germany 8 pm Richard Hobson; Grosvenor Chapel, Philip Crozier; Stadtpfarrkirche, Möd- Adam Sadowski, with trombone; Par- London, UK 1:10 pm ling, Austria 8 pm rocchia di Brugaro, Cravagliana, Italy 9 pm 24 AUGUST Alexander Weimann, harpsichord, Christoph Kuhlmann; Dom St. Petri, 26 JULY works of Bach; Christ Church Cathedral, Bremen, Germany 7 pm Mark Steinbach; Cathedral, Dresden, 11 AUGUST Vancouver, BC, Canada 7:30 pm Sebastian Bethge; Stadtkirche, Bad Germany 8 pm 25 AUGUST Hersfeld, Germany 7:30 pm 4 AUGUST Krzysztof Urbaniak; St. Nicolai Kirche, 27 JULY Eugenio Maria Fagiani; Chiesa di S. Lo- Roland Möhle; Stadtkirche, Bad Hers- Cuxhaven-Altenbruch, Germany 5 pm Olga Papykina; Dom St. Petri, Bremen, renzo, Crevola, Italy 9 pm feld, Germany 7:30 pm Jérôme Mondésert; St. Jacobi Kirche, Germany 7 pm Bach, St. John Passion; Chan Centre, Thomas Scardoni; Collegiata di S. Cuxhaven-Lüdingworth, Germany 8 pm Vancouver, BC, Canada 7:30 pm 28 JULY Gaudenzio, Verallo, Italy 4 pm 26 AUGUST Philip Crozier; Sankt Nikolai, Kiel, Ger- Thomas Scardoni; Chiesa di S. Maria 12 AUGUST Pieter van Dijk; Ss. Peter und Paul many 8 pm delle Grazie, Verallo, Italy 9 pm Eugenio Maria Fagiani; San Sebastia- Kirche, Cappel, Germany 7 pm Sandro Carnelos; Santa Maria Vergine no, Trivero/Bulliana, Italy 9 pm Assunta, Viverone, Italy 9 pm 5 AUGUST Mario Duella, with fl ute; Chiesa di S. Mi- 27 AUGUST David Enlow; Heiliggeistkirche, Bern, 13 AUGUST Switzerland 12:30 pm chele Arcangelo, Rastiglione, Italy 9 pm Andreas Jetter; Klosterkirche, Fürsten- Roberto Meylougan; Klosterkirche, feld, Germany 12:10 pm Fürstenfeld, Germany 12:10 pm 29 JULY 6 AUGUST Christian Schmitt; St. Justinus Kirche, Sandro Carnelos; Basilica Antica, Oro- David Enlow; Cathedral, Graz, Austria Mario Duella, with soprano; San Loren- Frankfurt, Germany 5 pm pa, Italy 9 pm 8 pm zo, Sostegno, Italy 9 pm Stephen Tharp; Liebfrauenkirche, Isabelle Demers, works of Vierne; St. Stephen Tharp; Klosterkirche, Fürsten- Patrick Delabre; Cathedral, Chartres, Hamm, Germany 5 pm John the Evangelist, London, UK 7:30 pm feld, Germany 12:10 pm France 4:15 pm Véronique Leguen; Cathedral, Char- Luca Lavuri; Chiesa di S. Stefano, Pi- Paul Griffiths; Westminster Abbey, Lon- tres, France 4:15 pm 30 JULY ode, Italy 9 pm don, UK 5:45 pm David Higgs; Der Aa-Kirche, Groningen, Sandro Carnelos; Cappella di S. Marta Coralie Amedjkane; Cathedral, Char- the Netherlands 8 pm e Chiesa di S. Giacomo, Campertogno, tres, France 4:15 pm 14 AUGUST Matthew Jorysz; Westminster Abbey, Italy 9 pm Mario Duella, with soprano; Chiesa di London, UK 5:45 pm Santa Croce, Rassa, Italy 9 pm 28 AUGUST 15 AUGUST Francis Jacob; Ss. Cyprian und Corne- Monteverdi, Marienvesper; Klosterkirche, lius Kirche, Ganderkesee, Germany 7 pm Fürstenfeld, Germany 5 pm Markéta Schley Reindlová & Ulrich 29 AUGUST Theißen; Stadtpfarrkirche St. Martin, Bam- Stephanie Burgoyne; St. Paul’s Angli- berg, Germany 5:30 pm can, Stratford, ON, Canada 12:15 pm

16 AUGUST 30 AUGUST Johann Vexo; Cathedral, Dresden, Ger- Willibald Guggenmoos; Frauenkirche, many 8 pm Dresden, Germany 8 pm

17 AUGUST 31 AUGUST Ulfert Smidt; Dom St. Petri, Bremen, Stephan Leuthold; Dom St. Petri, Bre- Germany 7 pm men, Germany 7 pm

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28 Q THE DIAPASON Q JULY 2017 WWW.THEDIAPASON.COM Organ Recitals

MONTY BENNETT, Haifa University, nata para Cimbalo, Elias; Prelude and Fugue Partita on Amazing Grace, Niedmann; Fugue T. JARED STELLMACHER, Ironwood Haifa, Israel, February 24: Fantasy and Fugue on the Name of Alain, op. 7, Durufl é; Rhosyme- in E-fl at, BWV 552ii, Bach. Wesley United Methodist Church, Ironwood, on My Lord, What a Morning, Simpson; Sol- dre (Three Preludes Founded on Welsh Hymn MI, February 17: Prelude and Fugue in E-fl at, emn Processional, Harris; Nigerian Suite No. Tunes), Vaughan Williams; Toccata in b-fl at (24 VAUGHN MAUREN, Washington Nation- BWV 552, Bach; Rhapsody in D-fl at, op. 17, 1, Sadoh; Go Down, Moses, Soon I Will Be Pièces de Fantaisie, op. 53), Vierne. al Cathedral, Washington, DC, February 19: no. 1, Howells; Boléro de concert, op. 166, Le- Done (Five Spirituals for Organ), Taylor; Sonata in E-fl at, Bairstow; Symphonie III in fébure-Wély; Triptych on Lauda anima, Fish- Reverie, Still; Joshua Fit de Battle ob Jericho, MYLES HAYDEN, Valparaiso University, f-sharp, op. 28, Vierne. ell; The Peace May Be Exchanged (Rubrics), Sowande; Impromptu in F, Impromptu in Valparaiso, IN, February 26: Ciacona in c, Locklair; Allegro vivace, Final (Symphony I in C, Impromptu in a, Coleridge-Taylor; Lotus, BuxWV 159, Buxtehude; Toccata, op. 80, no. KATHERINE MELOAN, Cathedral of d, op.14), Vierne. Strayhorn, arr. Wyton; First Sonata, Price. 11, Reger; Prelude and Fugue in e, BWV 548, St. Philip, Atlanta, GA, January 22: Introduk- Bach; Les bergers (La Nativité du Seigneur), tion und Passacaglia in d, Reger; Canonic FREDERICK SWANN, DAVID GOODE, FRÉDÉRIC CHAMPION, Dormition Ab- Messiaen; Choral No. 3 in a, Franck; What a Variations on Vom Himmel Hoch, BWV JAEBON HWANG, & CHRISTOPH BULL, bey, Jerusalem, Israel, December 17: Magni- Friend We Have in Jesus, Bolcom. 769, Bach; Prelude für Orgel, Mendelssohn First Congregational Church, , fi cat secundi toni, Weckmann; Danse Lente, Hensel; Final (Symphonie III in f-sharp, op. CA, February 12: Introduction, Passacaglia, op. 6, Durufl é, transcr. Champion; Wie schön CHRISTOPHER HENLEY, St. Thomas 28), Vierne. and Fugue, Willan; Concert Study Waldes- leuchtet der Morgenstern, BuxWV 223, Bux- Church Fifth Avenue, New York, NY, Feb- rauschen, Liszt, arr. Goode; Prelude 'One tehude; Lord of the Lights (Laudes, op. 5), ruary 12: Praeludium festivum (Sonata I), GRANT NILL, Loyola University, Chi- Thing I Ask,' Goode; Chaconne in d, BWV Florentz; Vom Himmel hoch da komm ich Becker; Sonata III in A, op. 65, no. 3, Men- cago, IL, February 19: Prelude and Fugue in 1004, Bach; Paean, Leighton; Aria, Peeters; her, BWV 769, Bach; Cinq images sur le cho- delssohn; Wie schön leuchtet der Morgen- C, BWV 531, Bach; Nun freut euch, lieben Résurrection (Symphonie-Passion, op. 23), ral Vom Himmel Hoch, Rolland; Prelude and stern, J. C. Bach; Wie schön leuchtet der Christen g’mein, Walcha; Vom Himmel hoch, Dupré; Prelude in E-fl at, BWV 552i, Wer nur Fugue in C, BWV 545, Bach. Morgenstern, Pachelbel; Wie schön leuchtet da komm ich her, op. 67, no. 40, Reger; O den lieben Gott lässt walten, BWV 647, O der Morgenstern, BuxWV 223, Praeludium in Traurigkeit, O Herzeleid, Smythe; Christ ist Mensch, bewein dein Sünde groß, BWV 622, CHELSEA CHEN, Trinity Lutheran d, BuxWV 140, Buxtehude. erstanden, BWV 627, Bach; Ich dank dir, Fugue in E-fl at, BWV 552ii, Bach. Church, Des Plaines, IL, February 10: Sin- lieber Herre, BuxWV 194, Buxtehude; Sonata fonietta, Gjeilo; First Peer Gynt Suite, op. 46, CHRISTOPHER HOULIHAN, Fordham V in D, op. 65, no. 5, Mendelssohn. IAN TOMESCH, St. Thomas Church Grieg, arr. Gaul; Chorale-Prelude on Bethold, University Church, Bronx, NY, November 6: Fifth Avenue, New York, NY, February 19: Taiwanese Suite, Chen; An Wasserfl üssen Carillon de Westminster (24 Pièces de Fan- WILLIAM PETERSON, Pomona College, Toccata tertia, Muffat; Fantasia sopra Freu Babylon, BWV 653, Prelude and Fugue in D, taisie, Troisième Suite, op. 54, no. 6), Vierne; Claremont, CA, February 5: Prelude in E-fl at, dich sehr, o meine Seele, Krebs; Ricercar, BWV 532, Bach; Finale (Symphony No. 3), Choral No. 2 in b, Franck; Variations de Con- BWV 552i, Dies sind die heilgen zehn Gebot, Sweelinck; Sonata in C, BWV 529, Prelude Saint-Saëns, transcr. Briggs. cert, op. 1, Bonnet; Alleluias sereins, Trans- BWV 678, BWV 679, Christ, unser Herr, zum and Fugue in e, BWV 548, Bach. ports de joie (L’Ascension), Messiaen; Suite, Jordan kam, BWV 684, BWV 685, Aus tiefer ENNIO COMINETTI, Cathedral of St. op. 5, Durufl é. Not schrei ich zu dir, BWV 686, BWV 687, JAMES WELCH, St. Mark’s Episcopal Philip, Atlanta, GA, March 12: Fantasia and Duetto III, BWV 804, Fugue in E-fl at, BWV Church, Palo Alto, CA, December 31: Alle- Fugue in c, BWV 537, Bach; Choral No. 3 DANIEL HYDE, St. Thomas Church Fifth 552ii, Bach. gro (Concerto in C, BWV 594), Prelude and in a, Franck; Stunde der Weihe (Five Organ Avenue, New York, NY, February 26: Prelude Fugue in D, BWV 532, Canonic Variations on Pieces, op. 132), Bossi. and Fugue in G, op. 37, no. 2, Mendelssohn; BENJAMIN SHEEN, St. Thomas Church Vom Himmel hoch, BWV 769, Das alte Jahr Sonata in D, C. P. E. Bach; Allein Gott in der Fifth Avenue, New York, NY, January 29: vergangen ist, In dulci jubilo, Der Tag, der ist JOEY FALA, Washington National Cathe- Höh sei Ehr’, BWV 715, 711, and 717, Bach; Prelude and Fugue in c, op. 37, no. 1, Men- so freudenreich, In dir ist Freude, Prelude and dral, Washington, DC, February 26: Choral Concerto del Signor Vivaldi, Walther. delssohn; Christ unser Herr, zum Jordan Fugue in c, BWV 546, Bach. No. 1 in E, Franck; Cinq versets sur le Victimae kam, BWV 684, Bach; Fantasia in f, K. 608, Paschali, Escaich; Rhapsody No. 2 in e-fl at, op. DAVID JONIES, Cathedral of the Holy Mozart; Christ unser Herr, zum Jordan kam, TODD WILSON, Rollins College, Win- 17, Howells; Prelude and Fugue in B, op. 7, no. Name, Chicago, IL, November 27: Prelude, BuxWV 180, Buxtehude; Fantasia in g, BWV ter Park, FL, February 17: Passacaglia in c, 1, Dupré. Macht hoch die Tür, Es kommt ein Schiff (3 542i, Wenn wir in höchsten Nöten sein, BWV BWV 582, Ach bleib bei uns, Herr Jesu Christ, verses), Toccata on O Heiland, reiss die Him- 641, Fugue in g, BWV 542ii, Bach. BWV 649, Meine Seele erhebt den Herren, JEREMY FILSELL, Washington National mel auf, Gott, heil’ger Schöpfer aller Stern’, BWV 648, Kommst du nun, Jesu, vom Himmel Cathedral, Washington, DC, February 12: Toc- Wachet auf, ruft uns die Stimme (The Holy JOHN SHERER, Fourth Presbyterian herunter, BWV 650, Bach; Variations sur un cata and Fugue in F, BWV 540, Bach; Impromp- Year), Ahrens; Chorale Prelude on Nun komm Church, Chicago, IL, December 23: What Noël, op. 20, Dupré; Lobe den Herren, Grand tu (24 Pièces de Fantaisie, Troisième Suite, op. der Heiden Heiland, op. 67, Reger; Plein Jeu, Star Is This, with Beams So Bright, Miller; Isle, Ar Hyd Y Nos (Three Cincinnati Impro- 54), Vierne; Prélude, Messiaen; Les Cloches Trio, Basse et Dessus de Trompette, Flûtes, La Nativité, Langlais; Noël, Balbastre; Noël, visations), Hancock, transcr. Wilson; Sonata de Hinckley (24 Pièces de Fantaisie, Deuxième Dialogue (Magnifi cat in D), Dandrieu. Miller; Noël, Archer; What Child Is This, on the 94th Psalm, Reubke; Improvisation on Suite, op. 53), Vierne; Three Pieces, Pott. Vaughan Williams; Lo, How a Rose E’er a submitted theme. SCOTT LAMLEIN, St. John’s Episcopal Blooming, Brahms; What Is That Goodly THOMAS GOUWENS, Fourth Presbyte- Church, West Hartford, CT, February 5: Pre- Fragrance, Oxley; Carol, Finzi; A Christmas ANDREW YEARGIN, Cathedral of St. rian Church, Chicago, IL, February 10: Toccata lude in E-fl at, BWV 552i, Bach; Hommage Carol Suite, Wagner; Variations on Rudolph Philip, Atlanta, GA, January 15: Symphonie Undecima, Muffat; Choral III in a, Franck; So- à Pachelbel: Variations on St. Anne, Rakich; the Red-nosed Reindeer, Hughes. III in f-sharp, op. 28, Vierne.

  0LOQDU2UJDQ Patrick j. Murphy 035DWKNH,QF & associates, inc. 3LSH2UJDQ%XLOGHUV &RPSDQ\ organbuilders   3RVW2IILFH%R[

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Cornel Zimmer Organbuilders is seeking a The Holtkamp Organ Company, Cleveland, Grant Peace, We Pray, a new choral work by Avant Garde Organ Music on a Raven CD, highly motivated individual (or two) to join our Ohio, is looking to hire an experienced organ David Herman, is available as a free download. “Light and Dark and In Between:” Diane Luchese team of skilled craftsmen and artisans. Experi- builder for long-term employment. Travel Luther’s text, with its 16th-century melody, is plays works by Messiaen, Jean-Louis Florentz, ence is always a welcome trait, but above all else required. Competitive salary and benefi ts for set for SAB choir and organ and was written to Keith Carpenter, John Cage, Pozzi Escot, aptitude and attitude are valued and appreciated. qualifi ed candidates. Send resume and salary commemorate the 2017 Reformation anniver- Sofi a Gubaidulina, Arvo Pärt, Robert Cogan, The ability and willingness to learn is essential. requirements to [email protected]. sary. Available from the composer at herman@ Maruicio Kagel, and Györgi Ligeti. Four organs Ours is a small, close-knit group that shares in udel.edu. in Baltimore: 2007 Schantz, Cathedral of Mary all the aspects and responsibilities of pipe organ Our Queen; 1931 Skinner, Brown Memorial Pres- building. From concept to design to execution, PUBLICATIONS / RECORDINGS byterian; 2007 Andover, Christ Lutheran; 1961 all personnel are encouraged to contribute The new Nordic Journey series of CD record- Andover/Fisk, Mount Calvary. Raven OAR-964. and participate. The atmosphere here is one of ings reveals premiere recordings of symphonic Esoteric Elgar—The beautiful “Canto Popolare” $15.98 each, postpaid. Raven, Box 25111, Rich- constant learning and innovation. We have a well- organ music—much of it still unpublished—from from “In the South” and the formal “Coronation mond, VA 23261, 804/355-6386, RavenCD.com equipped 10,000 square foot facility. Although we March” (1911) are presented in quality transcrip- Nordic composers, played by American organist do our fair share of service work, our primary tions by Herbert Brewer. michaelsmusicservice. James Hicks on a variety of recently restored focus is on new pipe organs, new hybrid pipe/ com; 704/567-1066. Swedish organs. It’s a little bit like Widor, Reger, The Tracker—The Organ Historical Society digital organs, vintage pipe organ renovations, and Karg-Elert, but with a Nordic twist. Check it quarterly journal includes news and articles rebuilds and additions. Membership and par- out at www.proorgano.com and search for the about the organ and its history, organ builders, ticipation in AIO and AGO are encouraged and Fruhauf Music Publications is currently offer- term “Nordic Journey.” exemplary organs, and regional surveys of fi nanced. Benefi ts will include: paid vacation, paid ing a complimentary online download of Johann sick leave, paid holidays, and full medical cover- Sebastian Bach’s Chromatic Fantasia and Fugue, instruments. Both American and European organ topics are discussed, and most issues run 32 age. We are a well-established fi rm in our 25th S. 903, transcribed for organ with pedal; the PDF Ed Nowak, Chicago-area composer, arranger, pages with many illustrations and photographs. year with a healthy backlog and excellent pros- letter-sized booklet includes informative notes and and church musician, announces his new web- Membership in the OHS includes a subscrip- pects for future projects. Located near Charlotte, sources, along with 17 pages of music. Also of note site, featuring Nowak’s original choral works, North Carolina, we have the benefi ts of relaxed is the online publication of one of four variations on hymn concertatos, chamber and orchestral tion to The Tracker. Visit the OHS Web site for country living as well as the art and culture that Ein Feste Burg (from the publisher), drawn from A works, organ hymn accompaniments, organ subscription and membership information: www. comes with a large, growing city. Initial inquiries, Baroque Partita for Organ. The Bach score marks and piano pieces, electronic music, and psalm organsociety.org. including resumes and references may be sent a 300-year anniversary, and the Martin Luther settings. The website offers scores and recorded to: [email protected]. hymn tune setting celebrates a 500-year anniver- examples that are easy to sample and can be Organs of Oberlin chronicles the rich history of sary. Please visit www.frumuspub.net and scroll purchased in downloaded (PDF and MP3) or down to the Bulletin Board for access to both fi les. organs at Oberlin College, the Conservatory of Grace & Holy Trinity Episcopal Church, Rich- printed form. Visit ednowakmusic.com. Music, and the town of Oberlin, Ohio. The hard- mond, Virginia, is seeking a part-time organ- bound, 160-page book with many illustrations ist to assist in playing for one Sunday morning Certifi ed appraisals—Collections of Organs of the Keweenaw by Anita is the most comprehensive study of traceable worship service, accompany the Adult Choir, and books, recordings, and music, for divorce, Campbell and Jan Dalquist, contains his- organs from 1854 to 2013. The book measures rehearse weekly on Thursday evenings. Available estate, gift, and tax purposes. Stephen L. Pinel, 8½″ x 11″ and features a dust jacket with color- for service playing is a four-manual 63-rank Aus- tories, stoplists, and photos of some of Appraiser. 629 Edison Drive, East Windsor, the historic organs of the Keweenaw Pen- ful illustrations not found in the book. Organs by tin organ and a Yamaha grand piano. The choir NJ 08520-5205; phone: 609/448-8427; e-mail: insula, the northernmost tip of Michigan’s the Skinner Organ Company, Aeolian-Skinner, presents major choral works each spring with [email protected]. orchestra and Lessons and Carols in December. Upper Peninsula. Organs include an 1899 C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, The church also has an annual concert series. Barckhoff and an 1882 Felgemaker. The and many others are featured. Text by Stephen There are opportunities to play the organ for Consoliere Classic Series for Organ: Complete booklet ($8.00 per copy, which includes post- Schnurr, foreword by James David Christie; funerals, weddings, and to substitute for worship Set of Six Books. An outstanding collection com- age) is available from the Isle Royale and photographs by William T. Van Pelt, Trevor services. Salary is negotiable. Please contact Dr. piled from World Library Publication’s extensive Keweenaw Parks Association, 49445 US Hwy Dodd, Halbert Gober, as well as rare vintage Elizabeth Melcher Davis: emelcherdavis@ghtc. organ library. A must for any church organist. 41, Hancock, Michigan 49930. For information: examples. $50, plus $5 shipping. Visit www. org or (804) 359-5628, ext. 18. 003067, $54.00, 800/566-6150, Wlpmusic.com. 800/678-6925. organsofoberlin.com.

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John F. Nordlie Opus 3 organ: 2-manual and Four-stop pipe organ suitable for chapel or 1916 Hook & Hastings, 2 manuals, 14 stops. Complete Pipe Organ Services from the Organ pedal, 7 ranks, fi ts under 8-foot ceiling; ebony home. One manual, 56 notes: 8′ 4′ 2′ 1′, built Includes Cornopean, 16′ Open Wood. E-P action. Clearing House: 450 vintage pipe organs avail- and cocobolo keyboards, red oak case. Manual by Laukhuff of Germany. In excellent condition. Beautiful period console. $20,000. Contact John able, renovation, tuning, consultation. Other I: 8, 4, 2-2/3, 2, Mixtur II; Manual II: Flute 8. Pedal Ventola blower stands alone, otherwise self- Bishop, the Organ Clearing House, john@organ- services include transportation, cleaning and stops by transmission. $25,000. 605/351-4417, contained; natural oak casework, with bench. clearinghouse.com. renovation of carvings, reredos, liturgical furnish- [email protected]. $12K. Contact: Steve Gibson, 501/307-4242. ings. Call John Bishop at 617/688-9290. john@ Shipping buyer’s responsibility. organclearinghouse.com. MISCELLANEOUS FOR SALE One-manual, 6-rank, tracker-action pipe organ built by M. P. Möller, Hagerstown, Casavant Frères Opus 3818, 2002/2004. Releathering all types of pipe organ actions Consoles, pipes, and numerous miscellaneous and mechanisms. Highest quality materi- Maryland in 1902. Manual (61-note): Melodia 8′, 3-manual drawknob, 52 ranks, E/P action in als and workmanship. Reasonable rates. Unison Bass 8′, Dulciana 8′, Open Diapason 8′, excellent playable condition. Now accepting parts. Let us know what you are looking for. ′ ′ offers with fl exible payment plan. Removal date E-mail [email protected] (not comcast), Columbia Organ Leathers 800/423-7003. Principal 4 , Principal 2 , Tremolo. Pedal (30-note www.columbiaorgan.com/col. fl at): Manual to Pedal Coupler, Bourdon 16′. is negotiable. Buyer to remove, Scottsdale, Ari- phone 215/353-0286 or 215/788-3423. Dimensions: 9′ deep x 9′3″ wide x 14′1″. Refur- zona. Steve Beddia 609/432-7876, acorgan@ comcast.net. bished and installed in 1991 at Community of Gothic White Oak Organ Case. 25′ x 25′ x 12′ Do you have a pipe organ that you would like to interface with an electronic or digital Christ, Baltimore, Maryland, by David M. Storey, deep. Excellent condition. Spiky towers, lots of organ? We can interface any digital organ or Organ Technician. Excellent fi nish and function. Circa 1860 Pfeffer eight-rank organ, available fi ligree. The Organ Clearing House, 617/688- $10,000. Contact Patty Ballinger, 410/877-3528, any with any pipe organ. For more rebuilt and custom fi nished. Also 1884 choir 9290, [email protected]. [email protected]. organ by Louis Debierre. Both are pictured on the information e-mail [email protected] (not Comcast) or call 215/353-0286. Redman website: www.redmanpipeorgans.com. ATTENTION ORGANISTS! It’s the season for getting lengthy practice sessions in, and 30-rank Casavant–Létourneau pipe organ for immersing yourself in planning sessions. Aeolian/Robert Morton-style maroon sale with 10-year warranty: $550,000. Orgues Historic 1859 ROBJOHN, II+Ped, 11 ranks. Drop Don’t you hate it when a book, score, or other leather is now available from Columbia Organ Létourneau is offering a 30-stop pipe organ dead gorgeous rosewood case, 14′-2″ tall. Lovely needed item is downstairs, and you’re up Leathers! Highest quality. 800/423-7003, rebuilt to like-new condition for US$550,000. The for chapel, large residence, or museum. www. (or vice versa)? Or you could use a bottle of www.columbiaorgan.com. core will be Casavant’s Opus 1274 from 1928 bigeloworgans.com. Click on News. water, protein bar, or sticky notes, and they’re with electro-pneumatic wind chests; the revised far from where you are? We have the solution! specifi cation can incorporate up to fi ve new stops The Organist’s Drone operates quietly and Visit www.TheDiapason.com and set up your Garland Pipe Organs, 3/63, 1992. Excellent built by Létourneau. Installation costs, on-site efficiently to fetch and deliver what you need. personal password for easier access to the web- condition. Available immediately. Contact John voicing, an allowance for casework in red oak, Need more functionality? An optional program site! No more subscriber code needed! Bishop, the Organ Clearing House. 617/688- a rebuilt two-manual solid-state console, and a lets the drone observe your practicing and 9290, [email protected]. ten-year warranty are included. Transportation correct bad form, by landing on your shoulder Postal regulations require that mail to THE from Québec is not included. The organ requires and pointing out problems via built-in tiny speakers. No FAA approval needed, and way DIAPASON include a suite number to assure approximately 360 sq. ft. with 20′ ceiling for 16′ 1874 Hutchings-Plaistead. 2 manuals, 11 stops. cheaper than a butler. Order yours today! delivery. Please send all correspondence to: ranks. For more details, visit www.letourneauor- Good restorable condition. Free to a good home. Box Drone-Con, THE DIAPASON, 3030 W. Salt THE DIAPASON, 3030 W. Salt Creek Lane, Suite gans.com, e-mail [email protected] or Boston area. Contact John Bishop, the Organ Creek Ln., Arlington Heights, IL 60005. 201, Arlington Heights, IL 60005. call Andrew Forrest at 450/774-2698. Clearing House, [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2017 Q 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Stephen Buzard Chelsea Chen Katelyn Emerson 2016 AGO National Competition Winner Available 2016-2019

Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Stefan Engels*

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2018

Thierry Escaich* László Fassang* Janette FishellDavid Goode* Thomas Heywood* David Higgs

Choir The Choir of Saint Thomas Church New York City Jens Korndörfer Christian Lane * Nathan Laube Alan Morrison James O’Donnell* Daniel Hyde, Director

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Celebrating Our 96th Season! Thomas Trotter* Todd Wilson Christopher Young