THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICHORD AND CHURCH MUSIC
Seventieth Anniversary Y mr
Scvenl;t:th Year, No. 12. Whole No. 840 A Scranton Gillette Publication ISSN 0012-2'78 NOVEMBER. 1979
Varied New Organs
Vpper left: Casavant organ at Boreft College, SioIg: Ceater, 'o..,a; lo..,er left: Bedieat orga.. at St. ;In. drew's Episeopal Churela, Rosteell, New Mexico; above: Holtkamp organ at 'IIinois College, JaeksOKvUle, nil· wois (see speclfieations i_ide 0 .. page 3). f)1l JitiA f)44UR THE DIAPASON Ii..Jt.hlis/'rd ... I!IIIY
In thii issue, we complete the series or ankles 011 the organ works of Men delssohn by Douglas L. Butler which began last year; the final installment treats A.n /"ternlltionol Mon,h'y Devoled 10 lite U'gl"" lIlf! /III1!lUchu,cI ,m,' Cillfull ."fUIt. the composer's we of chorale and fugal techniques in the six sonatas of Op. 65. UHit';,,1 /,,"nln' 01 II/(~ rllllt','I"'III /'hlilu/e "/ OrganhuUdeu The preceding article dealt with the elements and influences of the English voluntary in the same pieces. Along with the coodwinn is a chronological list NOVEMBER. 1979 Edito, & I'.,bli.he, ARTHUR LAWRENCE ing of the known organ works by Mendelssohn which reflects the latest research l.,aI,.... MaIHlS.' DAVID McCAtH in this area. A "Nacrupiel" in n rorthcoming wue will round out our currem FEATUlIES A_.. E• ..., WESlEY vas Mendelssohniana. The Orvan Worlta 01 M.Ddeluoha, Com,'''''';''' Edito,. LARRY PAlMEII Harp
2 THE DIAPASON New Organs lsee photogrvph. Oft JNt9. 11 Dordt College Organ by Casavant Freres Llmltee Sioux Center, Iowa St. Hyacinthe, Quebec, Op. 3360, 1979 Joan Rlngerwole, organist and dedication recitalist Tllree manllal and pedal 56/32 - Flfty·seven ranks Mechanical key action - Electric stop action Oak case
HOOFDWERK SOVENWERK Pr",est~nt 16' 56 pipes (expressive) Octoaf S' 56 pipBI Prll8shllnt 8' (en fOCiada) 51 pipes Holpijp 8' 56 pipes Vail. c6leste S' 51 pipes Ochlof 4' 56 pipes Baerpijp S' 56 pipes Quint 2·213' 56 pipes Owarsfluit 4' 56 piptIIs Odoar 2' 56 pipes Nasord 2-2/3' 56 pipes Miduur VI 336 pipes Fluit 2' 56 pipes Scharp IV 224 pipes Terts I-l/S' 56 pipes Trompet 16' 56 pipes Cymbeilli ' 68 pipes Spoons9 Trompet 8' ten e homade) Hobo 8' 56 pipes 56 pipes Tremolo Vo" Human", 8' S6 pIps. Cymbalster PEDAAL RUGWERK Proestent 16' 32 pipes Praestant 8' 51 pipes Octuf B' 32 pipes Gedeckt 8' 56 pipes Dcta"f of' 32 pipes Odoof 4' 56 pipes Miduur VI t~2 pipes Roerf1uit '" 56 pipes Bazuin )2' 32 pipes Oefeof 2' 56 pipes Saturn 16' 32 pip., Quint 1-113' 56 pipes Tro mpet S' 32 pipes Sexquialter II 112 pipes Cornet 2' 32 pipes Scharp V 280 pipes Duiciaan 8' 56 pipes five unison couplers Tremolo
Illinois College Organ by Holtkamp Organ Co. Jacksonville, Illinois Cleveland, Ohio, 1979 Rick L Erickson, organist Catharine Crozier, recitalist Schlick... at Hillside upeclflcaflon "'IOW I Immanuel Lutheran Church Three manual and pedal 61/32 - Thlrty·nine ranks Organ by Schlicker Organ Co. Mechanical key action - Electric stop action Hillside, illinois Buffalo, New York, 1979 Natural and stained oak case - Plum and pallsander keys Two manual and pedal- Mechanical key action Equal temperament - Steady wind GREAT SWELL PEDAL Waller Holtkamp Is a me",her 0' 'lie AmerIca. 'asf'late of Or,.II&.JlcferJ Prin cipal 8' G,deckt 8' Subben II,' Rohrgedeckt 8' Gemshorn 4' Offubass 8' GREAT SWELL Octave 4' Rohrquint 2-2/3' Labial Dulzian '" Pommer 16' 61 pipos Geigen 8' 61 pipes Spillnoete «' Principal 2' Fagott 16' Principal 8' 61 pi pes Voix Celesto S' 56 pipel Hohlfloeto 2' Te", 1·3/5' Ro hr Gedackt 8' 61 pipes Hohlfl i$te S' 61 pipes Mixture IV Sch.rf III Octeve ... • 61 pipos Principel 4' 61 pipes Trompete 8' Rog.1 16' SpitzflBte 4' 61 pipos Holt Gedad:t .. • 61 pipes Tremolo Super Octave 2' 61 pipes BlodflBte 2' 61 pipes Mixture IV 2 ...... pipes La rigot 1-1/ 3' 61 pipes Trum pet 8' 61 pi pes Scharf III I S3 pipes Cromorne 16' 61 pipes PEDAL Oboe S' 61 pipes Principel Ib' 32 pipes Pommer Ib' IGT) SOLO Octavo S' 32 pipes Copula Maior 8' bl pipes Flute S' 32 pipes Copula Minor S' bl pipes Choralbass"" 32 pipes Cornet III IS3 pipes Rausch Bass IV 12S pipes Fanfllro S' (en chamodel ... 9 pipes Posoune 16' 32 pipes Trumpet 8' 32 pipes five unison couplers
St. Andrew's Episcopal Church Organ by Gene R. Bedient Co. Roswell, New Mexico Lincoln, Nebraska, 1979 Dedication recitalist: Harald Vogel, 11 / 11 / 79 Two manual and pedal 56/ 30 - Mechanical action Single wedge bellows, 80mm wp - Klrnberger III temperament GREAT SRUSlWERK PEDAL Bourdon 16' O(t~ Gedeckt S' Subboss Ib' Praestant S' 1· 11 Bloclflut. ~' (""I) Octave 8' Rohrflote S' Sesquialtera III FagoH 16' Octave .... (half stop::Gemshorn 2') Trompet S' Octave 2' Cymb.1 III-II GT/PD Midure III-V (h.lf slop= Qu;nte 1-1/3') 8W/ PD Trompet S' Dulciaan S' SW/GT Tremul.snt (whole organ) Zimbelstern
St. Alban's Episcopal Cllarch Organ by St"lner Organs Inc. Vicksbarg, Mississippi LOlIlsville, Kentucky, 1979 One manual, pull.down pedal - Mechanical action Padouk and' elm/ ebony keys - 67 mm wp - Stained oak case Equal temperament, permanent ~unlng MANUAL Rohrgedadt 8' Principal .... I portions onfafiade} Koppolftoete ,.. Principol 2' Mixture II·IV I'
NOVEMBER, 1979 3 For the past three dalys our .music page work is slow and has a modal department at Colorado State Univer Music for Voices and Organ charncter at times. There are mild sity hosted a three-day residency with dissonances and several :short sections the eminent American composer Vin by James McCray with some humming background areas. cent Persichctti. During the past eight This quiet molet could be perfonned years when I h'JoVe served as a depart Choral Works by 20th-Century American Composers by a high school 01' church choir. ment "hairman, our ~chool5 have held and the instruments; both the men and mo,'e in and out of a unison/ two-part similar evcnts with such notable com· women have divisi areas. There are texture; their lines are not particularly Lord, Thou Hast Been Our Dwelling poscrs as Ned Rorem, Samuel Adler, brief solos which could be sung by difficult. This anthem is designed for Place. Normand Lockwood; SATB Norman Della Joio, Anthony Milner members of the chorus. Full vocal a church choir and Adler has at with optional organ; Kjos Music Com ( British) , Daniel Pinkham, and others. ranges are employed and a large tempted to anticipate the problems for pany, Ed. JI, 35¢ (M-). The pattern for these events is general chorus is recommended. The organ the performers so that most choirs can Although the organ accompaniment ly the same, in that the residency in material could be performed on piano give this work a good reading. There is optional, it is written on three stavesj dudes opportunities for the students and is not unusually difficult but will 4 THE DIAPASON New Organ Records by Arthur Lawrence NEW from GOTIjJC A [] [3 I T L REC D R D I NG well-packaged, with good program II notes and the organ specifications given. Neither is the last word in def initive Franck performance, but each is well worth hearing. ~Ir. :Murray uses an organ of historic interest, the largest (3/ 53 ) remaining Johnson, now relocated to Mankato, Minnesota, but heard here in its orig inal Boston setting. The instrument has warm, romantic sounds, and the per fonnances feature registrations which adhere to the Franck tradition. A ma jor pressing tau.T pas was committed in splitting the First Chorale across both sides of the record - this is a prob lem which modern engineering ought to have been able to circumnavigate. The French Romantics, Vol. I. John Despite the caesura, the pieces are well Rose playing the 1955·6 Schantz organ p:lced. at Sacred Heart Cathedral, Newark, ~Ir. Swann plays much the larger NJ. Gigout: Grand Choeur Dialogue; organ (5/ 203 ) and has the more spec Franck: Prelude, Fugue, and Varia tacular recorded sound. The instru tion; Mulet: Carillon-Sortie; Vieme m ~ nt itself seems very lush in its softer Symphony No.3. Towerhill stereo T· moments, but is a bit steely in the big 1001 (available from Towerhill Rec· places (the result, perhaps, of close ords, 6000 Sunset Blvd., Hollywood, miking). Although more reverberation CA 00028; $7.50 + $1.00 shipping). might have been desirable, the overall This record displays heroic litera impression is one of excitement. Again, ture well-played and recorded on a the registrations are on the authentic huge instrument; the combination pro side. a la Bonnet, while the sound is duces a high-fidelity spectacular. No American classic. The performance of matter what you may think of any of the Second Chorale is outstanding, "the forces involved, they here display nfter a cautious start: the section with their optimum effect. John Rose has Vox I-Iumana and pedal 32' is ravish provided perhaps his best recorded ing, ilnd the ending is \\ ell-handled. playing of the decade in which he has The Piece heroique is an exci ting been a major concert organist, Michael honu§. Nemo has engineered and produced a In sum, both records arc imporlant disc of unsurpassed sonic qualities, ones, and many readers will want both. Schantz has built a major instrument Neither grows directly from the French in favorable acoustics, and the music traditions \\ hich produced the older is representative of the French roman recordings of Dupre, Commette, Lang tic school at its best. In addition to his lais, or Marchal, but each exhibits a finc playing, Mr. Rose has provided le:.ding American organist of our day. intelligent program notes on the record jacket, with an admitted debt to Scott Cantrell. The complete specification of the 140-rank organ is provided_ The perfonnanccs are A'enerally im Die gro!ie histnrische QrgeJ pressive, although one could quibble in iIer~zuKampen(HOIbIwI) small detail: the Gigout has some arhythmical pauses, as well as breaks in the rising right-hand sequence to FREDERICK SWANN PLAYS FRANCK ward the cnd which most players tic. 87879801 and the Franck is taken at quite a brisk Chorales Nos. 1. 2.G3.andPikelierOlque pace. Still, the spirit of the proper The Riverside Church Organ. registrations is maintained, and the New York City ~I can say without hesltaUon lhat this music is always foremost in the realm disc 15 an i'lchievement of high distinc:Uon of interpretation. The playing of the on evety count!' Vierne, and perhaps the other works, Od .nd liiI r, STEREQ REYIEW would appear to date from the time L-____ ~ $8.98 several years ago when Mr. Rose was still the organist-choirmaster of the EASTER cathedral and sponsored a recital of Die grosse historische Orgel der 27979802 the complete Vieme symphonies. Louise Nalale. soprano Whatever the background, this is a re Bovenkerk zu Kampen - the great ER Frederick Swann. organu,t cording to be heeded. Vol. 2 is anti historic organ of the Bovenkerk in The Riverside Church Organ. Kampen (Holland). Ewald Kooiman, "\ New York City cipated with pleasurp. "Ole Way To Emmaus - a solo cantata for organist Bach-Vivaldi: Concerto in A high voice with organ. Minor, BWV 593; Krebs: Mein G NOVEMBER, 1979 5 THE ORGAN WORKS OF MENDELSSOHN, Part IV Chorale and Fugal Usage in the Six Sonatas, Opus 65 by Douglas L. Butler In Opus 65, Mendelssohn used chor· ale is given to manual II, with the parts, plus coda. The first part is the 2) 1543, Willembcrg, Luther's ale and proto-chomle melodies as fol- dynamic mp, the first dynamic change exposition and working pf the fugue Chrisdiche Geseng zum Begrebnis. 10\\'5: ' in thc movement. Mendelssohn wrote subject one (m. 24-58) . The indica 3 ) Bach's settings: Sonata It i - Was mein Golt will, the name of the chorale above m. 40- tion un poco meno forte is placed above a. BWV 686, 687 (Clauierii dns g' sehe'" allzcit 44 of the music in the original manu the opening measures of the fi rst fugue bung Ill, greater and lesser sct script. subject. tings) Sonata III, i - A lLS ticler N otll A dialogue occurs in m. 40-60 with The second part, the B section, is b. BWV 38, Chorale Cantata, schre; iell :m dir the chornle strains assigned to man. the exposition and working of subject Arts tkler N ot schrei' ich zu dir, II (mp ) and the opening chordal and two "(m. 58-BO ). With the advent of chorale used for Nos. 1 and 6. Sonata V, i-a proto-chorale fugal materials to man. I (If). The subject two, the indication Do questa 4) ( 1826-1830 - ?), Mendels Sonata I, i fugal subject is inverted at m. 60. The parte al Maggiore poco a copo piu sohn's chorale cantata, Aw tiefer inverted subject is then developed in forte (sino al kl. ],,1. semiminima = Noth schrei' ich zu dir, in five The choml tunc Was rndn Gult will, dialogue with the chorale until m. 91, 100) (from this point up to the MOl· movements. das g' schell' alluit appeared in Trente where the subject is heard in iL~ ori jar little by little more animated and 5 ) August 9, 1844, Sonata Ilf, i, et quarle chansons 1n Uf icalts, etc" pub ginal form. louder up to M. M. quarter = 1(0) Opus 65. lished by Attaingnant hetween 1529 Continued eighth-note figuration, be shows the composer's conception oC a and 1534 under the title /I me Sill/it gun with a partial subject entry in m. crescclldo c accelerdndo fugue. In this Sonata VJ i de tous mes maui;t, a love song. It was 93, leads to a brief codetta (m. 107· double fugue, the composer combines wed by Clemens non Papa (a three 10 ) . Follo\\ing m. 111, the original the contrapuntal art of the Baroque Mendelssohn opened Sonata V with P3rt setting) in Souler Liedekens. a and the invcrted forms of the subject with the steigerung style of 19th-cen· a broad, sonorous movement similar Dutch collection of devotional music are gradually combined with the tury German romanticism. to a long-meter chorale (hymn ) - for the home! eighth-note figuration, leading to the The third part, B section (m. BO- five lines of equal length to the verse. The tune was first used (or a hymn diminished triad with fermata, m. 121. 99 ), combines and develops both fugue This prot 6 THE DIAPASON IS BEAUTIFUL .•~ .. ~p~ ":,,, }:.'tP~;'" _.___ ,t ~ ,- , '":'"",.-? :",':'; i=~'Z. ~-.; --='_..... ~ ; ~ :..". .=<- . ::... ~. ~ -~ ":" :Ef.~ -,:_:::-. =-=- ';._:::-~ . .: :a =:,;:;:,~;,,~:::-=:..~"::.._ r:.~~~~~~~~ I ,"=-'="~ r.._ - _ ~ .; of';:'~'~'~~ ~:;~:!:;~~i: Much of Bach's beauty is created by motion of the inner voices speaking against the outer voices. Tonal independence of stops, known as "straight" design, in the organs of Bach's time helped bring out these inner voices. Bach took full advantage of these "straight" design organs - his fugues stand as a testament. Today, Allen still provides organists with "straight" registration in even their smallest organs. Examine our sound - you will find each stop tonally independent from the others. While you are listening, note that there is more to tonal independence than variations in volume and brilliance - it's harmonic control, and Allen has it. On an Allen you will enjoy nuances in Bach's inner voices that are simply lost on other electronics. If you are not already familiar with the phenomena you have just read about, locate one of our dealers and strike up an intimate conversation with an Allen Organ. Ir------ALLEN ORGAN COMPANY Oept. Macungie, PA 18062 Please send more information. ~Utn omans Name' ______Address; ______I I City State z;p___ _ I Macungie, Pa. 18062 I © 1979 ------~ Saint mar,! ~ JJ-arp6ickorJ Weekend, 1979 by Larry Palmer impressive save for too much reliance even more informal "jam" sessions on first-beat "lurch" (or overly-ob with the Ars -Musica players. vious agogic) in the mOloric move Alexander SHbiger's afternoon lee· ments. Concerto lor Three Harpsi ture, "Harpsichords, Harpsichordists. chords, S. 1046, proved to be an ar and Harpsichord Mwic During Rome's rangement of Brandenburg 1 (first and Golden Age:' centered on a largely third movements), with the Sinlonia unfamiliar and unpublished repertoire to Canlata 18 as a middle movement. from composers of 17th-century Rome. It was given a brilliant and noisy per Many fascinating facts were presented, harpsichordIst formance by Pixton, Edward P:mnen including Silbiger's discovery of three Robert Edward Smith tier, and Alexander Silbiger. references to descriptions of Italian Edward Pannenticr (University of harpsichords which at least seem to Michigan), gave a lecture. "The suggest the presence of a 16' register pIanist Teaching of Harpsichord Perform in some instruments. He concluded the Thom.J'i Riehm.'r ance," in which many thought.. provok lecture with some suite-grouped pieces ing id.... were cxp=sed. He ad Pl'l!bably dating from the mid-17th \ocal ensemble vocated allowing the iwtrument to be a century from a manuscript found in n the Oratory of SL Phillip Neri. The Sehol,lrs "leacher , and listed his priorities in teaching as touch (first and foremost), A student recital found students Lyn interpretation, conventions of interpre Schultz and Christina Makara from the orgJnls,! l soprano tation, and sources, styles and reper University of Michigan, Mary Davis of Larry Allen & Monicol Robinson toire. He stressed the necessity of re Saint :Mary's College, and Belinda laxation ("as a person is, so he plays"). Slobin of Case Western Reserve Uni and suggested that a "continuo" ap venity playing fine instruments by proach to the instrument might be Oliver Finney (Lawrence, Kansas) and more helpful than a contrapuntal one. Willard Martin. Using a repertoire such as easier Edward Parmentier played this pro French pieces (the first five Couperin gram on Saturday evening: Pavan and L'arl de loucher preludes, for e.xam~ Galliard Sir William Pe tre~ Byrd; lJi A beautiful end.of·summer, begin pie), or preludes from the second lerencias sobre el canlo llano del Ca ning-of-fall weekend in Notre Dame, book of Bach', Well-Temper.d Clavier ballero~ Cabezon; Toccala and Gal· Indiana, and the mind turns to . .. (since these are often more h:mnonic liard, Cabanilles; Pieces in D, Louis harpsichords? Yes, to harpsichords, for in style) should help a student de Couperin; Preludes and Fugues irt F· here, at Saint Mary's College, the sec velop a "feel" for the harpsichord. sharp Major and Minor, WTC II, ond harpsichord weekend was pre~ The program for Friday evening "Claro malic" Fantasy and Fugue, J. S. ,cnted September 21-23. In happy was presented by Laun:tte Goldberg of Bach; Sontllas, K. 177. 145, Domenico succession to the fi nt weekend in San Francisco (an alumna of the col .. Scarlatti. 1977, these three days were filled (but lege) : " Francois Couperin IlIld his In Edward Parmentier, eleg;mt OUld not 100 filled ) with concerts, lecturcs, fluence in the Bach Family." Eighl dignified in white tie and tails, played workshops, times to see the goodly Preludes (VArl de toucher I, clave two reson3J1t instruments by Keith Hill number of exhibits (instruments and cin ), Ordre 18, Couperin; L'jTT-tsolue, (Grand Rapids). The major part 01 music), and the friendly interchange La Joumali're, Gig .., C. P. E. Bach; his program was played on a just.. com which often is the most important part "English" Suite in A Major, S. 806. pleted Hill, pungent and somewhat of ,uch gatherings. j. S. Bach. . wiry in sound. Particularly lovely, and Director Bruce Gustafson of the full of compositional surprises was the Saint Maf)"s faculty showed once Playing a magnificent Blanchet-copy T occala and Galliard of Cabanilles. In again his stellar sense of programming harpsichord by Willard Martin (Beth the Bach Preludes and Fugues, the dis .. and his laudable attention to detail. lehem, Pennsylvania), Ms. Goldberg temperament of the tuning for F~ sharp The weekend's events seemed to this gave an enchanting performOUlce of was (to this listener) over-done. To be observer to move smoothly: harpsi~ the Couperin preludes interspersed sure, that key was the most dissonant in chords were where they were meant to with some oCthe composer's own words the 17th century, but I wonder if Bach be and tuning was always accomplished excerpted from his famous harpsichord would have cared for (or tolerated ) (no small item, as every harpsichord~ tutor (both in the original French and such pain, especially at the cadences? ist knows! ). in translation ) - a most effective pro~ Parmentier's Scarlatti, joyous: and bril ~ The first event of the Harpsichord gramming idea. The C. P. E. Bach lian~ demonstrated playing of the apt~ 'Veekend was a showcase for the many pieces, all unfamiliarJ showed most highest order, as did the Louis Cou talents of Boston-based Tom Pixton. In I} that composer's indebtedness to the perin pieces, played on hu own more a progrnm of instrumentllli works of French ,tyle. Ms. Goldberg played french.sounding Hill instrument. Only Vivaldi and J. S. Bach in transcriptions without undue mannerism; her win in his Bach Fanlmy and Fugu. did I for one, two, and three harpsichords ning and enthusiastic personality com find the musical ideas strangely at Pixton appeared as soloist. ensemble municated itself through her com odds: the F anlasy driving - although player, transcriber of the music, and mentaries and her music. still eloquent - but the Fugue over also as builder of all three harpsichords The first scheduled event of Satur mannered rhythmically to the point of attractively ranged across the stage of day moming was a workshop on con willfulness. The encore, Forqueray's D· Moreau Hall's Little Theatre. The pro tinuo playing led by Penelope Craw Mirtor Allemands, restored the sense gram reflected the current craze, orig ford, Edward Parmentier. and Alexan of elegance and well-being which was inating in Amsterdam, for self-made der Silbiger (University of Wisconsin the dominant feeling throughout most transcriptions emulating the prnctice or Madison). Using available instrumen of this recital. J. S. Bach and his contemporaries. talists from Ars Musica of Ann Arbor Sunday morning began with Willard One frequently felt pleasure andl or as soloists, several brave souls realized Martin's talk, "Harpsichord Regula~ ROGER surprise as such a familiar work as the segments of the (irst movement from tion in the 18th and 20th Centuries," A ~Minor Concerto after Vivaldi Handel's Sonata in G Minor for re well~organized and wittily presented. GOODMAN (transcribed for organ by Bach) was corder and continuo, op. 1 no. 2 from With the aid of blackboard drawing. HARPSICHORDIST, TEACHER decorated with an unfamiliar filigree in the figured bass. Many helpful ideas he diagrammed the harpsichord action RECITALS. MASTER CLASSES Pixton's arrnngement for two ha rpsi ~ and suggestiow surfacedJ among them and gave his opinions (from observa aUIDINCIES chords. The last movement of this par that of beginning by playing the bass tion and documentation) that, in the 1247 J.tbea. I ... a.'.... III. '0202 ticular work seemed to me more idio. line alone several times, then adding 18th century, the plucking of the regis malic for the plucked stringed instru~ melody only. After many experiments ters was probably not staggered, but ments than it ever has in Bach's organ with varying textures, added figura. simultaneow. (What this does to our arrangement. Pixton's trnnscription of tions, and changes of melody instru idea of sensitive harpsichord touch - RUTH NURMI the much·arrangcd E-lvlajor Violin ments by the "students," ea.ch of the with such a heavy attack required, fol~ Parlila (S. 1(06) into a Partila in D three "leaders" played the same phrase lowed by a complete key-fall - is Harpsichordist Major for solo harpsichord was suc in a sample realization. The workshop mind-boggling. ) Based on the same AUlhor: A Plain &: Eay cessfulj his playing, rrom memory, was then dispersed to various: rooms for length jacks of the two 8-foot registen Inrrod""tion to rhe Harp.ichord ANDERSON H. DUPREE Mount Union College VICTOR HILL A1l1anee, Ohio 44601 harpsichord maker Haoptkhonl 7 Comstock Street Worluhop. Recirolo Germantown, Ohio 45327 William. Col .... • .0 -.T CQJAJII (513) 855-7379 _TTEVll..l..lE...... 3.1. (608) Jc48·6410 WilhCUMfaWR, MaIL 01267 8 THE DIAPASON , in Italian harp.ichords and the surviv F minor," (in reierence to Matthe uR,avel and the Harpsichord:' The ingredients of the Weekend things, ing Blanchet double man~al at the son's characterization or this key as Diapason, February, 1976). An out sometimes taken for granted, but ex Chateau Thiery in France, this can· one of "Angst und Verzweiflung" ). growth of the famous salons of the tremely detrimental to the whole ef clusion seems inescapable, at least as She made a point for the necessity of Princesse Edmond de Polignac (where fect when missingt Meals were avail Car as the two 8' registers is concerned. finding the usual single Affekt in a Ravel heard and plared a harpsichord able to the registrants at Saint Mary's Despite this historic probability Mar baroque composition, and compared it belonging to the PrlOce ), the Marat Cine collegiate dining hall (at most rea tin advocated the modem practice of to "method" acting ' ''no difficulty in poems suggested an "antique" feeling sonable prices). The opportunities thus staggered plucking points, jf only be understanding a pathological murderer to the composer, who indicated (for afforded for conversation and exchange cause the harpsichord has such a "p0- - just think of waiting for that bu.! the first of the two only) the possibility of ideas were most enjoyable and valu tential for lack of stabiHty in regula that never shows upl"). of accompaniment on the "clavecin" able. The closing banquet, without tion!' He also advocated separating Mezzo-soprano Carol Knell (Saint or "muted piano.1I The vocal lines speeches, was a culinary delight. Cock the 8' registen as widely as possible, ~tary's College) sang a welcome and (typical Ravel ) are so beautilul that it tail hours each afternoon (with a cash with the 4' between them, and sug varied program: Nel dolce dell' oblio, seems unfortunate that no one, as yet, bar) and a delightful informal open gested adjusting the action from the Handel (with Floyd Deal, recorder; has published a "simplified" version of house following the Friday night recital lowest OJ the top OJ then each C be Jobo Duoham, baroque 'cello; and the accompaniments, perhaps removing completed the organized social picture. tween, to aVOid making mistakes Michael Keller playing Steven Sarli's the octaves. The Diamond song, also 'Vith housing available nearby (whhin throughout an entire octave. Unfortu Dulcken harpsichord ); Arianna a not easy to play, was an effective and walking distance of the appealing tree nately, time ran out (as many leCt for Naxos, Haydn (with Michael Keller at charming conclusion for the program. filled campus), and the weather most mass), for there was the making here Margaret Hood's fonepiano) j Five An :Musica, a baroque orchestra of co-operative, Saint Mary's Harpsichord of a livcJy discussion and question Songs 0' Courtly Lov" Roslyn Brogue; twelve players from Ann Arbor, opened Weekend 1979 proved succ ..... lul on all period. D'Anne jouant de "espinelle and the Saint Mary's College Perfonning counts. It was refreshing to hear a Latin D'Anne qui me jtcta de la neige, Arts Series and closed the Harpsichord In addition to the instrument makers mass in the Church of Our Lady of Ravel; The MOod Maid's Song, David \Veekend with one of the finest pro already mentioned, Knight Vernon, Loretto (on the campus). The large Diamond (all with Bruce Gustafson at grams it has been my pleasure to hear Wally Pollee (Neupert Harpsichords), congregation obviously felt at home a William Dowd French double harp in recent years. This group of musi Paul Irvin, E. O. 'Vitt, Richard Cox, with this language, and the musical sichord. and with Melanie Budd, flute, cians without conductor, playing un Anderson Dupree, and B.W.M. Benn settings (from the Cod• ." Las Huelgas in the Brogue and Diamond pieces}. altered instruments or fine copies, is showed instruments during the week~ of the J4th century) were a treat, The Handel cantata, while effective, without peer in my experience in this end. While preferences in harpsichord largely unmarred by occasional wan· . had balance problems; it would have country. Orchestral music by George actions, sound, and finishes are most derings from the pitch. It is a pity that helped to place the 'cello at the left Muffat and Georg Philipp Telemann subjective, I would mention my de the church does not possess an organ side of the keyboard - a more usual was played with fine precision and ex light in seeing E. O. Witt's "homage suitable for the quality of music to be position in baroque music. The Haydn ceptional musicality; Naudot's Con to John Challis" instrument - one found there. cantata was sung with real passion, certo 5 in G Jor Flute, Two Violins which suggested to me visually, at Laurette Goldberg's lecture, "Harp. dramatic flair, and exquisite artistry. It .nd Basse (op. 17 ) showed a fine solo once, the work of America's first harp sichord Technique as a Tool for Crea. was· a £ine idea to show off the forte ist (Michael Lynn) and excellent en sichordmaker, and my delight in hear tive Personal Expression," was an in piano; unfortunately this one was un semble (in particular, the skillfully ing Anderson Dupree's fine Italian in teresting counterpart-extension to Ed usually dry of timbre in the treble reg executed over-dottings) ; Penelope strument. The harpsichords used in ward Parmentier's thoughts on teach ister, which again led to some balance Crawford, harpsichordist with Ars Mu concert.! were, while individually dif ing. She, too, opted for touch as the problems. sica, played a scruitive, musical, and ferent. all aurally and visually pleasing. top priority obtained by flexibility of For the fint and only time during exciting D-Minor Concerto (J. S. A lot of work and planning (and finger and a Urollingl1 over the keys, the three days, some 20th-century mu Bach) j and the long, but exhilarating money ) goes into such a conference. thinking in tenns oC choreography in sie was heard. The Brogue songs were program came to a rousing conclusion For the nearly 100 who attended it was fingering to obtain a hand that looks curious pieces, well·developed fonnal with the ever-popular (but rarely-en a feast oC sights, sounds, and an op beautiful, and the employment of the Iy, interesting in their varying uses of countered) Concerto in A Minor for portunity to learn. It is undoubtedly a broadest possible palette of sound. the voice and two instruments, but Four Harpsichords (Bach ) with Craw service to the harpsichordists' world to Again Ms. Goldberg's engaging per basically unmemorable as music. Quite ford, Edward Parmentier, Laurette have such an opportunity to meet to sonality made the time go by most beautiful, musically, but quite unplay Goldberg, nnd Arthur Lawrence (Saint gether. From the evidence encountered quickly. Among the memorable able as written on the harpsichordt Mary's College), as soloists. Harpsi at Saint Mary's, this world is develop quotes: "You have to ask permission the Ravel songs remain delightful chords, all sounding magnificent, were ing a fine sense of community, not the to playa note below tcoor C!"; !lOne curiosities. This was my first time to by Keith Hill (2), Tom Pixton, and least of which is housed in America's mwt be emotionally stable and have hear them perfonncd although I have Willard Martin. "heartland." a note from one's analyst to play in known of them for some years (see It only remains to mention th~ social Buchanan Artists Ltd_ Chester, Massachusetts 01011 Telephone: (413) 354-7701 OiRlSTA RAKlOi organ MARKBROMBAUGH organ, harpsichord YUKO HAYASHI organ also representing HARALD VOGEL organ, harpsichord Director of the North Gennan Organ Academy LYNN EDWARDS organ, clavichord NOVEMBER, 1979 9 The "Wedge" Fugue: It is only logical to assume that Bach's Concerto for the Display of the Four-Manual Organ the playoff of these three extreme I)" different solo ideas against the by Owen lander tutti, and against one another, will involve not just frequent changes Johann Sebastian Bach's Leipzig possible terms; and, as regards mu somewhat new, being a quasi.inver of manuals, but some systematic fugue in E Minor, the so-called sical instruments, he often thought sian of the first solo, abo"e (Ex. 4) : association of each solo idea with ('Wedge" Fllgue) is the longest in terms that were either abstract It wants to he re-emphasized: some particular manual of the or fugue he ever composed for organ; or idealized. The mere lack of a this form, in whicll the three solo gan - just as the tutti must logic it is, in fact, almost the longest four-manual organ on the local ists in a concerto each tends to have ally be played on the Hauptwerk. fugue that he composed for any in scene would scarcely have dissuaded his own musical material, is atyp Two questions need to be asked at strument.' (It is 231 measures in Bach in this late period in his life ical. This Concerlo in C Major for the outset. Do we have here one length, and normally takes about from conceiving a grandiose com Three Harpsichords, whether or of those concerto movements in seven minutes and forty-five sec position for precisely such an in not it is Bach's own original work, which solo ideas can he freely onds in pe~ormance.) The com strument. or just an arrange men t of another passed around from soloist to solo plexity of the structure of this fugue The unique feature of the composer's work, is thought to date ist, with no sense of exclusive prop is commensurate with its huge pro "Wedge" Fugue is that it is built from the years 1730 to 1733 - and erty j or do we have here, instead, portions. Small wonder, then, that up from four musical ideas, each the "Wedge" Fugue is thought to a situation rather like the final as one listens to perfonnance after of which, as it makes its appear date from this same period. mo\'cment of the C lvfajoT Concer performance of this piece one ob ance, is originally associated with In the concerto structure of the to for Three Harpsichords, where serves such a wide variety of solu a particular manual of the organ. "Wedge" Fugue the famous open each new musical idea is associated tions to the intriguing problem of The first of these is associated with ing material has the function of the with a single solo performer? If the registration for the "Wedge" Fugue the Hauptwerk, and corresponds tutti ritamello, of COUfsc, and thus latter situation holds (and it does), - particularly as regards the choice to the tutti-ritornello of the Vival will logically be played on the then the question arises, by what of manuals, and the points in the dian concerto, while the other three Hauptwerk of the four-manual or logic can we determine which solo musical fann at which manual ideas are each intended to be asso gan (Ex. 5): idea belongs to the RUckpositiv, changes are made. This utter lack ciated specifically with one of the In its bold harmonic rhythm - one which to the Oberwerk, and which of agreement as to the solutions for other manuals. Before proceeding p~ression per half-note (the to the Brustwerk (the standard sub this particular problem, however, to explore this plan in detail, there strongest statement of alia breve sidiary divisions of the usual four should not exist - not in this is merit in briefly recalling what meter) - in its insistent use of manual Baroque organ) ? fugue. Almost every organ fugue happens in other Bach concertos for eighth-notes, and in its inevitable, ••• of Bach permits of occasional man two or more instruments. When chromatic movement upwards and ual changes j indeed, there are cere downwards from tonic to dominant, N.B. There exists for this prob Bach wrote a concerto for two or lem a single, logical solution. De tain points in most Bach fugues morc instruments of the same kind this fugue subject is the very em that absolutely cry out for manual bodiment of musical strength. fore the reader goes any further - for two violins, Of for two or here, however, he or she is urged changes. But in all of these works, more harpsichords - he found vir (Note that tilis fugue subject, just there is almost always a cer like the bass line of the C major to take out the score of the tue in allowing the musical ideas "Wedge" Fugue and to try to fig tain ad libitum aspect to the solu that are created for the solo epi concerto movement just considered, tion of these problems since the is derived from the ancient descend ure this out for himself or herself. sodes of the concerto to serve as A fascinating puzzle has been posed v¥iety of layout of organs in Bach's the common property of both, or ing tetrachord, this time, however, time simply did not allow Bach to in its chromatic form.) by Bach, and to rush ahead and all, of the soloists. This rule of in read the solution is rather like leap think in terms of a definitive ar terchange often applies as weD in This tutti extends to measure 60. rangement for an organ fugue, vis At the end of the fugue this entire ing to the last chapter of a mystery concertos for a heterogeneous array novel. a-vis the use of manuals. of soloists, notably, of course, the block of Hauptwerk material will • • • In the case of the "Wedge" Brandt!llburg Concertos - save return, virtually unaltered. Such an Fugue, on the other hand, Bach This puzzle is impossible of solu that in the case of the Brandenburg unabbreviated return of the whole chose to be definitive. A close study of an opening tutti of a concerto is tion without a clear awareness of Concertos one occasionally finds the arrangement of the keyboards of the structure of this fugue re idiomatic scoring that produces ma contrary to the usual practice of veals an ingenious plan in which Vivaldi. Bach had taken this ap on a four-manual tracker-action terial suitable, say, to a pair of organ. musical form dictates not only horns (as in the fi ... t of these con proach, however, in his uniquely where manual changes will occur, monumental fugue for solo violin in BW certos), or one finds a single soloist ORGANIST OW but what manual should be used being spotlighted as the prima don the C Major Sonala, BVW 1005 for each section of the form. (composed in 1720), where in a (facing -+) HW na of the occasion (as in the case RP Every responsible commentary on of the violinist in the fourth con work 354 measures in length (!) the "Wedge" Fugue calls attention the opening 65 measures are re The abbreviations, of course, stand certo, or the harpsichordist in the for RUckpositiv, Hauptwerk, Ober to the concerto-like structure of fifth) . peated at the end. It is an approach this work. This observation, how altogether appropriate to a form wcrk, and Brustwerk. ever, has never been made with Among the numerous concertos that is huge. I apologize to the more knowl sufficient precision and thorough of Bach there does exist one move Three distinct solo ideas occur edgeable reader for including such ness. The "Wedge" Fugue owes a ment for three solo harpsichords in the course of the concerto, each basic infonnation, but, for the sake particular debt to Bach's extensive with string tutti - N. n., not a of a markedly different musical of those readers who have had only knowledge of the formal practices heterogeneous array of soloists - character. little contact with the four-manual found in the concertos of Antonio in which the composer assigned tracker organ, here is the classical Vivaldi, though in this case Bach somewhat different material to each A. at 60-68, and at 72-80 (in architectural layout of these four applied those principles in a work of the soloists. This atypical ap playoff against the tutti) ; and recurring divisions: proach to the invention and the that reflects his highly scientific then again at 124-1~5, ')lid 130- awareness of the layout of a four assignment of solo material occurs 131 (in playoff agamst the solo manual, high-Baroque, north Euro in the third movement of the Con idea C, below ) : a namboyant, pean organ. This fugue can, of cerlo in C Major, BWV 1064.' In swirling idea; a little musical course, be played on a three-man this movement the ritornello hegins Dervish. (Note the complete ab ual organ - if one is prepared to thus: (see Example 1, Facing page) sence of pedal.) (Ex. 6) : make some very quick stop chanl!":', (Note how the contrapuntal com OBERWERK ) or if one is content to lay asIde bination of three distinct ideas, al B. at 84-119 (with tutti material some of the Concerto Sport that is ready here in the ritomeDo, suggests quoted at measures 88-91, and built into this piece. The ultimate, a particular attitude on the part 108-111); and at 160-172: a total logic of the vast formal archi reckless musical idea that races of the composer. Note, too, that the tecture of this fugue reveals itself along in 16th-note scales over an IIAUPT!IERK ) on a large four-manual instrument idea in tile bass involves the old athletic bassline in quarter-notes with mechanical action - and on descending tetrachord.) (Ex. 7) : BRUSTWERK that instrument only. The fi ... t harpsichord solo (for In the several churches where "harpsichord III"), in measure 59, C. at 120-123, 126-129, and 132- ~ Bach was employed at various presents the following idea (Ex. 136 (in playoff against A) : a RUECKPOSITIV ~ points in his career none of the 2) : very contained musical idea, with organs was larger than three man In measure 102 the second harpsi parallel thirds and sixths in the uals; that includes Leipzig, where right hand, a single pulse from chordist is singled out with this ma he was working at the time he com the pedal at the beginning of posed the "Wedge" Fugue. During terial (Ex. 3) : each measure (and always on this late period of his life, however, And in measure 141 the third so the same no.te) , and a nervous, in composition after composition loist ("harpsichord I") holds forth reiteration of the implied pedal Bach was thinking in the vastest with 11 musical idea that is only point in the left hand. (Ex. 8) .: 10 THE DIAPASON It l~' Alk".~~~~~§~== A journal for the players & histor i j THE ORGAN ll ' ~"& .a :J J 1.,£& ians of keyboard instruments, edited YEARBOOK by Peter WiUiams, director Russell Collection of Harpsichurds and Clavi Volume 10, 1979 chords. University of Edinburgb E:r:. 1: tach Cancerlo 'n C Maior, IWV 1064, ope"'1tg of third move",ent Specwl issue, to celebrate the 10 years of production. Contents will include: Ewa Smulikowska The Symbolism of musical Scenes Ex. 21 COllcert. 'n C Malor, measure 59 and followl"t and ornamental Motifs in Organ cases f::::e;;*,->-ill-i 8$==~ E. J. Soehnlein & Diruta and his Contemporaries: Ell. 3: C.,u:erfo ,,, C Malor. moen.,. 102 and 'ollowl"9 M. C. Bradshaw Tradition and Innovation in the Art of Registration :;:;:: ; /J;; Jerzy Golas Some rare technical Features found a!!-E~:t:cr:G= i Ex. 4: Concerto 'n C Ma,.r, measun 141 .,ut f.llowlo, in the historic Organs of Poland This layout of the organ produces TIle solution of tile puzzle as to William D. Gudger Handel's Organ Concertos in Walsh's a RUckpositiv that, to the listener which of these ideas must be as Arrangements for Solo Keyboard located in the nave of the church sigoed to which manuals of the or below, is acoustically much more gan is arrived at by a close study New and restored Organs: immediate in impact than the of measures 58-83 and 120- 136, Hauptwerk itself; an Oberwerk that both of which passages involve sev Cecil Clutton The Manier Organ in Mellor Church bounces its sound 0[[ the high eral rapid movements back and vaulting of the church; and a Brust forth between two manuals, In the Donald Wright The restored Organ at SI. Helen's werk that has a remote, distinctly fi rst passage, where the alternation Church, Kelloe, Co. Durham indirect quality, as a result of being involves a reassertion of ritornello situated on the other side of the material, the swapping will occur RUckpositiv in relation to the lis between the second manual (the Reviews of Music, Books 6: Records tener below. These relative acousti Hauptwerk) and whatever manual cal characteristics of Hauptwerk, will be playing the Solo Idea A, in To appear Dec. c.240pp. with many ills. Dfl 40,- RUckpositiv, Oberwerk, and Brust this pattern: werk are sensitively and ingeniously I-59 Hauptwerk built into the musical form of this 60-68 Solo A manual FRITS KNUF / 4116 Z] BUREN (Gld) / THE NETHERLANDS fu gue. Alas, it is only the rarest of performances that takes these 68-72 Hauptwerk sound-dimensions into account in 72-80 Solo A manual the "Wedge" Fugue. Part of the 80-81 Hauptwerk problem, of course, is that the 81 .. . Solo B manual acoustical choreography built into (These reassertions of opening ri Noll' apaifabl. the musical architecture of tile tornello material at this early part "Wedge" Fugue is possible of real of the concerto form, incidentally, The International Organ Calendar ization only on a four-manual Of are absolutely true to Vivaldian gan, with mechanical action, and practice.) with this classic disposition of its ORGANA BUROPAE 1980 (Calltinued overietJ/) ,'ariol!s divisions. r·1!'\nl" A w:t..;;w< . __ ~ I.!!\~ 1\ • , , roT , - , , · ~ I ·· .11'" • ~ • J7 Ell. 5: 'ach "Wedge" FUGue, IWV 548, openhuJ Ell. ,: "Wedge" FagllfJ-, m•• sure 60 artd foRowllttJ (siz. 10 x 14.5 in.) With 13 color reproductions of organs from ull periods In Denmark, France, FiDlIUld, Germany, Ilnly, Norway, Dad Sweden, protected by clear plastic cover. Price: $13.00 air mall $11.75 surbce mall Still available: 1970 to 1979 Sl!nd check with order directJy to: calendars ot $7.50 each (add ORGANA EUROPAE $2 for air mail. $.75 for surface). B.P.16 Complete collection of II (1970 to F-88 lOS SAINT-DIE 1980) for $86.00 (surface). FRANCE Ea. I: "Wed•• " F_,,,a. meatvrtl 120 aad follawlat NOVEMBER, 1979 11 "Wedge" Fugue ience for the hard-working organ (continued from 1'. II) ist, it is like the ideal casting of an opera, where aU voices are perfect thB In a passage such as this, where for their roles. Ihere must be four changes be ~ionis tween two manuals in fairly quick * * * succession, it is easiest, of course, The overall layout of the available in U to work between two manuals that "Wedge Fugue, vis-a-vis the as microform are adjacent; ergo, Solo A will signment of various passages to the logically be played either on the four manuals of the organ, is thus 1st manual (the RUckpositiv), or as follows. (Dovetailing is required t',e 3rd manual (the Oberwerk). at several points in the piece, of The Brustwerk can be discounted course, as manual changes are ac here not only because these quick complished.) (See chart on facing leaps would have to be done be page) tween manuals two and four, but For all of the ingenuity built in also because the transition from the to the above scheme, this meticu grand sound of the opening tutti lous linking of the structure of a ------Pteue und ma addltlonalln'ormallon. 10 the very confined sound of the piece of music with the structure University Microfilms Brustwerk would be too extreme. of an instrument is far more than Intematlonal Whether one will choose to play an intellectual exercise. If the 300 North Zeeb Road Solo A on the RUckpositiv or on UWedge" Fugue is perfonned in Dept. P.R. A bllinvua. ret.,..nce-complndlum com. the Oberwerk is decided by process the above manner on a magnifi Ann ArbOr, MI48106 plied and .dlted b, Prof. Dr. UWI 'aPI of elimination in the next stage of AIllODI the CDDteIlU: arUclel bJ Jolla J'eI cent four-manual organ of IBth U.S.A. penala. E, Power Bias. lto7 Redmul. this puzzle. 18 Bedford Row Jc:.er '00 Olatter-Gllts. Oeor&e DoIeman century character, the experience ud Alan LauIDwl. Chari.. nat.. aDd In measures 120-136 Bach re for the audience in the space below Dept. P.R. .lames Louder and DeUmutb WoUf quires the organist to make a series London, WC1 R 4EJ O,al IIlb If II trlullulldn becomes a unique adventure in lis England '14 Mleel... IPICItneatIN.. ,.,-tllu"''' .. of manual changes at an even faster ttl, I'rt' 2 til .. m.... al Initrullltntl tening. The musical ideas assigned Namo ______212 selected 'heMe,...... clip - at two-measure intervals: _ ,.... In all to each division of the organ are Inoillutlon ______aptly conceived with just that sound 811801 ______120-123 Solo a manual 124-125 Solo A manual in mind. The contrast among these Clty ____--::~-- characteristic sounds of Hauptwerk, State Zip _____ 126-129 Solo a manual 130-131 Solo A manual Oberwerk, RUckpositiv, and Brust 132-136 Solo a manual werk is then emphasized by pit 137 ... Hauptwerk ting these sounds against one an other in a manner both acrobatic " NOVEMBER ORGA Evensong and dedication of new console and scientific - a peculiar tribute Albert Ludecke, Cathedral organist This passage is a bit tricky to play to the Age of Reason. The result is 2 DECEMBER on alternating manuals even when the 1Bth aentury's most splendid RECITALS James little, Community Presbyterian Church, these are adjacent to one another, Mountainside, NJ; The Pingry School, Hillside. NJ exhibi tion of the tonal resources of and thus it is not surprising that the High Baroque Pipe Organ. 6JANUARY in several performances heard on AT Donald Willing, North Texas State University recordings these days this entire NOTES 3 FEBRUARY passage is left on a single manual. 1 Three other Bach fugues vie with the TRINITY Nancy Vost Evans, St. David's Church (Radnor), "Wedge" Fugue for monumental sca1e. The Wavne. PA Because this passage is somewhat E-flat Triple Fugue (the "St. Anne" Fugue, 2 MARCH difficult to play on two manuals in BWV 552 ) , of 1739, iJ tJ7 measUftl long; but Nancianne Parrella, Assistant. because of iu double·length alia breve measures CATHEDRAL HDIV Trinity Lutheran Church, NYC rapid alternation, however, it is it takes almost as long in perfonnance as the logical to assume that Bach planned work stlldied here. The B Minor fugue in the 4MAY fint book of the WTC iJ only 76 measures Frederick Grim", Holy Trinity Lutheran Church,NYC the effect so that the two manuals 1979-1980 long; but, being the one Bach fUfCUe marked involved here would be immediate "Largo," it requires over leVen minutes in The Organ: Moller (19551. Turner {19651. Petty·Madden Isince 19791 ly adjacent to one another. Since performance. The longest Bach fugue. in terms Trinity C.thedral • 801 West St.te Street. Trenton. NJ 08618 of the number of measures (354) and perfor All fflCita/s: 3:30pm the 2nd manual (Hauptwerk) is mance time (eleven or twelve minutes), b the tutti manual, the only possibility found in BWV 1005, the third IOMta for vio lin, unaa:ompanied - a fugue that truly bog for this game is between the 3rd sles the mind. and 4th manuals (Oberwerk and • Schmieder says of this concerto: "This .... rangement, whose authenticity has been ques Brustwerk). Which measures, how lion ed, ls apparently based on a concerto for ever, should be played on which three violins, probably not by Bach himscIr!' manuals? In view of the intriguing nlationship of the GASPARO third movement o( this concerto to Bach', The solution of this problem is "Wedge" Fugue, however, I would aaume ultimately to be found in an appre that even if Bach did not compose the original concerto - or even make the arrangement - ciation of the different character he at least was llCtluainted with this work, and istics of RUckpositiv, Oberwerk, and had studied it closel,. Brustwerk, and the different char ' A reduction of the pedal sound is wanted at this point - lagia"y the quick removal of acteristics of these three pieces of the Hauptwerk_to-Pedal coupler. solo material. To wit, to allocate • It is estremely common in the VivaJdlan ' Oberlin Baroque Ensemble concerto to £ind modulatory 1010 passages that musical ideas that are "flamboy make referena: to the opening measures o( the With August Wenzinger, viol. and ant" (Idea A ) or "athletic" and rhornello, especially to point up keys touched "reckless" (Idea B) to a division on ell /lanalil. These refert!nct:S do not involve a r1!tum to tutti orchestration, and nowhere in James Weaver, harpsichord. of the organ that is "remote and thls present pa,uage {measures 84-120} does it distinctly indirect" in tone (the sum reasonable to move up to the Hauptwerk. I This is the one place in the "Wedse" Fllgue 250th Commemoration of Brustwerk) will be abusive. For the where the organist is required to move be "remote and distinctly indirect" twun the lint and the fourth manuals. Bach sound of the Brustwerk the only canfully wrote this measure, howuer, with MARI.N MARAIS three beats o( rest in the left hand, to facili suitable material in this concerto tate this move. A slight holding back in the Pieces a Trois Violes in G Major is Solo Idea a: "contained" and tempo 'at thls point, however, is not inappro Pieces de Viole d·un gout Etranger tt priate. The strong cadence on tile key o( B "nervous. On the capped pipes, minor here. at measure 120 (in this 231·meas Pieces en Trio in E Minor the repetitious mixtures, and the ure.long fugue) iI altogether (jtting; Bach loved to "fold" a (ugue in the middle with an Sonnerie de Ste. Genevieve du Mont de short length reeds of the Brustwerk, important statement of the dominant key at Solo Idea a is all tucked in, at jillt this point. Paris home. • Thls internal ritomello section, modulatory in character - and involving the most distant GS-202 STEREO Idea A, then - the "flamboy secondary key in the whole structure, F-sbarp ant swirling Dervish" among these minor - calls out for a reduction in registra· tion. Without such a reduction of aound the ideas - is sent up to the Oberwerk, movement from the Brustwerk to the Haupt where it is free to bounce itself off wuk at this pamt is too eslnme. By reducing the sound o( the Hauptwerk in thb passage, the arches of the ceiling. And furthermore, one .voids robbinS the grand con Idea B, then, shoots forth from the duding ritomello o( its impact in comins back RUckpositiv, directly over the heads to the (ull, original experience. It goes without saying, an, stops removed (rom the Hauphftrk of the listeners, like some low-flying in measures 84-137 must be retumed during missile. measures 160·172. Idea A on the Oberwerk, Idea B on the RUckpositiv, Idea a on the Brustwerk; the solution is not 0",... land.,. is professor of mwlc at only practical, in terms of conven- Welles,., Colle,e. 12 THE DIAPASON I-59 Hauptwerk Ritomcllo E minor (B minor for rugal answer) Applications 60·68 Obcrwcrk Solo A non·modulatory deodlin. 68·72 Hauplwcrk Ritomcllo E minor January 10 72·80 Oberwerk Solo A modulatory 1980 80-84 Hauptwerk Ritomcllo B minor -hy 84'-120 RQckpositiv Solo B' modulatory (references to fugue subject in D m~jor and G major) 12Q'-I23 Brustwcrk Solo C B minor ...... -""" modulatory ..... 124-125 Oberwcrk Solo A a-....- 1Crigbcun WlA. 126-129 Brustwerk Solo C D minor ...... 130-151 Oberwerk Solo A modulatory Jan 0, IbIey 1JOtw. ,CMA. 132·136 Brustwcrk Solo C F.sharp mmor .....,_ ... t Ritorncllo modulatory (fugue subject wed in _.sclab." 156-160 Hauptwerk loct-df.8flChMA F·sharp minoT and C m3.jor) Yale Ifhqr ...... ' 160·172 Riickpo,itlv Solo B modulatory. returning home to E minor f, Aidan~STO 17~1'" H:lUptwerk Ritomello E minor n. .... Jeffe.y~w.... MA. III.ftI (I.h.) Institute ...... 177-231 Hauptwerk Rltomello (concluded) ...... tty fo.-d WagNr loON, MA (r.h.) of Layovt ., the "WH,." F., ••. sII ....r ... the alii,...... of various pGSlG9ft ..... follr ",alluals of .... organ. Sacred Mendelssohn Organ Works B. BWV 682 (Clavierubung Music (con';,,~d from p. 6) Ill, greater setting) Sonata VI, i C. BWV 683 (Clavieriibung III, lesser setting) For Sonata VI, i's chornle partira, D. BWV 638a (variant of BWV Mendelssohn chose one of the oldest 683) and most familiar of the Lutheran E. BWV 737 (misc.) chorales, Vattr Unser im Himmel F. BWV 760 (youthful) • • "ieh (Our Father in Heaven), which G. BWV 761 (youthful) appeared first as a broadsheet in 1539, H. BWV 762 (youthful). with the title: liThe Lord's Prnyer brieny expounded and turned into One cannot be sure of Mendels metre, n in Luther's hand. The same sohn's exposure to the variety of the venion appeared with the tune in Gennan and EnC!ish musical and tex Valentin Schumann's Ceutliehe Lieder, tual versions of Yater U nstr im Him 1539. in nine stanzas - each of the mtlr,ich. However, one can observe : first eight stanzas elaborate on peti 1) The composer received a copy of c tion of the Lord', Prayer (omitting Luther's G,u'lieh~ Lieder from a the doxology), and the ninth is on the friend in Vienna, October, 1830;" and amen." 2) be obYiowly knew the Or~elbiich 'tile Inlhlule 01 Sacred MUSIC Vater U ruer .•. became quite pop llin ,ettlng for he published this group 409 ProiPecl Street ular in England after it5 first appear of Bath chorales with Coventry and New Hoven CI ~10 anCe in Richard Cox', Engluh Psalter Hollier (1845) as Organ Compositions 203_3629'5 ( 1560)_ on Chorales (PslJ/m lones) , Organ J. S. Bach set Vattr Unser . . . as Prdutltl. etc., 2 books. follows: Mendelssohn gave Vater Uruer •. . sup·lAnVl'RKORa.NGS I. Chorale Harmonizations u the theme for Sonata VI, i's chorale UADI". m. STAR O. m. ART A. BWV 90, Cantata Es reifet partiu. (theme, five variations), in euch ein schrecklick Ende, no. four to six voices. Sonata VI with its ;;;--- 0iiiii 'JOsE 5. lUCCesslon of lyrical variations and B. BWV 102, Cantata Herr, concluding warmth of the ureligiow adagio" finale, provides a high inten w. ~~~ deine Augen seheR naeh d,m C/duben, no. 7. sity of poetic expression. C. BWV 146 (compare with The long first movement shows the BWV 245. St. John Passion ver composer's interest in Baroque chorale .ion). procedures. as seen in works of Bux II. Organ Chorale Preludes tehude, Pachelbel. Bohm, and Bach. A. BWV 636 (Orgelbiichlein) (Continued, page 15) The GrAnd Sound The Tr.,kef Touch Music of Franck. Vlerne, GlgDue. The articulate sounds of the Mulet. rerformed on the 140 8cckerath Tracker: 'eaturlng the ~~;~'- diS j Ij J Id j Id ·1 rank Instrument a( The Cathe· three preludes and fugues of dral of the Sacred Heart. T·1OOI Mendelssohn. T· 1001 SPECIAl '-I00J The French RomAntks. Vol. 2, fohn Rose. OrSoiln. rlerne: Trois l'I«es; Vlerne: Symphonic 00_ 4 (complete) performed on PRf-RfUASf the spectacular Ofgan at the Cathedral of St, foseph. Hartford. ~ ~' <~ xx, OffER Conne<,ku'. '-1004 V...... lons on An AmerkoJln folk Tune. (An introduction to (gR fr r 11 r rr' llF' r Ef (good the KlnS of Instruments). An original work by Robert Edward rfi ..&.-.--1. Smith. Narration guides us through the famlRes and Individual II. '"'!fI' stops of the American Classic Organ. This richly caknrul pfece Is Jan 21 destined to be MAIL ORDER aTY. EACH TOTAL COUPON { T-'oa, John Rose. organ .fIiIYA1LAM1NO'N The French Romantic., Vol. 1 7.11 T·1002 John RON ..f.laylS Ihe j ~." It Beck.rath racker organ 7... J,f;wJ f John RoM, organ JI" ) J I.SO· l ; J "l- The French Romanllc., Vol. 2 Ja#.$1? OfFlR T.'OO4 Varl,tion. on In Am,rlcan S'·" ",,,a...... ••• " ,N f- . Fofk Tun. I .SO" Itttt J... . ZI , tHO) 1 .1005 Robert Edward Smith, harpsl· chord. All Bath Album I.SO· Add 11 .50 IhJpplng and ~ ------ handling per ordef. --1:!!... Calilorni. r.. leSant. ~ ~ - .------8% sal" 10. ____ Illy lop TOTAl ____ Ex. l-chONle meled, w•• meln GeH will. "ral. 21 Ix. 2=::aSOItota ' ...... m.tfn, la. 3=S"'" IU. J. , .. , •••.weet He. ftogm ...t: Ia. 4- LHt..... 'S,mp"'" IIJ. 0,. Rllo,olO: TOWERHllL RECORDS, dept TAO·2, 6000 S.... I HDllywood, CA 90028 52. tft... teCH., ... , Cll40h I&. I-Vltl,,, Cettc.m ,. eM'..,., 0,. 64, , m. 5HZ (1144). NOVEMBER, 1979 13 • SIMPLICITY-ACCIESSIIiLlTY- IILl4IIUTY-TONAL SU'EIIOIllY-DUlAIlUTY-QUALITY. New Organ Records Society ._ MIlS 4064 (available E ~ (continued from p. 5) Crom the society al 14 Park Rd., Tm ton FaIls, NJ 07724; $5.20). Mr. Kooiman, a virtuoso player, With this disc, licensed rrom Dischi , AUSTIN ORGANS, INC. i turns in excellent perionnances which Ricordi 1013, MHS has made avail ~ c !: ORGAN ARCHITECTS AND BUILDERS ::l favor deliberate tempt, taking maxi· able an interesting recording of little- mum advantage or the impressive known music. The recorded sound is acoustics. Except for the Vivaldi-Bach good without being spectacular, seem ! I concerto, the works he plays here are ingly miked Cairly closely; the =ulting ~ ~ not ramiliar ones, but eadt has lOme sonorities are bright but still retain j - impressive reature to impress the lis some or the building resonance, and o - tener. Particularly noteworthy are the the slight action noise is unobtrusive. I 1 sounds of the distinctive reeds and the The jacket notes describe only the big, liquid fiutes. music, but the organ itself is certainly ~ ~ ~ of equal interest. The registrations are i ~ mostly rather gentie, with channing Italian Organ Music 01 the Baroque. quiet reeds in the second Rossi toccata , j SleCano lIulOccoli at the Anlcguali and a mildly undulating J'oce umono in the final Trabaci work. The only :: Since 1893 M Serassi orga.a, Duomo Vecchio, Bres cia. M. Rossi: Toccata VI, Toccata surprise to this reviewer in the organ l! 156 WOODLAND STREET-HARTFORD, CT. 08105 (203) 522-8293 a XIV; T. Merula: Canzona IV, Capric sound is that the temperament is not as a MEMBER: ASSOCIATED PIPE ORGAN BUILDERS OF AMERICA 0 cio, Sonata cromatica; eima: Camana unequal as might have been expected. u !! francese detta "La Novella"; Mayone: To those interested in a period of organ literature we as yet are not over ~~~~~~~~~~~~~~~~~~~~~~~~~~~~::l+TONAl SUPElIOIITY-OlHlAllllfT-QUAUTY- SIMPLICITY- ACCESSrIIUTY-IfUAllUlY+ Toccala V; Trabaci: Caolo Cenoo ll, Caowna Crancesc VII cromalica, Du ly familiar with in this country, this raze e ligature; Storace: Toccata e record presents an important recorded canzona; Salvatore: Toccata I, Can· document. The perronnances are ex zona Crane ... Ill. Musical Heritage cellent. ~crmc EXPRESSIVE PERCUSSIONS For Pipe or Electronic Organs Operatas from under key contad.. Full concert In.trumanh, Nunc Dimittis marimba., Yibraharps, orchestral be lis, xylophones, and pianos, in 2' and 4' stops. Only manufacturer of such instruments In USA. Carl W. Broman, organist and sentation. a 20th-century hymn festi· Call collect (217-422-3247) for order acceptance choirmaster of Trinity Episcopal val played and conducted by Alec Church in Staunton, VA, died July 1 Wyton, was held in June. Dr. Droman after a brief illness. In addition to is survived by his wife and two chil· 41 years or service at Trinity, he was dren. chainnan of the music department of diil!~~T,~~1 Mary Baldwin College Crom 1936 to INSTRUMENTS 1974 and chairman of the music com John F... Fay, prominent Maine or· IHCOI'OI.". mission of the Episcopal Diocese of ganist, died on Aug. 29 at the age of Southwestern Virginia since 1970. 76. IJeQlur IRstrumentl, 1014 E.1IIYt SInet, Decatur, IIiIIoII 62526. Dr. Broman, a native of Chicago, Born in Lynn, MA, Mr. Fay studied received his bachelor's degree in mu piano and organ with Frank L. Rankin sic from the American Comervatory and later in Paris with Isidore Philipp of Music, a degree in philosophy from and Joseph Bonnet. In 1952, he was the University of Chicago, and a appointed municipal organist for the master's degree in music from Colum city of Portland. where he directed bia University. He was awarded an and participated in an extensive honorary doctoral degree in music by concert series on the Kot2Schmar ~ Hampden-Sydney College in 1942. In Memorial organ in Portland Citf addition, he studied under pianists Hall auditorium, for 23 ye:tn. He J ' W'WALK,E~& SONS, LTD Rosina and Josef Utevinne at the held the A.A.G.O. degree, served as Juiiiiard School of Music. He was a dean or the Portland AGO chapter, member oC the AGO. and was organist-choirmaster at St. He was recently honored by the es Joseph's Church in Portland for 56 tablishment of the Carl Broman Con years. He is survived by his wife and cert Series in Staunton; the first pre- three children. Wimbledon A.... uo, Brandon. Suffolk. En d. T (0842) 810296. Builders of FIDe Tracker and Electro-Pneumatic Pipe Orgaas Inqulrlu are Cordially Invited Harpsichord Builders Represented W. Zi:rn:rner & Sons at Saint Mary's Harpsichord Wekend, 1979 INCORPORATED (Me report of this event on pages 8-9) Member APOBA Mailing Add,e.. : P. O. Box 520, Plnevme, N. C. 28134 aradley W. M. "nn Poul Y. Irvin NATIONS FORD ROAD' CHARLOTTE, N. Co 4424 Judson Lane 221 Glenview Rood Minneapolis, MN 55435 Glenvilw, IL &.D025 Richord A. Cax WilJani Marti.. Top Quality , Dultl1n Road 525 Main St. 'ennlngton, NJ 01534 Bethlehem, PA 11011 Anderson Dup,.. Tom Pixlon lox 424 231 Cypress Sr. REED VOICING Mila .. OH 44146 Broolclifte, MA 02146 12 )- ' ('nr~ r('('d yoidn~ ('xlH'ri('(u-'c \\'ilh Oliv., finne., Wally 'ollee (Neupert) 2 promint'nt "ip(' ()r~nn "1I.,ply hou~w s. 405 North Second 1955 W. John lei,. Dr. Lawrence, KS 66044 St.venlville, MI 49127 H,·slnralin .. of nId rt' l'tIs is IIllleh nYf'rIookl'll. All old K.lth Hia Sfeven Sorlf I·p .. tl~ urI' r .. ~ ..)I·pd and rf',"f)i(~l"(l with new IOn;!lH' s to 2037 Divrdon Av.. So. Rt. 3, 10K 129 YOllr InrUlI I'Pquil'f'nwub. and ~uul ' anl{'pd tu pf'l'forlll Grand RapHll, M1 ..,507 M/.....,I Pol .... WI 53565 us \\ ell U!"i npw rpf'd~. Margaret Hood Knight Vernon 580 W. Cedar St. 525 White Plaeon St. CHARLES R. OlESEN PkI"evllle, WI 53111 Canltantine, Ml 49042 HI. 1, nux 806, Slnal'ls D"afl, Vir!!iniu 2'1-1·;; E.O. WItt al.3 70:~-:n7-3666 Three Riven, MI 49093 14 THE DIAPASON Mendelssohn Organ Works m. 181, followed by four beats rest - (continued from p. IS) a grand pause. He ended variation He took these older styles as a point iv with the £irst and last strains of the of departure and recast them in a new, chorale, in four to six voices (m. 186- personal language in the expansive 90 ). This chorale postscript is an uni~ style of early- to mid-19th-century rying link to the initial presentation of German Romanticism. the chorale theme.' s Variation iv is marked aUacca la The opening chorale theme and var C· iations i-iii each run continuously into fuga , m. 190. One prefers to call the fuga variation five since the profile the following variation, whereas varia 3 of the chorale cantus firmus is con tions ii and iv make a complete ca tained in the initial tenor entry of the dence. The treble uD," rn. 25, is tied h to the first note, m. 26, assigned to fugue subject (m. 1-8 ). man. II (pp) . This overlapping of tied After the brilliant, bravura style of notes (quasi-pedal tone) , a favorite variation iv, variation v, fuga (3/ 4 ), , device of the composer, can be further Sostenuto e legato, forte, brings wel ~ seen in Opus 65: I} Sonata I, i (m. come contrast with its smoothly flow 40.60) ; 2) Sonata II, i- the grave ing lines written in pure, uncompli (m. 23 ) to the adagio (m. 2'l). cated counterpoint throughout. Varia I tion v is cast in vocal terms, not un In variation it the composer calls like the qualities of a Baroque chorale specifically for an 8' ,register pp alone C in the pedals,' an S' register pp on based motet. The form, the essence of clarity, proceeds with one complete man. II, and 8' and 4' registers mp on exposition (m. 1-29 ), an episode ( m. man. I. The composer's treatment of the chorale cantus firmus in quarter 47-55 ), separate subject entries (m. It 56-62, 63-70), fragments in contrary note melody resembles other Bach or IMMANUEL LUTHERAN CHURCH motion and stretto {m. 71-78 }, and a gan chorale treatments: HILLSIDE,ILLINOIS e concluding fuU subject entry in the 1) Christ, der Du bist der helle soprano (m. 79·86). Dr. E.H. P1Helko, Pastor rage (BWV 766·partita) Pearce states : 10 Dr. Herber! Gotsch, Organist r 2) Herr Gott, nun sc1dihs den Originally this [the episode, m. 47- Himmel auf (BWV 617 ) 551 cons,isted of 9 bars instead of 3 ) Hilf Gott, das mir's gelinge 7 as now. The composer altered GREAT SWELL PEDAL (BWV 624) the chord marked*, and expunged 8' Principal 8' Gedeckt 16 ' Subbass 4 ) Ieh ruf zu dir, Herr Jesu Christ the following two bars, which are 8 ' Rohrgedeckt 4' Gemshorn B' Offen bass (BWV 639-0rgelbiiehlein) to be found in his autograph copy Octave 2·213 ' Rohrqulnt 4' labial Dulzlan A sixteenth-note accompanimental between bars 49 and 50 thus: .' Spillfloete 2' Principal 16' Fagott £iguration continues after the conclu (see Ex. 6, this page) .'2' Hohlfloete 1·315' Terz sion of the chorale cantus £irmus and The second movement, finale, an IV Mixture III Scharl leads to variation ii, mf (12/8), dot dmlte (6/8), D Major, piano e dolce, 8' Trompete t6 ' Regal Mechanical ted quaner = 63, which has the same is the final portion of the dynamic de Tremolo Key Action tempo as variation i. Variation ii's crf'.5cendo begun after variation iv If pedal articulations of alternating three to variation v (f , and finally subdued note groups, with the £irst group to the finale piano e dolce). The SCHLICKER ORGAN CO., INC. slurred and the last note of the second finale, constru ted on a major version 1530 MILITARY ROAD, BUFFALO, N. Y. 14217 group detached, are original with the of vari.lti n v's last three treble notes,u MEMBER A.P.O.B.A. composer, not editorial. According to shows mild resem lances to the com t Pearce,T variations ii and iii are con poser's aria, "0 Rest in the Lord," , nected in one whole measure in the N. 31, ElIJah. The reader may original manuscript version. smile at texts later provided for Son ata VI's finale by the eminent Mr. Variation iii places the chorale Flood. whi h begins, "Oh! that my theme in the tenor register, in largely head were waters." 12 quarter-note movement man. I, 8', P . The right hand accompaniment man. II, 8', P moving in predomi Fugal Writing nately diatonic motion in thirds and The composer's fugal unting sixths in the treble, and the pedal Opus 65 can be divided thus' quasi-pizzicato eight-note accompani I. Fugal writing with cantus fir ment 16' and 8' J P creates gentle mus materials lyrical motion in variation iii. A. Sonata II I, i double fugue) Variation iv shows most clearly the B. Sonata VI, variation relationship of Opus 65 to the com chorale fugue la poser's improvisational style at the or II. Fugal writing \,,'ithout gan. Here Mendelssohn placed brilliant firmus fugue and fugato arpeggiated figurations and chords A. Sonata I, i, iii over the chorale cantus £irmus in long B. Sonata II, ii, fuga note values in the pedal m. 92-15 ; C. Sonata IV, i later m. 140-63 , he placed the can Sonata Ill's double fugue (m, 24- tus firmus in the soprano, with the II I is the most brilliant of the com arpeggiated figurations beneath. Var poser's organ fugues. Further, this dou iation iv represents the same technique ble fugue provides the clearest exam displayed by the composer on the oc ple or the composer's fugal technique casion of his "Credo" improvisation of teigerung accelerando e crescen on the organ in the Benedictine Abbey, do , beginning with fugue subject two. Engelberg, Switzerland, as described Here the composer increases the con [ in his correspondence August 24, 1831, trapuntal intensit) through a more Engelberg.' agitated siXleenth-note fugue subject < Variation iv is a bra\'ara toccata two and st f·igerung. Since the score with brilliant manual figurations con indicates no dynamic increase in the cluded by an extended coda (m. 163- fugue's t>ro~ress. is the stcigerung to 81) constructed on a half-step motive, he an indi..:ator of increased intensity "A-B Flat_An initially. The composer in interpretation rather than a literal left th .. listener "suspended" with the crescendo utilizing additional organ dramatically ascending dominant 7th registers, enclosed division, etc.? minor ninth arpeggio which ends in (Corltinrled overleaf) ,..ex~~"", HIt"'S ~ -, Ill, '11 , • NOVEMBER, 1979 1~ Mendelssohn Organ Works the identical tempo markings M.M. (conlinut'd from p. 15) quarter-note :::=0 100. Sonata IV, iv iJ all joy, light, and fresh air! It makes Restoration By Reisner Sonata II, ii's Fuga, alia breve, Al a parallel to i, full of verve and force, legro moderato, C l\1ajor, makes we and together they create the massive of an increased figuration mid.way in architectural pillaI'! of Sonata IV. its progress - quarter·note figuration Related to the composer's we of changes to eighth ~ note figuration from fugato are his stretti or stretta-like m. 38-39 to the coda, m. 96. At that points of imitation in short time inter point no steigerung is explicitly instruc· vals, which appear to have been a per· lcd by the composer, but \Jne may de sonal contrapuntal idiom (compare cide upon it as a point of personal Sonata I, iii Allegro assai vivaett m. 1I interpretation. 112-15; Sona'" II, ii fuga m. 55-57; Sonata VI, variation v's fuga (3/4 ), and Sonata 1I. ii fuga, coda., beginning sostenuto e legato, forte, a choral rugue, m.96.) offers no contrapuntal surprises, in· At least seven of the composers car· creased figuration, or steigerung. It lier organ compositions exhibit brawra chiefly resembles a chorale-based rna. toccata or prelude procedures compar tet with its conservative, but effective, able to the same style in the Baroque: construction. The composer is concerned also Prelude in D minor (1820) Prelude in D minor (1820?) with lugato style in Opw 65: Prelude in E Major (l820?) I) Sonata I, i; This 1930 Vintage Pilcher console Is an exquisite example of many restored 2) Sonata IV, i, iv. Fantasia in G minor (1820-23?) consoles which have passed through our doors over the years. Our console Nachspiel in D Major (Organo craftsmen are thoroughly experlenced.in all pipe organ systems. They will Sonata I, i makes considerable use Plena) ( 1831 ) meet AGO specifications, use original equipment manuracturers components, of (ugata writing with a first theme Opus 37, Prelude I (1837) or custom fit Reisner components in most cabinet shells regardless of the and its subsequent inversion heard in Opus 37, Prelude III (1837) .• original actions. combination with chorale cantus fir· while seven mature organ compositions Quotations for restorations are made in the same manner as thaas lor new MUS materials: Was mein Gatt will. exhibit a similar style: consoles. Working directly with our customer they Include every detail at dos g' scheh' allzeit. Allegro in B-Flat Major ( 18#) rebuilding from wiring to the finishing. Quotations can usually be made Viewing details of the composer~1 Opus 65, I, iii. Allegro assai vi· without our seeing the box. correspondence, one assumes Sonata vace ( 18#) Reisner restorations maintain historical ethics as welt as economic IV, B-Flat Major, was comp05ed be Opus 65, IV, i, Allegro con brio practicality. Reisner Inc. 240 North Prospect Str81!I, Hagerstown, Maryland tween September, 1844, and March ( 1845) 21740. 301-733·2650 or April, 1845. Opus 65, IV, iv, Allegro maestoso e vivace (date?) Sonata IV, i Opus 65, V, i. Allegro maestoro (1845 ) HEINZ BERNHARD ORLINSKI Sonata lV's i, Allegro con brio, lort, Opus 65, VI, V. E, Allegro molto the I.ck.ralh organ of Ihe 51_ Andreas-Kirch •• Dusseldorf (C = 4/4), B-Flat Major has two (date?) prominent subjects in a ternary form: ("Credo" improvisation (1831 ), Improvisations on Christmas Carols I) The arpeggio figures heard lint Engelberg, Switzerland.) in m. 1-3 (A: 1-22 ). • • • • • Jt would appear the composer had 2) The martial dotted figures IIu JEAN LANGLAIS CONCERT gato) heard lirst in m. 22-24 B: more than casual knowledge or Ba the Rieger organ of the Abl.lklrc'., Marl.utatt roque mwic, its composition and per 23-27 ) . formance practice (at least in I 9th 3) The combination of A and B in Vierne: Sur Ie Rhin, Carillon de Westminster century tenns). Contemporary ac· m.48-84. counts of hiJ performances of Baroque Langlais: Incantation pour un jour Saint The last six measures of the third instrumental and vocal music have Impro¥isatioD on "SaJ¥e Relina" part are "I most a verbatim recapitula come down to modem times; unfor tion of the first six measures of the tunately no personal correspondences Hymne d'actions de graces: Te Deum first part CAl. Pearce cites numerom exist which give the modem reader Improvisation on "Conditor alme siderum" resemblances of Sonata IV, i to J. S. precise ideas of the composer's view Bach's Prelude, E-Flat Major, HIre, point.! regarding Baroque perfonnance $9.50• postpaid • • p.r •sf.reo • dr,c I (BWV 852 ) :" IrwtA ....Id.n" pi .... add 4~ p.r dhc for st.t. sal., tax ractice. However, there arc several Parallel, in Bach BWV 852 and eJS obvious considerations which seem from Mendelssohn OpO! 65, IV, i: r. TELESON·AMERICA to !Upport the premise of the compo I. The opening arpoggiated lig er's understanding of an appropriate 333 Beocon St. ures of the first motive (see Ex performance style for Baroque music, Boston, MA 02116 ample on fadng page). at least for the organ music of J. S. 2. The fugal treatment 01 the Bach: second motive (see Examples 9- 1) Counterpoint and organ lessons 10). with ZeIter. CATHEDRAL ORGAN 3. The combination of the two 2 ) Critical reviews of the compo· motives in the third and final ser's solo and extempore organ play POSTERS section" (see Examples 11 -12) . ing. 4. The ternary form in each : BERLIN - GRAZ - TRIER 3 ) Examples of ornamentation in the composer's organ music. approx. 16 V, " X 23 V, " Bach MendelS30hn Carl Friedrich ZeIter, director of the: 3 FOR $7.00 A-IO m. A-22 m. Berlin Singakademie, was perhaps the B-15 m. B - 26m. NOT SOLD SINGLY most informed devotee of Bach's music A - 45 m. A-36m. before Mendelssohn's revival of the Postpaid when check Bach St. Matthew Passion (1829) . Zei accompanies order Sonata IV, iv (undated) presents ter had access to many Bach manu· a general plan resembling Sonata III, scripts or manuscript copies via his TH~ PRAESTANT PRESS i, a ternary design. in which the mid· personal library and that of the Sing. P.O. Box 43 die section is a fugato preceded and kad.mie. Old Madame Solomon had Delaware, Ohio 43015 lollowed by a subject of preludial arrnnged for a copy of the Passion to character: U be made from ZeIter's personal copy A - uprelude," m. 1-22 as a Christmas gilt (1823) for Felix. B - "(ugato," m. 22-83 Zeiter's manuscript.! (or manuscript A - "prelude," m. 83·91. copies) probably formed the working Differences between the manuscript copy from which the composer pre and printed versions of Sonata IV, iv pared subsequent editions of Bach or can be summarized thus:" I) The ~ works for Coventry and Hollier, ~ A""O"""" ".,i"",," tlrr histery .fo'Janbu;iJi'1! manwcript gives a natural to the first London. quarter·note liB" in m. 42j 2} The The understanding of the process of ~~~ttr manuscript contains three additionat ornamentation can be observed in his iDrEarly measures which come between m. 47 leiter to Zeiter, lune 16, 1831 Irom Uk!Yboard and m. 48 of the printed versions. Rome,I. in which he described. in a ~ TH£DUTCH'NORTH G£RMAN TRADITION Sonata IV, iv provides a stunningly detailed fashion, the elaborate musi· brilliant conclwion with an opening cal portions of the Holy Week liturgy ~ .JAHuary '0- '9 ' '96" ..John 5~mL.tu~ , u l4tJr lunut'r martial theme (m. 1-7 ) in the man as celebrated at the Vatican. uals, supported by a strongly assertive On at least one occasion, Mendels ascending scale figuration in the ped sohn is known to have made inteqw. als, which leads to point! of imitation, lations in the performance of • Bach quasi-fugato, in m. 8-12, which .... organ work. Dr. H. l. GauntIett wrote semble Sonata I, i (m. 3-7 ). of the composer's performance at Mendelssohn gave additional exp~ Christ Church, Newgate, September, .ive unity to Sonata IV, i and iv by 1837: 16 THE DIAPASON . . M. Mendelssohn perConned nor, gives m. 25-28 thusly Cor the right sostenuto quality when coupled with six extempore fantasias, and the hand (see Example 13), which does arpeggiation and overlapping creates ·H.'Ill1teJ& ... pedal fugUe he was not .Ilowed not appe3r in the fin31 printed ver· a myriad of dynamic and colodstic 11 to go through with .t St. P.ul', sioru. possibilities. The ~omposer's awareness [prelude and Fugue in A minor, One C3n then assume the composer of these sostenuto possibilities is evi BWV 543] . . . His mind h .. be understood the process of ornamenta dent in at least three movements from come so assimilated to Bach', tion, made interpolations in his play Opus 65. compositions, that at one point in ing of B3Ch organ works, and used Sonata I, i presents a dialogue be the prelude, either by accident or coloratura melodies and om3mental tween fugato writing (given to man. desill'!' he amplified and extended paSS 1l1: WRDI~ €@MP~ 2lIZllEasternAve. r(]inOinnaii, Olfiii-4S202 (i;13r22.~"8400 ' 1I ... 3 fine """""""" M_ Stand< ••• Fast UPS Delivery Eat,. ""* SWds olin .... ,... ~ ~ mar: IQrds. ~ pa:bmm bend-. WOMEN'S whole ilnd hillf sizes 4·10 t:: , ~ IIindt, _1ftdI_ w.r b Earlv ~o;wacu,..12~"""-" MEN'S whole ilnd hillf sizes 6·15 ;Ycre!,.IJ:)tr1Itf!r~rrlarlr I.1 Mu:slc ~~si:"~~ I CALL OR WRITE (2031238-7078 i!itzmd:; _ ... - 90 Fowler Ave., Meriden, Ct. 06450 1D~t 550, ~ 277 Palo Alto, CA 94302 THIS ENCASED ...... 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P.O, BOX 43 "''''" Member of the International Society of Organ Builders " =. DELAW~E, OIDO 43015 NOVEMBER, 1979 17 Mend.~hn Organ Works movements and concluding toccata (continued from p. 17) like movements, and lyrical grace in Mendelssohn also often introduced slow, sort movements, 0111 executed lehigh ~dal tones (manual and ped.ls) into with an abundance of imagination, his extempore playing. TIt.is technique taste, and technical facility. ORGAN COMPANY is further secn in movements of Opus The composer was trained first ns 65, all discussed in detail above: a pianist, although he played the or 1) Son.t. II, i (m. 14-23, 23-24), gan very early in his musical develop tI ment. As a perfonner of Bach's organ 2" PINE STREET "G pedal tones. MACUNGIE. PA. 11062 2) Son... V, i the PT"t().chorale music, he was acknowledged as one ttlS} f66-l561 em. 20·26), the harmonization of of the best in his day. Considering his the treble IOn" pedal tone. exposure to the older Gennan Baroque 3 ) Son.t. VI, i (m. 24-26), the organ which had survived to his timet harmonization of the treble un" one can assume he knew the Baroque pedal tone segue to Variation i. organ's sound medium and an appro 4) Sonata IV, i (m. 91-92), Varia priate playing style thereon. tion iH to Variation iv. Registration The composer built up massive kine The preface to Opus 65 is the only tic energy in bravura toccata move direct guide available for dctcnnining ments in Opus 65 through extended registration in the organ works as a arpeggiated figuration to a final dis whole.A One is grateful for the new 'lionant harmony leCt unresolved be reprint edition off Topfcr's Lehr fore a grand pause, and by placing a buches dcr Orgelbaukunsl (1 856,M fennatil over the dissonance, which, is which gives buiJding and registration also left unresolved. practice appropriate for this period. Arpeggiated figuration followed by Mendelssohn ohserved that any given a grand pause can be $Cen in Opus register will have di[ferent sound qual .NOACK. 65 as follows: ities on each instrument that one en 1. Sonata V, the Allegro maestoso counters, and therefore left the exact (m. 130-33, the 1-6/ 4 h.rmony left combination of registers to the taste .md discretion of the perfonner. From THE NOACK ORGAN CO., INC. unresolved. ~ a point of interpre his prefatory note to Opus one MAIN AND SCHOOL StREETS tation, a g.p. could be inscned after 65, GEORGETOWN, MASS. 01833 the treble "A''. prior to the firml can further chart general registration quasi-chorale materials (m. 133-39 ). for sr.ecific dynamics: In a resonant room this would be ff - Full Org.n [organo pleno] plus reeds] required for the sound to clear after f - Full Org.n without the the releasing of the chord. loudest SlOP' [principals 16' 2. Sonata VI, V. iv (m. 181-82), through the mixtures] the arpeggiated ascent is followed [mp - principals 16' - 4', or 21 by four be.ts rest (in effect a g.p.). CuoIIoL ...... rmf - gentle 8', 8', 4' registers] 3. The composer placed a fennata several 8' registers over an unresolved dissonance, pre· p - PIP! ORGAN "1U1UIUS pp - a soft 8' register only. J .. __...... - ceded by arpeggiated figuration, The composer indicated that S' and _._.1'''' Son.ta I, i (m. 121), the chord "' __ Iooooc., ____ _ with fennata. t 6' registers are to be used in pedal registrations. with two exceptions: 1) Viewing Opus 65 as a whole, vari ants of the rhythmic figure eighth/ The composer, in playing Opus 65 from manuscript for the first time, quarter seem to appear with regular ity: used a single S' register for the pedal )Clu) &0 Schumacher pizzicato bass, Sonata V, the Andante WAL'l'D A, Gt1ZOWSKI Variants of the anacrusis PIPE ORGAN CRAFTSMEN 1'11'1 WAIl DaVlCl J) con molD (6/8), B Minor; and 2) 3604 Waterfield Parkway rhythm are prominent in two slow the composer specified in the score Lakeland, FL 33801 - 18131 665-4802 ...... movements. the use of a single S' register for the lU1 • .W , ..It\a...... a. Sonata 11, i Grave Slider Chest Organs Ft. ~ F1a. 3l:U:Z pedals in Sonata VI, Variation i b. Sonata III, ii Andante tran· ("Ped. 8 Fuss").D quillo, alto voice. Therefore, several types of registra 2) Variants of the figuration tional schemes can be listed for the (dotted eighth/sixteenth/quarter) composer's organ works as a whole: are prominent in four fast move· I. Organo pleno by the composer's BE~~~~R~,"~~~~i'U~~M~~~!d.~C. ments. indication in the score. . Intenlulional ~iely of Organhulldel'R a. Sonata. II, i, Allegro maes n. Implied Organo pleno, b.,ed 68 SO. BOULEVARD, WEST SPRINGFIELD, MASSACHUSE'ITS tDso e vivace (m. 1-2 ); on considerations in the musical Area Cod. 413.734-3311, 734-1079 + h. Sonata. III, i, fugue sub jec:t f:flbric. one (m. 24-25); ni. Full Org.n (Organo pleno, plus c. Sonata IV ,i, second subject reeds). (m.22-24); IV. Two claviers en dialogue with A. David Moore & CO. d. Sonata IV, iv, fugalo sub terraced dynamics and/or tim ject (m. 22-24). TRACKER ORGAN DESIGNERS & BUILDERS bres. These variants of dotted rhythms give V. One registration (less than North Pomfret Vermont 05053 a crisp rhythmic incisiveness to each forte) throughout. 802457·3914 of the fast movements. VI. Steigerung (aculcraudo e cres Contemporary writers commented cendo) either by the compo· on Mendelssohn's extempore organ ser's indicationst or implied by playing which contained contrapuntal considerations in the musical expertise in slow, loud introductory fabric. OROAN BUILDERS RANDALL S. DYER 1... W. BLACKINTON Pipe Organs and Organ Service ~ ,d1cci"CedfMur Quality • Craftsmanship • Integrity • Conscientious Restorations Box 489 380 FRONT ST. Jefferson City, Tennessee 37760 aI. DIIilltum 3lhrnann, air. EL CAJON. CA. 02020 Pipe Organ Maintenance and Restoration NEW ORGANS - RESTORATIONS Inquiries are cordially Invited. TUNING & MAINTENANCE JULIAN E. BUllEY P. O. Box 362, Toledo, Ohio 43691 Phone: (419) 241·8822 RAYMOND GARNER & CO. New Organs - Rebuilding Mechanlcal·Actlon Pipe Organ Specialists ServIce P.O. Jo.. <478 Tel.phon. SINCE 1906 Crestline, CA 92325 (71.4) 338-3751 1376 Harvard 8Ivd.-Dayton, Ohio ..5.406 McMANIS ORGANS ~13·276-2481 Incorporated fiim ~tmttl! TELLERS ORGAN 10th '" Garfield Company, Inc. _ORGANS KANSAS CITY, KANSAS COMPLm OROAN SERVICE 6610+ --Doo/p.- SINCE 1906 P.O. lOX t313 A..P.O.B.A. M.mblT Ed_, P•. 16512 Ph. 456-5306 (116) SlUS96 18 THE DIAPASON The composer apparently wrote fot Johann Georg Henog (1822·1909 ), tracker-action instruments with fev eleven .onat.. (1 879.80). mechanical aids (vcntils, combinatiol Carl Reinecke (1 82.. 1910), one son· pistons) for registration. Many of thl ata (1909). The Quiet One older Baroque instruments he played ... Samuel de LanG", Jr. (1840-1911 ), may well have been in unequal tcm-~ i eight .onatas (1870-1902 ) . perament. Early 19th-century Gennanl Friedri NOTES I l.tendchwhn abo 1&Kd a pn:-compoRd can Organ with which I am acquainted ha.a ita tUi 'innue Cor tl,e chorale partia: Wi. ~r"J.l ul I~ own pttuli.3r mode 01 t~atment In lhis re '(I dn AJlmi<r'I~1I Gut.. a youthCul work. • JoltannC';S Kledd, The LMrllertJft Cllonrl. - spect and as lhe Ame nominal combination 111 Bait: TrQdiHoftS (Minne:aIMtlis: Aupburg, does not produce aoacdy the -.arne dfect ill 1%7), p. +I. diUl'rent instrumenta, I have liven only a Bener.lI indication of the kind of effect in .I Sc-e 1'l'aKl', o~.£j/ •• I1p. 46-49 for (""Iher RODGE:RSb o"" • 11 1~ dilCuu;on with musical namp!:ea. tended 10 be produced without living a pre_ cbc Iut of ti,e paTticular Stops to be ~. 'John Jullian, A Did;""",., of H,",,,,,l,,ft (New York: ChArles Scribnu'.I Sons, 1892), Bv "Fortissimo," I intend to desianate the Full Orpll- by HPiaDiuimo." I aeueraJly I'. 12M. mean ;a &Oft 8 leet Stop alone; b, "Forte," • Wliltact', "p.&it., 1111. 'U-I2, the COlllpoter'. kttl'r of October 16, 1830 to Zelter, from tM Gl'l'at Orpn, but without lOme of the most powl'dul Stops; by "Piano," some 01 Veni4:e. lIne one Ift:I that the compolCr w;u expused to a cOlnlllete volume of Luthtr". the 10ft 8 Ccct Stopf COIDbined aDd 10 forth. tJ.oraln. with music. included. In t~ Pedal 114rt • • • I should prefer • See Roc!atro. 0".&;1., p. 110 ror a doaip throurbout. even in the PianissImo passages. tion of the cOInlHKCr's perConnance alld reo tbe 8 lect and the 16 fet:t Stops united, ex cept when the contr.uy is up~ly specified laled l)C()al ~"istralion ror SORl11a V's Andante (sec We 6th Sonata). elln 111010 (G/8). , l'raKl', "p.&it., pp. 60-61, wilh musical a It is tMnfore kh to the judlment of the IlInple. l'erlormer to mix the different Slops ap .I Wallace, op.dr .• pp. 2(j().71, tbe composer.l propriately to the .t,le of lhe various Pieces lettl'r with accompanying musical example. Ddvising him, howcver, to be careful that in • See my discussion! of .ilnilar techniques: combining the Stopa betonsinl to two dil Son_la I, i (m. 121 ) ; Sonal;a V, AUI'IP'O maa rerent lets of keys, the kind or lOIN: in the toso ( 10. 130.33, 133.39). one, .haWd be distinsuished from 1ha.t in the other but without lonninl too vtolent a ID l'e:a~, op.dl., p. 63, with muaical a· con·~t between the two duund quaJiuts or amil le• • tone. [Punctuation nornWul'd.1 11 Sec my dilawioll above. .. J. G. Topfer, Di. The,,';e wftd PrtUis t/.I 11 Pearce, op.dl., p. 64, suncsta a Eucharis Or,dba.. el. Zweite voui, umgeadleitete Au tic tut lor Sun_La VI'. finoJ.le, which belins, nale del l.el"hdu tI" Orld"...... ,,". hcraw- "0 Salutaru HOiIia Quae Cadi pandit Cltium." ueben von Max Allihn. (Weimar: Bernhanl I. See my diKlBlion ll00vc. Friederich Voigt, 1888). Facsimile reprint by U Set: the compolCl'" Fupe in E Minor, Frit. A.M. Knuf. Amsterdam, 1913. RODGERS tJllls breve. dated July 18, 1839 Cor. s1.mi1ar :a One could contemplate an 8' pedal rqiI_ interpretive silWluon. tr..tion for Sonala IV, iii, ;aIIepuo (6/8 ), F CLASSIC 250 SERIES with PIPES IS l'ean:e, op.dl" PI'. 35·37. Major, owinS to tbe Piuicalo effect in the It IlIid., pp. 36-31. Pf'Cbh.; hownu, this would be a point of pa Installed by ALTENBURG PIANO HOUSE IT Ibid., p. 40. lOma} interpretation, pot contained per Ie in the II Ibid., p. 42 for lummary and musical ICOn: indicationl, or documented pedormances uample. of Opus 65 by the composer. ST. FRANCES CABRINI R.C. CHURCH J'Selden·Goth, ",.&il., p. 135. .. Reser did nol we dodc:caphonie proccdura Brooklyn, New York .. Dr. H. J. Gauntlel1, "Mendeluohn .... Or· per K ; however, the disbnt modw.tions which saRut," in Tile AlWJiuJ Wo,ld (Se:pcember IS, chuaetmu: hia barmonic bnlUloP often Db 1837). JCure Ceelinl 1M D definite tonal teDter, i.e., REV. JAMES J. RUSSO. Pastor st Pearce, up.d, .• p. 50. Opus 127. introduction, Pauacallia. and FUKUe Mr. R. John Denaro, Director of Music in E Minor. B This technique is extended in density _nel Authorized Represenlalive dorauon in J. Reubke'. S".4I. Oft N1ICd,. ,It. Further bibliosnphic:.t material and doc:u for slandard Rodgers Organs F ...r'" PIal",. mentlU')' evicknee may be aJeued by conaultiol and for Rodgers Pipe Organs. a-. 2:1 See the W RlIIOICT'. Prdlliory Relllal'b to Or. Butler'. prnioUi uticlea iA this acriCl, Opus 65, 1&15, Coventry and Hollier, Lundonl which appeared in Tlce DiajJfIJflft. Feb. 1978, Wrile. or call collecl Much drlM':nds in thC$C Sonatas on the pp, 4-6; April 1978, PI'. I, 4, 6; and June 1978, for further informalion. right choice of the Stops; however, ;as every pp. I, 10·11 (- ed.). Dou~las L Dutler is currently oct;ve as 0 concert organist under the matulgemen' 0/ ArUst Recitols, Los Augt:les. He is involved as Jceyboardistl chamber mwician, 2fad conductor will' 'he City 0/ Portlalld/Mulrnomah County Metropolitan Arts Commission's performances In Ore~on, Dr. Buller P?lormed alld lectuTlrd at the l,lIematiornd Romatdic Orgon Mwtc Symposium held at Cornell Un;vers;t1this /HUt summer. NOVEMBER. 1979 19 Gillian Weir at Colorado State University by Walter A. Gaber Approximately fifty organists were Each day of the workshop was de is given to these details and that a B'VV 596; 0 Mensch, Bewein' dein' treated to an intellectually and musi voted to a dif£ercnt portion of the well-designed organ is a v3lid medium Sunde Gro", BWV 622; Fonlasy ond cally stimulating week thIS past June literature for org3n - the Forerun for the presentation of mwical Fugue in G Minor, BWV 542; Cavar in Fort Collins, Colorado. Gillian ners o( Bach, the works of J. S. Bach. thought. I ra: Suile for Orgon (1974); Alain: Weir, hosted by Colorado State Uni the French classic school, the roman A variety of activities was can· Deuxieme /antcuiej Reger: Introdut: versity in its 1979 Summer Organ tic school, and 20th-century composi ducted in the evening sessions. Mon· lion and Pcusaco.gUa in D Minor. Workshop, presented her insights as a tions for organ. The form3t for e3ch day, Robert Cav3rra, associate pro~ Thursday, Weir, Phelps, and Cavar concert artist and teacher to a receptive d3y was basically the same: a m;uter fessor of organ at CSU, presented a ra participated in a panel diKu.ssion audience of organists. class in the morning and a recital with lecture outlining the essential charac in which questions concerning such The week was planned as a survey frequent discussion in the aCternoon. teristics of organ construction and topics as organ design and building, of the entire body of organ literature. One unique feature was the inclusion playing which enable the organ to be programming, and teaching were aired. Since most such rnasterclasses focus on of a dance class in which the b;uic a musical instrument. He emphasized The discussion proved to be enlighten a specific composer or school of organ movements and styles of Rena.issance the idea that certain elements (name ing and entertaining, as personal in composition, lvb. Weir chose to show and Baroque dances were taught to the ly werkprinzip tonal design, control. sights and experiences were shared. that certain musicld concepts are basic participants. Since so much of the key lable mechanical action, and articulate The final event of the week was a to all music. She proceeded to illus board literature of these eras is b;uc:d pipe voicing) have been in evidence in recital for "Organ and Friends." This trate the manner in which thOle con upon dance, thesc lessons proved in~ organ building during the ' times when writer was unable to attend but re cepts have been realized throughout teresting and appropriate. The concept the great amount of contrapuntal ceived reports that the perfonnance history and how she, as a 20th-century o ( graceful movement and specific literature has been composed for the was a satisfying ending to a fulfilling artisr.musician-organist approaches mu types of steps provided an added di organ. Thus, if this music is to be per 3nd profitable week. sic. mension to the performance of dance formed today, these elements mwt 'Ve look forward to hearing more Two well-balanced and responsive suites and gave an indication of the contribute to the transmission of the from Gillian 'Veir as a teacher as well instruments were utilized. The 1968 3- articulation and phrasing which is es~ musical idea (rom performer to listen· as a perfonner. The resources of a m:mual Casavant at CSU, which has scntia) to all such music. cr. Furtbennore, the organ must be musician such as this are invaluable to become widely-known and a favorite of Gillian Weir's gift for teaching was conceived as a totality, fully realized our art and instrument. many artists, was the center of most of demonstrated throughout the master· when the artist-builder leaves it. The the classes. Its complemen~ a 1974 2- classes. This writer fOWld himself con following night, Mr. Cavarra demon. manual Phelps at St. Luke's Episcopal stantly jotting down statements which strated his familiarity with these ideals Mr. Gaber, a graduate 01 Colorado Church, was used for the large con presented mwical concepts in a par· in a recital on the CSU Casavant: State University, u a member .01 t~e certs and the study of the French clas ticularly apt and unique light. These Brulms: Prelude and Fugue in E Afinor; music laculty at Oral Roberts UrnverSity sic literature. phrases will never be forgolten: "I J. S. Bach: Concerto alter Vivaldi, in Tulsa, Oklahoma. Lawrence Phelps, the designer of the think that two notes th3t are exactly two instruments, was in attendance. He the same are a bore ... a note is never addressed the responsibilities of the Of static - it is always getting louder or ganbuilder in designing and building softer ... rhythm is opposed to meter a modem instrument which is respon - take something which is metrical sive to the musical dem3Dds of the and rhythm it • • . registration is not performer and which tonally realizes a matter of sound, but a tool of struc the contrapuntal nature of the bulk of ture . • • mwical excitement comes Ann Arbor Masterclasses the literature for organ. Mr. Phelps' from a comprehension of and convey approach to organbuilding was sum ance of inner form and structure - med up in a statement that he made: awareness and projection of s~btleties "If y~u sacrifice the subtlety in art, and nuance ... music is the ulalion what is there left to compromise." ship 0/ one note to its neighbor." During the past summer. the Uni. Dealing with music o( Frcscobaldi. Throughout the week, one major Ms. Weir began by stating tha, she versity of Michigan was one of many Louis CoUperiD, Froberger, 3nd 1. S. theme continued to surface - that the is a performer, not a musicologist. But large universities which offered mas· Bach, Mr. Leonhardt conveyed a great organ can, and must, be a mwical in it was evident that her interpretation trcclasses in various areas of music. deal of infonnation in his gracious strument - and as such, any conscien of mwic and her approach to the or Several of the sessions at Ann Arbor manner. He spoke infonnally about tious organist must demand of him gan is not based upon mere whim. were devotcd 10 the keyboard and each major work under discussion, scU as much attention to detail and Rather, she continually drew upon her were of interest to our readers. then listened to a student play the nuance as any other self-respecting mu understanding of the historical devel Peter 'ViUiams, organist from Edin work before. giving that student a mas sician. :Ms. Weir's own insistence upon opment of ·the organ, of string and burgh, Scotland, discussed the major ter lesson on the piece. The main in musicality and nuance was in evidence vocal music, and of the writings of organ works of J. S. Bach during 3 strument used was a French double from the lint concert of Sunday eve mwicians and theorists who were con week of masterciasses, in which he also by Keith Hill, Olnd the level of stu dent playing was very high. Mr. Leon· ning. The program, which Wall built temporaries of the composer being listened to selected students pedorm. around three works for organ and or studied. All of this was pursued as 3 For his recital, ~[r. 'Villiams played hardt understands and conveys the es· chestra (Franz Xaver Brixi: Con means of understanding and develop the complete Paruh .Alcus of Francois sence of each piece in terms of its con cuto in F Majorj Paul Hindemith: ing one's interpretation of a given Couperin, with tenor soloist, on the struction - melody, hannony, coun Kammcrmwik No.7, op. 46, no. 2j work. Thw, musicology was fulfilling large 4-manual Aeolian-Skinner organ terpoint, texture - but he always and Pierre Petit: Concerto for organ its true purpose - to supply an added in Hill Auditorium, in what he sug· works from an expressive, singing style. The expressive approach was no and strings) I ~ave a foretaste of the depth o( understanding in performance gested may have been one of the first vit3lity and excitement that was to and listening. "proper" per(ormances o( the work where more apparent than in his own perme3te the entire workshop. Ms. In the study of specific compositions, since Couperin's own day. solo rccital to a full house at Rack Weir's playing was fresh, articulate, the emphasis was placed upon making T o complete a second International ham Auditorium on July 23: Lo de and f13wlcss. But, or greatest impor music - whether or not the medium Organ 'Veek, several additional reci· Caze. La d'IUricou.r'. La Beroille, La Lugeac, B31bastrej Sonatas K. 3, 424, tance. it was always musically ~citing. being utilized is the organ. Too often, tals were given. Marilyn Mason, of the The Brixi concerto is a gem which a discussion of organ music is impaired university fa culty, played works of 'f25, 52, 185, 184, 192, 193, Scarlatti; should be heard more frequently, espe by the complexity of the instrument Bach, Le Clerc, and Persichetti; her Suile in D AlajDr (3fter Suite 6 for cially as it sparkled on that evening. and its tendency to attract followers colleague Robert Clark performed solo 'cello) , Bach. Playing the same The Hindemith and Petit are dHficult who are more interested in the external works of Bruhns, Gabrieli, Frescobaldi, Hill instrument. Mr. Leonhardt ex tracted the utmost in the sensuous works for both organist and orchestra. and mechanical characteristics of the Froberger, and Bach. Doctoral studcn~ The Rocky Mountain Chamber Music instrument than in its ability as a trans· David Diebold, Joseph G31ema, lfi· qU3lities of the French pieces, then Festival Chamber Orchestra proved mitter )f a musical idea. Gillian Weir chele Johns. Olnd James Kibbie, OlIl of Srtvored the rhythmic infectiousness that a student orchestra can perfonn consistently brought home the essence Miss l\>fa.son's studio, played the large and eccentricities of the Scarlatti son demanding works with a high degree of rhythm. articulation, and registra settings of BOlCh's Clauicrilbung Ill. atas. His O\\'n Bach transcription was stylish and brilliant in its profuse lig~ of musicality. And :Ms. Weir continued tion, which conveys the true musical Concurrent with the organ sessions, to demonstrate her command of the or idea in the appropriate context. One harpsichordist Gust3v Leonhardt con· ur3tion. r;." and her ability to use it expressive- soon began to realize that music is most ducted two mastcrclasses per day for interesting when thoughtful attention a large and appreciative audience - Arthur Lawrence new organs removals DO tt YOURSELF PIPE ORGAN KitS service rebuilding Cullom 'IMc:I"uUoftl for churdl ... Yov, ,..,...... w'dI.. 'Klduce, co:;::l.t. Of' path. filII TIf9 DURHAM alnteUofU br .bUiMd ot~. bidkhrl. aN I • • NfI '"""" Tallahassee. Florida COLKIT MFG. CO. FaI ...... SI/ft.... ZIISl 32304 2S2 RIII'I'tor. An.. TonnllMfa, N.Y. 141511 P.O. Box 2125 - (904) 575-2001 ~A~~!Mochant,,1 AttI.., Sptetiliots Organ pi,. mole.,. I.V. Hoi ..... -- - ~~ RONALD WAHL (!to'. HARVEY &ZIMMER ORGAN BUILDER ;II.~.~& Pip. Q"." Ivlltl.r Addltlono-Robulldlng Tracker Organ Designers and Builders .LPPLJ NOVEMBER, 1979 21 Calendar James freYJ High School. Evanston. IL 3 (con"nued 'ram p. 2J} pm EARL EYRICH Advent Procession & carob. Sf Lukes Epis GEORGE ESTEVEZ 25 NOVEMBER copal, Birmingham, AL .04130 pm ch. ... Church of Our Redeemer Beethoven Mall In C, SI Bartholomews (Episcopal) Church. New York, NY 4 pm 3 DECEMBER Chicago Clta_ ChoIt Bach Cantata 140; Holy Trinity Lutheran, *Jean Carr; St Lukes Cathedral, Portland, Lexington, Mil New York, NY 5 pm \<\E 12:15 pm Cratg Compbellf SI Thomm Church. New York. NY 5115 pm 4 DECEMBER Joanne Jasinski; TrInity Epfsc:opal. Buffo~. Music of Brltt&n; SI Thomas Chureh, N.w NY .. pm • YCM'k. NY 7:30 pm GEORGE FAXON Robert Finster Mary Stanton. piano. Cathedral of Mary Roberta Gary; Immaculate Conception TIXAS BACH CHOIR Our Queen. Baltimore, MD 5130 pm Cathedral. Syracuse, NY 8 pm TRINITY CHURCH Betty De Looch; SI Philips Cathedral. At Robert 5 lord; Heln%. Chapel, U of Pitta. ST. LUKE'S EPISCOPAL CHUICH lanta, GA 5 pm burgh, PA 12 noon BOSTON SAN ANTONIO David Wilcox; Coral Ridge Presbyterian. Christmas concert; Church of the Ascen Ft lauderdale, FL 4:30 pm sion, Pitt.wurgh, PA 8 p m Karel Pouker.; Ar, Museum, Cleveland. Mark ConradI Church of the Epiphany. 0'" 2 pm Washington, DC 12:10 pm JAMES FREY Bach Cantata ISO/Trinity Cathedral. Cle... a Diann franklin. gospel singer; Christ land. OH 5 pm Church. Cintinooli. OH 12 noon HENRY ruSNER Bruce Gustafson with June Miller. s0- The Unitarian Church S.M.D. A.A.O.O. prano; 51 Pauls Eplscopol. La Parle, IN " 5 DECEMBER of Evanston fin. , ...da"edan C.... rch pm Music of Purcell; St Thomas Church, New Michael Conine; Independent Presbyter No.h.n.. , t.nn..... 37220 York, NY 12 ,10 pm Evanston, Illinois Ian, Birmingham, AL 4130 pm Jack Bookhardt; Morr/lOn Methodist, Lees.. burg, FL 12:15 pm 26 NOVEMBER H Edwin Gaodsholl; Univ of Richmond, VA 6 DECEMBER 8:15 pm Robert Glasgow • Marion Anderson; St Lukltl Cathedral. Jobn U. ~tarbart 1II Portland, ME 12: 15 pm 21 NOVEMBER B.A.,M.Mus. Terry Coorles "Christmas fantasy", Kirk School of Music Neal Campbellr Church of the Epiphany. St. of Dunedin, Fl 8.15 pm Paul's Episcopal Church Washington, DC 12110 pm P.O. Box 8444 University of Michigan Mobile, Alabama 36608 Ann Arbor 28 NOVEMBER 1 OECEMBER Britten Missa Brevis; St Thomas Cliurch. lerry Charles "Christmos fantasy", Kirk New York, NY 12110 pm of Dunedin, FL 8: 15 pm Robinson Singers; 51 Jahns Church, Wash. ington, DC 12110 pm B DECEMBER Antone Godding LESTER GROOM "Joy of Christmas"; Washington Cathe dral, DC.04 pm Schoel .f Mu. 29 NOVEMBER Seattle Ronald Berr.lIord; Sf Pauls Chapel. Co Terry Charles "Chrlstmas fantasy", Kirk IItIoop W. A.. 10 $no Itlo CIoa p 01 SMHI. 'adfk UIll'f.mty "U' lumbia Unlv, New York, NY 12 noon of Dunedin, FL 8.15 pm MenoH' Amah!; Fairmount Presbyterian, 0Wah0_ ClOy 110"_, Church of the Redeemer, 1(.....,.. WA !ICI2I 30 NOVEMBER Cleveland Heights, Ott 7 pm *Tharnas Richner, organ & piano; Asylum Hill Congregational, Hartford. CT 8:00 pm 9 DECEMBER Handel Messiah. Coral Ridge Presbyter Organ & brass; State Sf Church, Portland, BRUCE GUSTAFSON E. LYLE HAGERT Ian, Ft lauderdale, Fl 8 pm ME 4 pm Advent & Christmas music; Faith Luther. Horvard U Choir; Fogg Museum, Harvard an, Glen Ellyn, IL 8r15 pm U. Cambridge, MA 4 pm ~Int M • ..,.. Coli..., G.th...... no Epbcapol Cburda Lessons & Carols; Trinity College, Hart Notre Dame. Indlaoa Mlnn ..polb, MI ...... 5.!I4Ot 1 DECEMBER ford, CT 4 & 7 pm *lhomas Richner, masterdoss; Asylum Hill Bach Magnificat, SI Bartholomews ChUM. Congregational, Hartford, CT 10 am New York, NY 4 pm Handel M.ss1ah; Coral Ridge Presbyterian. Bach Magnificat; Holy Trinity Lutheran, Ft Lauderdale. FL 8 pm New York, NY 5 pm JAMES J. HAMMANN David Baker, SI Thomas Church, New DAVID S. HARRIS York, NY 5: 15 pm M.M. - A.A.C.O. 2 DECEMBER Organist and Choirmaster Play of Mary; Sf Joseph Cathedral. Hart· Monteverdi MagnIficat, Church of the ~ Flnt Baptist Chureb ford, CT 3 pm cension, New York, NY 8 pm St. John's Cathedral Advent procession & carols; St ThomOJ Vivaldi Gloria; Cal... ary Presbyterian, Rlv Tho Little Orebestm SocIety Church, New York, NY 11 am, 4 pm erton, NJ 11 am Toledo, Ohio Denver Mendel:lSOhn Hymn of Praise, 51 Bartholo Bach Magnificat; I y Presbyterian. Rod mews Chureh. New York, NY 4 pm Bank, NJ 7 pm Boch Canlata 61 i Holy Trinity lutheran. "The Christmas Jau", Mt Lebanon MeJh· New York, NY 5 &:1m edist, Pittsburgh, PA 4:30 pm Yuko Hayashi John Baktwln; St Thomas Church. New 51 Davids Choirl Cathedral of Mary Our York, NY 5:15 pm Queen, Baltimore. MO 5:30 pm new england canservatary James Little; Trinity Cathedral, Trenton, "Joy af Christmas", Washington Catha Dr. Richard Bass NJ 3:30 pm dral, DC 4 pm old west church Choral concert; Cathedral of Mary Our "In Praise of Ad .... nt.. ' Covenant Presby. boston Queen, Baltimore, MD 5130 pm terian, Charlotte, NC 7130 pm Charles Callahan, a ll·Baen, Church of the Diane Bishl Coral Ridge Presbyterian. ft Epiphany, Washington, DC 4 pm Lauderdale, Fl 4:30 pm Gail Smith, plaoo; Coral Ridge Presbyter Karel Paukert; Art Museum, Cleveland, WILL O. HEADLEE ion, Ft La ud erdale, fl4:30 pm OH 2 pm KENT HILL Ka rel Paukerl; Art Museum. CIe ... eland, Menotli Amahl, Fairmount Presbyterian. SCHOOL OF )'IL'SIC OH 2 pm Cleveland Heights. OH 7 pm SYRACUSE UNIVERSITY MSC Music Department SYRACUSE, :>EW YORK 13210 Mall.field, PA 16933 LYNNE DAVIS THE TEMPLE International Ctenlond, Ohio 4.106 Harry H. Huber FRANK lACINO Recitalist ».M.... St. Andrew's Church DAVID ItaDsu Waleyaa. UaJ'f'Ullty. Emcritw FIRST PRIZE tJalvcnhy Mctbodl>l CIuudo 24 Stavebank Rd. Mississauga, Canada ST. ALBANS GOODING SALINA, KANSAS Recitals Records 1975 mE CLIVElAND ORCHmaA MUSICAL HERITAGE SOCIETY IU!H KURR Laurence Jenkins RECORDINOS JACOBSON London M.MvL .v..o.O. The Sine Nomine Singers Concord, California BRIAn JOnES CHARLES D. JENKS Boslon 02181 Fira. Congrel;uliomll Church Won.slo, Conareptlonal Churcb D.. PW..... IL 60016 Noblo .. Grllnouah Dedham Choral School Soc:IItr 22 THE DIAPASON Todd & Anne Wilson) Art Museum, Toledo, Britten Ceremony; Christ Church, Cincin OH 3 pm nati, OH 12 noon Charpentier Midnight Mau; I sf Congre Bach Cantata 1040; Hill Aud, Ann Arbor, KIM R. KASLING gational, Columbus, OH 5 pm MI 8 pm D.MJI. WILLIAM KUHLMAN "Messiah· Fest" 1 1st Presbyterian, Deerfield, Luther College IL 4 & 7:30 pm 19 DECEMBER St. John'. University Bach Cantata '<40, Respighi Laud; t st Christmas carol sing; SI Thomas Church, Presbyterian, Nashville, TN -4 pm New York, NY 12: I 0 pm c.n."..m., MN 56321 DeeOl'ab, Iowa 52101 Musica Sacra. Handel Messiah; lincoln W DECEMBER Center, New York, NY 7:30 pm ... David Maxwell; St lukes Calhedral, Port· Thomas A DeWitt; Morrison Methodist, land, ME 12:15 pm leesburg, FL 12:15 pm George Lamphere HUI LEWIS 11 DECEMBER UNITED STATES Alan Lukas; Church of the Epipha ny, Wash West of the Missiuippi First Congregational ChurCh Beeitals ington, DC 12:10 pm 7 NOVEMBER St. Joseph, Michigan SainI John'. Church 12 DECEMBER Raymond ChenaulfJ St Michael & St George SO farl FlaIte,. Detraif, MI 41201 Britten Ceremony; St Thomas Church, New Church. Sf louis, MO 8 pm Yorle, NY 12:10 p ... Gillian Weir; Colorodo State Univ, Ft CoJ. Joseph Running; Morrison Methodi$t, Lees liAS, CO 8 pm burg, Fl t 2:15 pm RICHARD W. L1TTERST David Lowry 9 NOVEMBER 13 DECEMBER Jonathan RennertJ Texas Christian Univ. Ft M. S. M. Sehool of :'-lu<,ic *Warren R Johnson; St Lukes Cathedral, Worth, TX 8: t 5 pm SECOND CONUUATIONAL CHURCH \\'lIIthrop CollP!JI' Port!and, ME 12:15 pm 11 NOVEMBER ROCKFORD. IWHOIS Ho< I, Ilill. SOlltli C.Ho1tIld 2[n:n 14 DECEMBER Royal D Jennings; lst Methodist, Horton. "Many Moods of Christmas"; Coral Ridge KS 3 pm Presbyterian. Ft lauderdale. Fl 8 pm Jonathon Rennert; ht Presbyterian, San Antonio, TX 8 pm 15 DECEMBER Raymond Chenault; Groce Cathedral, San FREDERICK L. MARRIDTT Francisco, CA 5 pm William MacGowan Kenneth Wilson) Hammond Castle. Glouces ORGANIST - CAR1UONNEUR ter, MA 8 pm aethHCla-&y-the-ha Richard HeKhke; St Peters EpiKopal. Bay 13 NOVEMBER KIRK·IN-THE.JIIUS Shore, NY 8 pm *Mary lou Robinson: 1st Congregational, Palm Beach, florida "Many Moods of Christmas"; Coral Ridge Fresno, CA B pm BLOOMFIELD HIUS. MICH. _13 Presbyterian. Ft lauderdale. Fl 8 pm Raymond Chenault; Holy Spirit Church, Sacramento, CA 8 pm 1'6 OECEMBER Kenneth Wilson; Hammond Castie, Glouces 16 NOVEMBER ERNEST MAY Raymond Chenault; St Marks EpiKopal, ler. MA 8 pm P~. D. Norman McNaughton Shreveport, LA 8 pm "Christmas on Historic: Hili"; Trinity St. James' Church, Greenfield Church, Newport, RI 7:30 pm Church of SL Frances de a.anlal Renaissance music; Fogg Museum, Harvard 18 NOVEMBER Universily of Massachusetts U. Cambridge, MA .. pm Raymond Chenault; Christ Church Cathe. Amherst, Mass. 01002 dral, New Orleans, LA 4 pm New York Cil)' Handel Messiah I; St Bartholomews Church, New York. NY 4 pm 2D NOVEMBER Handel Messiah I, Holy Trinity lutheran, Antone Godding; 1st Presbyterian. Bristow, New York. NY 5 pm OK5 pm Scolt Prince; SI Thomas Church, New York, Raymond ChenaUlt; SI MIchael & All Angels JAMES R. METZLER NY5:15 pm WARREN C. MILLER Episcopol, Shawnee Mission. KS 8 pm Christmas concert; Downtown Presbyter TRINITY CHURCH GRACE CHURCH - SANDUSkY, OHIO ian, Rochester. NY 3:30 pm 26 NOVEMBER TOLEDO, OHIO Choral concert; West Side Presbyterian, *James Moeser; lst Presbyterian, Iowa FAIRMONT TEMPLE-BEACHWOOD. OHIO Ridgewood, NJ 4:30 pm City, JA 7130 pm Candlelight carol service; United Metho *John Chappell Stowe; Church of the dist. Red Bonk, NJ 4:30 & 7 pm Transfigurotion, DaUas, 1X 8 pm Messiah community sing) 1st Prew yteril;;m, Red Bank, NJ 7 pm 27 NOVEMBER WILLIAM H. MURRAY WILLIAM NESS Williams Holy Nativity Pageant: Mt Leba *J ohn Chappell Stowe, Caruth aud, SMU, Mu .. M F.A.G.O. non Methodist, Pittsburgh, PA 7:30 pm Dalla5, TX 8d 5 pm ANDREWS UNIVERSITY Lessans & Corals; Cathedral of Mary Our Church of .... Medlator Queen, Ballmore, MD 5:30 pm 1 DECEMBER , Berrien Springs, Michigan lessons & Carols; Covenant Presbyterian, Ma ri lyn Mason; RlDS auditorium, Inde. Ch1co .... In. Charlotte, NC 5 pm pendence. MO 8 pm Organ - Church M ...ic ,• Feast of Corals & Pudding; Fairmount Parker Gaudete; Immanuel Baptist. EI Presbyterian. Cleveland Heights. OH 5 & 7 Paso. TX 8 pm pm Carol festival; Rosary Cathedral, Toledo, 2 DECEMBER RICHARD M. PEEK FRANKLIN E. PERKINS OH 4 pm Porker Gaudete; Asbury Methodist, EI Sac. Mus. Doc.. Paso, TX B pm Ph.D. 17 DECEMBER Handel Messiah; Community Church, Gar Covenanl Presbyterian Church I The ladue Chapel , Terry Charles "Christmas Fantasy"; Kirk den Grove, CA 3 pm 1000 E. Mo...... Charlo"e, N. C. l100 John """""M School of Dunedin, Fl8:15 pm 51. Loul •• 01_01 , 6 DECEMBER : lB DECEMBER Robert Glasgow; Univ of Southern Colo RECITALS David K Krohne; Church of the Epiphany, rado. Pueblo, CO 8 pm , Washington, DC 12: I 0 pm K. BERNARD SCHADE I Terry Charles "Christmas Fantasy"; Kirk SoM.M. of Dunedin, FL 8115 pm (Continued Dverlea') bon STAtE COllEGe EAST STROUDSBURG. PA. Worbltopa ancltectu,.. SUncoastfulnutitf Concert Mgmt•• Productions, Inc. lb. K.... ly Ch... " MothooI P.O.8374 • Clearwater • Florida • 33518 i .JOHN HOLTZ J Robert Shepfer ROBERT L. ~ Faculty: HARn COLLEGE, University of Hartford o;gant" • Choirmnt.r ~ Organist: CENTER CONGREGATIONAL CHURCH, Hartfard SECOND PIIESIIYTElIAN CHURCH ,SIMPSON h,d_poIIo, Indiana 46260 Cathedral af St. Phinp 2744 Peach..... Racld N.W. RocIIolo Atlanta, Georgia 30305 MARI.LY,N MASON CHAIRMAN. DEPARTMENT OF OlGAN UN1VEllSITY Of MICHIGAN L. ROBERT SLUSSER ~o6ert W __Snait" ANN AIlOR MUS. M., AAG.O. "MIa MalOn played wltlt ..,.,."" and re.rYe, demon.,""'", DIMW Historic First Christian Church II., IIlrtroorcUnary facUlty •••• 0.. Moines ...111'-". October 5, 1'64 LA JOLLA PRE5&YTElIAN CHURCH CharloHesville, Virginia LA JOLLA. CAUFORNIA DAVID ROTHE, Organist California Slale University, Chico SL John's Episcopal Church. Chico Carl Staplin , Recitals Worksllops ,ROLLIN SMITH Ph.D. A.A.G.O. P.O. Box 203 (916) 345-2985 Drake University , Forest Ranch 895-6128 RECITALS University Christian Church California 95942 1150 ''''''- Stnot, ~ NY 11Jq DES MOINS, IOWA I NOVEMBER, 1979 23 Calendar INTERNATIONAL (cart,irtued from p . 2.lJ THE DIAPASON 10 NOVEMBER Gillieln Weir with ()(ch~ Southwell Minster, 380 NORTHWEST HIGHWAY. DES PLAINES, IL 60016 9 DECEMBER Southwell. England 7:30 pm Lloyd Haizgraf; 1~t Congregational, los o NEW SUBSCRIBER Angeles. CA 4 pm 14 NOVEMBER Plea.. Mgtft new "Many Moods of Christn'lO$", Pntsbvte1kJn Gillian Wain Town Hall. Manmauer, En. Name sulHulpUon Church. La Jolla. CA 7:30 pm gland 7l3O pm RENEWAL Sireel o 16 DECEMBER (AHach to mailing label) 17 NOVEMBER le~ns & Carols ~ Church of Our Savior. Gillian Weir; St Marys Churm. HU c'hin, aly _ ...... _ ...... ENCLOSED IS N Platte. NE 4 pm Merts. Eng!and 7:30 pm D· $7.50 - 1 year Antone Godding; Nichols Hills Methodisl. Siale ...... _ ...... _ ...... Z1p ...... Oklahoma City OK 7 pm 1'8 NOVEMBER o $13.00 - 2 years Alvin lunde; Royal Conservatory. Bruuols, PI .....11 .. til: ...ts ,., d.al • ...,. of nnf Issue o $18.50 -3 years 17 DECEMBER Belgium 8 pm Vivaldi Gloria; Community Church. Gar. Lynne Davis; Christ Church Cathedral. Ot. den Grove, CA 7 pm Iowa. Ontario 8:30 pm ADOLPH STEUTERMAN 23 NOV EMBER FREDERICK SWANN Raymond Daveluy; ht Presbyterian, Win. Mo,..w.. T_ nipeg. Manitoba, Canada 8 pm Mvs. Doc., fAG.O. The Riverside Church s..... w ...... Moaophl ...... LAWRENCE 2S NOVEMB ER New York aty Raymond Oaveluy, Holy Trlnily Cathedral. c ....ry Episcopal a.-. E_Itv. ROBINSON New Westminster. Be. Canada 4 pm 26 NOVEMBER Gillian Weir; Claire College. Combrldge. Eng~Dnd h l0 pm THOMAS R. THOMAS maurice thompson VIRGINIA COMMONWEALTH UNIYElSlT't St. Ignatius Cnthollc Church .tCHMOND. VI.fiINI" 30 NOVEMBER The Royal Poinciana Chapel Gillian Weir with arch; Alben Hall. Not. tingham. England 7:30 pm Palm Beach Austin, Texa. 78704 Gary Zwicky Your Professional Card George Norman Tucker JONATHAN A. TUUK PMA FAOO could appear in this space M .... Bach. .40 Immanuel Lutheran Church Eodwn lAinal. URiven", ST. LUKE'S CHORISTERS 338 NDrth Division Avenue CharIost .. Please write for rates Kalamazoo Grand Rapids, Michigan 49503 BOY CHOIRS Recitals CAROL TETI LARRY PALMER Ann L. Vivian CLARENCE WATTERS Horp,tc.ltortl- Orgo. LECTURES RECITALS RECITALS Trinity College Soather. Me."odld Ual ...rslt, Boston Conservatory of Music Hartford, Connecticut Orgoalst-C .. olrmod.r DAVID A. Saint Lake', EpIscopal Cherell C. GORDON Indiana University of Pennsylvania Department of Music Dallas, T•• al WEDERTZ WEHR Indiana, Pa. 15701 W4 West 118tb St. F.a"~m Kentucky UnafcnllY CHICACO 60655 Richmond, Kmluck, DAVID HEWLETT DONALD WILLING MARSHALL BUSH DONALD W. WILUAMS the COftHf'Vatory .1 Musk D.M.A. f_1ty WtncMltw, ...... ZiOll Lutheran Church .. G.C.5.A. North T.... St.,. tM'vemty Couconlia Collqe o-t_ ADD Arbor, MI pOCOf20 ooq stooeRS [harles W. Whittaker STATE COI.LEGf, £AST STlIOUDS8URG. PENNSYLVANIA 18301 Recitals RONALD WYATT Fairfax United Methodist Church. TrIIII', Cb...... Ie. BERNARD SCHADE, FOUNDER AND MUSICAL DIRECTOR 10300 Stratford Ave. CaI._ Falmx. VA 22038 Gruerulein A ward Sponsor Lynn CHICAGO Max Yount CLUB OF beloit collego, wi •• ZEIGLER·DlCKSON 0 ...... WOMEN organ harpsichord DepclrhHnt .1 MUlIc campasltlon choir IOWA STATE UNIYEUITY ORGANISTS Am ... l.w. Ellea Lofberc. Prnklail Founded 1928 THOMAS MURRAY The Diapason ST. PAUL'S CATHEDRAL BOSTON 02111 has moved Our new address is RQBER1i PAR~lfjIS 380 Northwest.Highway ~ Qfganli/-- ~iiI · "N,!.'''' Des Plaines, IT.. 60016 DaI.. Unl"'~ty phone 312/298-6622 OIoofia., N.C. 271011 THE DIAPASON cto"ifi.d aelvertising rate.: per word $.20 minimum ,harge, $2.50; box. number, additional $1.00. CLASSIFIED ADVERTISEMENTS Replie. to box nurn"." should b. lenl ,/0 The Diapason, 380 Northw ••• Hig hway. 0.. Plaine., IL 60016. POSJr/ONS WANI'fD WAHfED- MISCEL1ANEOUS M ISCELLANEOUS PUBUCArlON$ CHOIRMASTER OF LARGE CHICAGO UCC TWO GOOD US ED WANGREN CHESTS. O NE PRAYING HANDS PLATE. WE BECAME EN· FREE - INFORMATI VE REPR INT{S) FROM church lec\:s to relocate In WlIshington D.C. to play Oboe and the other VOII: Humane. 8 chanted with this plate the moment we saw The Diapason. No selection. Available only while or New York City luee, Ellcelleni skills, edu. feet 10 ceiling. Send details including descrip. il ••• and we',e sure you will too. It fea. limited quentity lash. Sel\Cl large SASE with cation. a_perience, Cho,.1 and o~hed,.( con· tion, meuuremenh and prKM to: W. H. tUN!S 2 praying hands in front of & peaceful a, postage aflied 10: Reprints, THE DlAPA. ductor, plus ~Io vocalist and wind player. Behrens, 905 Center Av .• Brodhead, WI 51520. flowered settin'ij. The plate i, made of porce. SON. 311) Northwest Hwy., Des Plaines, IL Will consider full or parl.time position. Ad I"in ond hes a beautiful "Copenhagen" finish. 60016. dreu L·b THE DIAPASON. IMPOVERISHED CHURCH SEEKS DONATION Measures 8'h" in diameter, has a hoo~ on the of small (2 to ~.rankl unit chelt(s) and pipe b"d and comes ettrectively baJed. $8.15. Or· work for organ projed. Chtcago arell. Address der nowl Robert Montijo, 97·23 100 Strut. Dept. HARPSICHOIWS POSITIONS AVA'L.ut.£ J., THE DIAPASON. DOCM., Queens, NY t1-416. HARPSICHORDS OF MOST GENRES FOR. DIRECTOR OF MUSIC 'ROGRAMS. FIRST pleasure and pedago'ijy built to individuol reo MISCELLANEOUS CONSOLE "STUFF" AND United Methodist Church. Montgomery, Al. BRUGES/HARPSICHORD STUDY·TOUR. FA Quirements. Witt Instruments, R. 1, Three Riven, iunk. Wh"t do you have1 Address l-8 THE Preferred requirement: Moslers Degree. To op bled collections of antiques in Amsterdam, MI .fi093. (61'1 2+4·SI28. DIAPASON. Antwerp, Paris, den Haag. Brussels, Maintenon, P~. Ulnd resume to: 80lf 'ISO, Montgomery. Al 3610&. (205) aU·lmz. plus BrugH Festival/Contest, city toun. more. FLOWER YOUIt HARPSICHOR.D SOUND. MUSIC ROLLS FOR AEOLIAN.DUO.ART, Budget price. superior value I Brochure, G. board with authentic decorations. Ruders.type Welte and Skinner Automatic Pipe Or'ijan ORGAN TUNER/TECHNICIAN. TOP SALARY, LucHenberg, Converse College, Sportanburg, birds, bees, flowers, $lS. Early 18th C. French, Playen. J. V. Mocllrlney, ~06 Haverford Ave., SC 29301. $-40. Full,size layout and complete instruction health plan, benefits, beautiful weather, clean Narberth, PA 19072. organl, minimum travel. Well mana'ijed, solid, manuof. Shi,lev Methew., ..al Soulh SI., me. THE DIAPASON IS INTERESTED IN PRO. 'ijrowing firm wilh hi'ijh artistic slandards. USED SPOTTED totETAL AND OLD SPOTTED part, ME 040)2. SchoeO$tein " Co., 3101 20th St., San Francisco, ducing, as complete as possible, a listing of melal pipes, $1.oW per pound. Contact Trivo ell orgen builden (firms and individuals), trade CA 9.w0. (~IS) &017·5132. HUBBARD I· MANUAL FLEMISH KIT, COM. Company, Inc. Manu.focturen of Quality Reed mllnufacturers and suppliers, service persons pleted 197', GG/BB.f"', hB', buffslop, brown Pipes. SIS South Burhans Blvd., Hagentown, and oth~rs currently engaged, es their primery with go!dleaf. decoroted papen. $)500 or best to.CECHANICAl ACTION ORGANS, EXPERI· MD 21740. enced and halMe. Send fllUlme or call (601) occupation, in the organ Irade. Request ques· offer. Picture. avoilable. Jonet Hunt, 8515 PorI: 46)·7-407. BOleman.Gibson, Deerfield, NH 030l1. tionneire from THE DIAPASON, lOO Northwest lane, #713, Dallas, TX 7illl. (21 -4 1 750·8595. totUSIC ROLLS FOR ANY PI PE O RGAN Highway. Des Pleines, Il 60016. pl"yen. Other rolls 100. W. Edgerton. Boll' BI, HUBBARD FRENCH DOUBLE MANUAL AFTER Darien, CT 06820. Sto.CA llER MIDWESTERN TRACkER BUI LDING THE NEW 1· 0CTAVE PETERSO N CHROMA· Tas~in. Built by Queen. Five octeve, renge to firm desires ambitious end e.perienced voicer tic Tuner model no, is now ovoilabl. ff'Om 9" '. 8eautiflll lone. Padded CDVer. Mud IIIC. to worl: his way inlo pcnition 01 responsibility. WE Will PAY $1.40 PER POUND FOR SPOT· stock. Continuously voriable Ve rn ier conitol al· led metal pipework delivered or ,hipped pre· rllice, besl offer. D. Didermon, III Miller St., Good pay end benefils. £rcellent shop facili· lows you to compensate fo r temperolute or Allentown, PA 18104. (2IS) ~ 11 · B865 . tie. end working atmosphere. Address l·7 THE p"id to our Gloucester workshop. Fair prices tune ce leste ranh with eOle. For more details: elso for good common metal end Un. C. B. DIAPASON. Petenon Bedro Music,,1 Proelatcts. Dept. 11, IURTON HARPS ICHO RDS, SPINm, AND Fis~, Inc., Cepe Ann Industrial Park [801 28), Worth, IL 6OiBl. clavichords-Professional indruments in kit form, GIDUcesler, MA. 019lO. (611) 18)·1909. JESUS lOVES YOU I ROD, lOX !'I2, NIANTIC. from $195. For brochure write Burton Horpsi. Il 62551. RECORDINGS chords, n1 "R" St., P.O. 801 802220, lincoln. IF YOU HAVE A WURLITZER PIPE ORGAN NE 6B501. in your church and want to sell it, we ore in ter. ORGAN TECHNICIANS AND TUNERS NEED· ested in buying it. Address K·5 THE DI APASON. OCEAN G ROVE NJ GREAT AUDITORIUM orglln premier recording of lhe reslored and HARPSIC HORD O WN ERS : A FUll LINE. OF ed lor shop and fi eld service wor\; in florida. audio ond visual Chrometic Tunen is now Send resume or contact Klug " Schumacher, enlarged Robert Hope.Jone' concert organ. EDWIN H. LEMARE MATEItIA L, ItEM INIS· Gordon Turk, resident OQanist. demonstrate. ovailable to help you with your tuning requiro. l60i Waterf:eld Parkway. lakeland. FL 33801. cences, enecdotes wanted for full.length bl. ments. For more information write Pete n on (BI3) &6S.~9CI2. the vall resources of th is !omous indrument. ogrophy now in proparation. Informotion on Woru of Bach, Mulel, Arne, Leng, end tran Electro·Musical Produch, Dept. 20, Wo rt h, Il Panama·Pacific EJ:positioll 1915 needed end on scriptioRl, Mel:e 16.50 checl: payable to J. R. ....,. AMERICAN INST ITUTE OF O RGANIUILO· Audin orgu later indalled in S.F. Civic Shaw, 1-409 Devon Bldg., Wilmington, DE 19806. ers Employee Clearing House. Employer. and Auditorium as well 0' Austin in Soldiers Me· HARPSICHORDS, CtAVICHORDS IY NEU. prospects ate invited to send enquiries and morial, Chattanooge. TN. De,ire copies of VIRTUOSO PERFORMANCES RECORDED ON pert, world', fi nest, oldest mol:er. Cetalogs on relUmes. Complete AIO apprenticeship guide, lem"re music : Concert Fante,ia on " Han. Welte Orgon Rolli in Germeny. Re .performed .-eQuest, Magnamusic, Sharon, CT 06069. SUD. Roy Redman, 2742 Avenue H, Fort Worth. over"; Symphony #2 in D Mino r, Opus 50: on a 1929 Welie.T,ipp argon. Felltured at 1CJ16 IX 760 105. Scheno Fugue; Soutenier (Study on one not.), AGO convention, now available in dereo. HAIPSICHOIDS, CLAVICHORDS, MOUlT Pianos by Neupert, sole or rentel. Financing published by Novello; Concerhlucke No.2, Includ~s many 19th century favorites; Poet and Opus 90; Improvisation on Soilor's Hornpipe, Peasant Overture, Lemmens Storm, Da nce Ma· ava Ol oble. W,;!e or call Wallv Pollee, 1955 West STEINER ORGANS HAS OPEN ING FOR EX. John Beers Rd., Stevensville, MI 491 27. perlenced ol'9anbuilder, shop and installatioll . etc., Opus 91; Air with Vorietions, Opus 97, cabre, etc. Played by Farnem, Gigout. Eddy, & 'ijiv~n Wrile or CII U Phares Ste' ner 01 Gottfried Red, published by Scholl Co. W,ilt" n credit GO SJ .Custerd a nd E. H. lemare. Two Dolby SAIATHIL HAItPSICHORDS, PEDAL HAU. IllS Gervin Place, P.O . 801 rlS, l OUisville , KY 011 contributors. Nelson lorden, 17 BeJleV\le stereo canelfes: SI S postpaLd in U.S. Welte s'chords end Clavichord, : mod reliable end 40201 . Phone (502) 58J·5012. Street, Newlon, MA 02158. Recordings, m Shawmut Av •• Boston, MA D2 118. beautifull y sounding from $1 ,195. Brochure $1.00. O N· LOCATI ON RECORD ING SERVICE. AU. Stereo lP $S from Dept. 0, I~ Homer, Van. couvert B.C .• Canoda. WANrfD-M'SCfUANfOUS MISCEUANEOUS d ition and competition tapes lind record pro· duclion nperience. Speeieliling in organ end FINE DU LC kEN Co PY: I'; I ' BUFF: LUTE. 11· 15 lANk AEOLIAN DUO·ART ORGAN, VIRTU OSO TRUMPET SOLOIST. FOIt A BR IL choir recordings. Jerry LeCompte, RR I, BOJ (lower): S' ; ~ •• Plus pede I harpsichord, 16'; B'. S·8·4 Flemish harpsichord, Mason II Hamr 1'1 liant service, use Ihe mag nificant combination 153, EI'ij in, 'IL 60120. (112) B11 ·~ 1B7. Adjust"ble organ· type bench. Size 102' x 37" . Ampica. Reasonable. T. p. Gratlelot. 28IB Cen of trumpet lind o r~an, with vocolids or choru •. P M H Edwards, 3835 Clarndon Road, Victorie. trel, Afemeda, CA 9~501 . Services end concerts. Repertoiro on request. Michael Schumon. 198 Dougles Rd., Stllten h· PUIUCATIONS B.C., Canada YaN <4A-4. land, NY 'OlO4. (212) -4-4S-DI21. HARPSICHO RD MUSI C, SOLO AND ENSEM· 2O· NOTE SET O F CHIMES A to E, A··US SPERRHAKE HARPSiCHORDS AND CLAVI. ble. led editions from U.S. and Europeen pub. pitch, or Of, F, F, B, At 0: from brol:en chords. Exce' lent, dependable, beautilul. Robert SINGLE PURCHASER SOUGHT. LIFETIME lishen. Also booh on hislory, performance. set of Deagan CI~ss A chimes. ~15 pitch. J. S. leylor, 8110 Gorlield St., Bethesde, MD 2OOH . Humpe, R.D. # 1, Richmond, O H UlH. (61 4) collection valuable Ol'9an tomel. 1650 to prosen!. Write for free celalogue. Zuckermenn Herpsi. 165-48]5. Britoin. Germony, ltelV. Denm ll rk, Sw~den . chords IItc., loll' 121 ·0, Ston'ng lon , CT 0611B. Norway, CZ K hoslovaHa, Austria. Yugoslavia, WILLIAM DEiLAISE HARPSICHORDS COM. France. Some 780 ellCellent shepe. Ideal fOt" MEMOIRS OF A SAN FRANCISCO ORGAN bine the best of modern and historical instru· PRIVATE lI.ERAL ARTS COLLEGE NEEDS college with adive or'ijan department. Bound! builder by Louis J. 5.clloenste'n. Enjoy"bly writ· ments. Reosonably pricod. For free brochu,.. 10 incn!ase l ize ud dep th of music collection/ unbound issues The American Orl;lanist, The ten, fint·hond historical "ccount of the vole· contacl Weimar, ~73 8ay Ridge Ave., Broo~. scotes. bad issues of periodicab., and booh, Dlapason, Mu,il: und Kirche, l 'Ol'9ue, The Or. tile late 19th.early 20th cenlury period by a Iyn. NY 11220. (212) 8])·9221. indKel (especla!ly Music: Indell:) . Will por l;Ian, Prestant. etc. Much un played foreign Of· p'tadicel craftsmen. The first 01 its kind. Opus postege for gifts with benelit of tal deduction gan music (Vierne, Widor Symphonies, etc.). lisb, famous orgens and personelilies. "Iso "ccruing to donor. Contact: Janet l, Fn!e. YVES A. FED ER HARpSICHORD MAKER, PRO. $2.SO for complete listing. High bid tak.s theol,.. organs ond orchestrions. 1t)( pages, fessional Workshop devoted to clovichords ud man, Librarian, Wingate College Library, BOil: everything. Address l ·S THE DI APASO N. illustrated. Soli cover, ' 15.00. Herd cover, 217, Wingate, NC 281 7-4. harpsichords. Custom Made, finished, voiced $35.00. Add ~ each book {or posto..9.!!han. ond regulated. Also authoriled agent 101 fu ll TABUNAClE: FREE STANDING, ROUND, dlih9. CalHarn;a residents edd 6.$% ~lii tall:. li ne Zuckermann historica ll y derived kill at PIPE ORGANS NEAR PHILADELPHIA, PA »" hig h. Bea ut ifu ll y tooled brass relie f of Send name , add,ess, end t ip with ched o r reasonable p tices. Advice ond trouble·shoot. area. Bernard Blum, ~l~ Ruscomb St., Phila. Resurredion. $3SO. M. Brennan, B8 Chestnut St., money order to: Cue Publicelionl; 1101 20th ing for kit builden. North Chestnut Hill, Kil. delphia, PA 19120. Brooklyn , NY II~ . 12121 827·79+4. St., San Francisco. CA 9-4110. lingworth, CT OM17. SCHNEIDER WORKSHOP & SERVICES, LTD. Slider seals for slider chests. ORGAN SERVICE·J. E. Lee. Jr. Pipe Orgon and Horplithord luild., Venchue.en B.V. ~~~$i,ll§Wl ~ ~ CHESTER A. RAYMOND, INC. PIPE ORGAN BUILDERS OIR.GJRlU1lS((]rr1Y llU1lllJ) 8415 WEST 32ND STREET. P. O. BOX 1185 • ER t E, PA, 18512 P.O. Box 55 Princeton, N.J. 08540 Phone: 609·924-0935 QUALITY PIPE ORGAN SUPp ·LIES WASHINGTON ROAO R G A NCO M PAN Y, INC. o PRINCETON, NEW JERSEY 085.0 NOVEMBER, 1979 25 ClanK,", Hv..... lfh•• r.te.: per word $.20 minimum marg., $2.50; Itox "umINt, oddl.lo",.1 $1 .00. CLASSIFIED ADVERTISEMENTS R.pli •• to box numb.,. should b••• ". c/o Th. Dfopaton, 380 Northw.st Highway, Des Plaine., IL 6D016. HARPSICHORDS FOR SAlE-PIPE ORGANS 'OR SAlE-PIPE ORGANS FOq SALE-PIPE OItGANS HARPSICHORDS, PEDAL HARPSICHORDS, lit-RANK, CLASSICALLY VOICED RESIDEN 21·RANK E.M. SKINNER ORGAN ( 1925) WITH TWO MANUAL 1930 MAXCY·BARTON clavichords custom made, Jilin H. ~Iberdll, 14 tial pipe organ, Electric action with drawlnob upper work additions in 19&1. "'vailoble May thurch o rgan ' Opu; 1l8). 12 ranh. Console is Prince" St., Elora, ant., Caned. NOB ISO. console. EIcel nl Ul ndition. $18,000. FOB H·gh. IS, 19f1l. Best offer, buyc r to remove. May be 15 years old. "by be i i!i! n and pla) ed. Buyer land. W. F_ BUd, Box 128. Hig!t.tond, Il 62249. played. Specifications upon request. Contact: to removl:. Available December 21., 191'l. Can PIANOfORTES J oseph Ferrell, Project Director, Chapel o( the be seen between 9 and <4 Monday-F,:day. Will 1m MOllEk. l-MANUAL. 11.RANKS, BUYER C,on. 104 E. Frulrlin St.. Chapel Hill, NC be sold by sealed bid. l ids opened Decembr SENSATIONAL All NEW VIENNESE fORTE fa remove Sprlr.; of 1990. HighHt offer. For mH. ~ 17. Ou, Saviour's Luthron Church, 910 Ninth pi,no kit project by Phi.ip Bolt, AmllriCII " me,' details contact Mrs. C. 8ri99S. 1m Welnut St., Menomonie, WI 5<4751. experialtclld mater of earlv P;'!'IO reptices, St., Newlon, Highlands, M... 02ti~ 1 . (617) 9&9. THREE M ... NU ... L, I4-RANK ESTEY. 7Vr' Writ. for free input brochure. 16 Stanton St., !IlO3. height. Full 'PIIaking: facade 18' Haskell Dia· THEATRE ORGANS PII~tuct , CT 06379, pase n). Set up and playable now. Perfect for 190] G.F. VOmlER Z·MANUAL ... ND PED ... l c rgenist./hobbyid. Coli for specifications. 6 1/19 WURLITZER, 1m. COMPLETE WITH FOR SALE-PIPE ORGANS had er organ, 0.0 1 case, for so le. Rebul1t with pm to II pm any day, or write for informotion toy counter, marimba, piano and all percus· new organ warranty. Finence to qualified buy· and photo. Price: $38IXI. R. Cudworth, <40 Lew is sionl. Playing and in use since "1.9. Phone 2'/:-STO' MOLLER. 5 YEARS OLD. NESO. on. Write: Raymond Garner "'$5O(:ial. s, P.O. lane, W. Hartford, CT MilO. (201) 23&-0588. Bernie, Toronto Ontario, Canada, (,,1&) 297·1192. tiabl• • BI.,., IbOO S.W. 58th Av., Gainesville, BOl{ 478, Crestline. CA 92325. Fll2608. l-M"'NUAL PILCHER, IEBUllT 19]1 BY KILGEN, Z.MANUAl, )J..flANKS WITH WUR ORG ... N: 4 I ... NKS OF PIPES, 21 NOTE Moller, 30 ranh. Now in use. Owner to dis· lalOr chests, pipes, orgoblo, Itemolo, reietVOirs l·MANUAL, 21·RANK WICKS, 1921. IUYER pedal . .. ranh are on unit type ched and con mantle ned April 19a'J, uMrated, for new er all comp~le. Some exlr01. Closing out duo to remove by JUlia,., I, 1m. M• •• oHet andl 'A be wired eleclricatty to make addi tional slops. gan. 'ad:oga includel: l ·monuol and pedal 'llltifil. All for t l200. J ones. <401 McMinn, Athen. or lend fOl" specificalioA, fo: Ollvid Gennan. l ·monua l console. Presently " ored. PhotQ9raphs COftsole, MoIl.r 1951; main organ <4 div:sion, TN 17lOl. Minist.r of MUlic, Highland P/lrt Baptist upon reque5f. J. Halbe, 6212 Dune Dr., Avalon, 2S ranh; echo division (remote) 5 ronb, 1918i Church. 286DO lahser ROIId, Southfield, MI <4803·" NJ 08202. 1609) 91.7·3579. harp, 1938; 3.hp blower·motor unit. To see and Z·MANUAL ROIERT MORTON, 12·RANK IESI ploy contact: Organ Committee, First Presby. dence. May be seen and played. Best offer 1M, KllGEN UNIT ORGAN, 4-RANKS. GOOD D.RANK REMODELED W... NGIlEN ORG ... N instrument (or home or chepel. "'veileble Juu terion Church, 132<4 Morion Street, Columbia, over $10,000. Grand Ropidl, M!. (1.11.) 512·1071. with l·m.nual 1950 Austin console. Available SC 79201. or 161&1 <459·9433. oryt 1980. Betheny Lutheran Church, SI51 N.W. fo r re move' oftar May I, 1980. For specifica. ROGier Hwy .. Omehe, HE 68104. 1402 ) 558·1.212. lions ond details contact: Russell Becker, Glenco MEDIEVAL PORT ...TIVES "75 EX WORKS. MARl!; , COLTON THEATRE PIPE ORGAN. 1.MANUAL. 57·RANK PIPE ORGAN kiT. Union Church. Glenco, Il &Xl22. (l iZ) 8Js.tH-41. Fo r lid of other organs suitable (or early mu· 2.manua!, 6·ranks complelely reslored, in}tolled luild your own home prectice Ol"gen. l·menuels: sic, send two doll on. Noel Mender, St. Peter's .nd playing. Trumpet, SirinQ, Flute, Va., Tibia, Organ Wor"s. London E2, England. Upper, low.r end In·between. Full Unison" 1·t-4ANUAl HISTORICAL TRACKER, WALNUT Diapason plus Glo<:". XyloP~M , Harp, Chime. of(. At, I' ceiling. "ksic" kit available i. cose, 7" " hig h. Fully restored and .....,ronted . 1941 1.lANK, 1941 MOLLER, OPUS 7612 WITH Full Tey Counter .... ilh Drums, refinished con· ".der or lubtllar pneumolic. Indudes ley Specification: 8' Bourdon, .. Dukiona, ",' PtiMI. revoiced Gedeci:,. Welnut Case. Highest offer sole, couplers, Swell shadel, l .hp Spenter Or· moulds, pl.die gliller·impregnoled reltn, tub· pol, 2·Ul' Ouint, 2' Odove. Slops d;vided in over $5.000. 13121 54,·7671. goblo. A,king $5,000. EolY Ntmova[ from home ing, nail., lead, tin and crucible. Constructed bon and treble. Price: $12,500. Koppejon Pipe indallation. Don Reed, 22 WMelmeadow lane, (rom ...... n <4a8 sheels of plywood with no Organs, <48223 Yale Road East, Chilliwod, B.C. 1.MANU... L, 2G-RANK AUSTIN, 1m WITH 7- longmcadow, MA 01 lot.. 1<411) 5&7·8823 or 1<411 1 .crap. p,..·cut welnul veneer cabinet exira. Canada. (604) 1'92.w,2l. rank choir ladded 19541, Presently in use. Avail· 78&·<4938. Opfionel instructions. Address l .Z THE 01 ... • able January 195) te highest bidder. Buyer to PASON. remove. Conta!=t: Jim Winfield, First Congre. WURLITZER THEATRE ORGAN PARTS. SEND I.MANUAl AND PEDAL, .... STOP TRACKER, SASE for list. Morel & Auociotes. <4221 Steele split key board. Fo r information, contact Klug gat i ona ~ Chu rch, 1108 Chestnut. Western Springs, l·RANK WURLITZER IN CASE, .. ' J .' J I', St., Denver, CO 8021&. with .ttached conU) le (detachoble). Asking & Schumachi! r, 3604 Waterfield Parkway, Lola. Il 60558. (liZ) Z46-I900. lan:l, FL nell. (811) 1.1.5 .<4802. $3000. Contact Fr. J. Sank k, 17204 Oak Drive, 19<40 l-R... NK WICKS. IN USE UNTIL OCTO REED ORGANS Delroit. MI 48221. (Jill "'2·4400. be 15th. Purenoser must remove. Best offer. TRACKER ORGANS Faa THE SMALL RESCUE " BERTHA'" OUR BELOVED Ins 2· Z.MANUAL PIPE OlG... N, SUITABlE FOR Contott 1.1". Mildred HenlY, 800 S. Germon· chureh, studio. and home in tltfl $15,000 to tOWIII Rd ., Chattanooga, TN 37412. ("5) I.". manual and pedal Vocolien reed organ needs smoll church, cnapel Of' home. 5-ranh 01 $25,000 price ronoe. Contact Klug & Schumath. lomeone to reslore and core for her. Best offer Stinki nl pipes, 28 stops. Coolact: Munro Pipe er, 1604 Wetarfield Parkway, lakalnd, fl '"7. over $2,000. Write A. G. Budendorf. 3!)0] Mar, Ot'Qan Service, 611 Norman Ave., North Ray. 33801 . (813 ) 665,"'902. IO-RANK, 1180'S SCHUELKE TRACKER OR· kingdon Av •• Siln J ose, CA 95127. Ontorio, Canada PI B BCZ. (705) "7<4-8441.. g on, rebllllt to electro-pneumatic odion in mid·I9<40·s. To be ramoved by January l ist, THREE RANK WICKS CABINET ORG ... N, ) TO 7 R... NK CUSTOM UNIT ORGAN WITH ESTEY 2·MANUAL ORGANS WITH PEDAL many options. New organ guarontce. Dllrhom, 1'18IiI. Best offer over $4000. Please calf 1<4 1<4 ) claviers: parlor organs; 2+dop foot.pumped suitable (or 8' ceiling home or small church. 567· 5375 f!;l r further information. limited repairs needed. Immediately availabkl . P.O. BOl( 2125. Ta ll ahassee, FL 32304. one.manual: small Estey & Green Ic. 185&); $I,BOO, plus removal. Four ronk Wurliher church Farrand push.up. Ned Phoenix, Reed Organ USED ORGAN TRADE·INS: KllGEN, Z·MAN· Service, Townshend , VT 05]5]. organ, needs releathering. Make offer. For KIMIAU, .4§ RANKS, l·MANU... L LATE AUS· ual and pedal, l.ranh. in case with remote fn coniole .... lth <46 piston tomblno lion action. specifications, send SASE to Cnnllrsll O('9l1ns. console. Fils 8' C.iI1ng . bullent condition. BEEHIVE REED ORG ... N STUDIO. A GOOD 1M., Rt. Duncansville, P", 16635. Pipes mU..,ed fot 7lIJ' Choir end Swell en· n , $<4,000. l ocated in GraM Ilopidt, MI. Alto seleclicm of restored reed btgafts for '-DII:. C ' O ", ~I . Som" new cnesls, others 10 be ,.. Ex. M. P. Moller, Opus Sl19, 8 ronb. Can be pert repoir. Gvaronleed restoration service. ISo. placed for lile:naw. nno chu~h Of' concert W. W. KIMIALL OItGAN. ).M ... NUALS, 35- played in church. $I,om deliv"ltId and installed organ ot fraelion of replacement cost. $12,500. <41 , ... lfred. ME 04002. (207) 32"'.0990. ronh in good condition. In"alled naw in 1911 within 100 miles of Grand Rapids. Delivary end in the historic assembly hall on Temple Square, Georga W. Cline, 9 Ewart Dole, Lofove"e, CA installation alsewhere can be arranged. S. H. REED ORGAN REPAIRING - REEDS RE· Salt lake City. Electrified by "'ustin Organs 9"'549. Dembinsky, t.lZ Broadview S,E., Grand Rapids, MI 49507. tongued, John White, 2<416 Irving SolJlh, Minne· in 1916. Aullin console new in 1960. Includes apolis, MN 55-«15. (612) In·I9SO. blower. rectifier, and originol casework. Pho. NEW l·R"'NK FlENTROP: I' GEDEKT, 4' logrophs and specific ations available upon Fluit, 2' Oel.,.,v. Divided .tops and pulldo.... n 1880 JOHNSON, REBUILT IY LYON' HEA requed. Please phone or write: Ronald Nielson, pedal, bench. Case antiquo white. Built by ley in 1910 .nd by Wids in 19<4 1 with three 2·MANUAL ... ND PEDAL ESTEY REED OR. Central Purchasing Dept., 13th Floor, 50 E. profess iona l organ technician. Asking $12,000. manuals, ](I ranh. Av.ilabla immediately. In· gan, mint condition, beoutiful finish, 10 ranb, North Temple 51., Self l oke City, UT 8-4150. James Ha milton, 132 Creston Dr ive, Youngs· quire: Dr. Tom Robin Harris, Augustene Col· wllh blower and bench. David Kopp, 22 C lif· 1001) 531·2989. town. OH o44S12. lege. Rod: Islend, Il 61201. fOld Drive, Wayne, NJ 07470. (201) &94·6778. KOPPEJAN GUSTAV FABRY Since 1780 W ALCKER pipe organs Tracker-organ builder SONS, INC. Wulckm' O"gulls 2126 E. FAIRFIELD RD, new organs and restoration LINDENHURST, IL 60046 0-7157 1\I11/'rlulI',h 48223 Y.I. Rd E 312-356-7621 Chilfi ..... d. B C DAVID J. F.... RY PHILIP E. FABIY Cen.da V2' bH4 Phone (604) 792.16Z3 ....:IS2D • l5i.-f.844 CONTRACTUAL • SERVICE VISSER-ROWLAND ORGAN CHIMES • RELEATHERING • ADDITIONS 713ft,88-7346 • 2033 JOHANNA • • REPAIRS HOUSTON 77055 REBUILOING • TONAL REVISIONS • 30 YEARS c==J • EXPERIENCE International Societv of Or~anbuilders CREATIVE ORGAN BUILDI;\IG FOR "'RTISTIC MUSICAL RESULTS Sherwood Organ Company Inc. 85 Longdale Avenue Greenwood Organ Company White Plains, New York 10607 P. O. BOX 11254. CHARLOnE, N.C. 21218 (914) 946-7990 (212) 582-4240 PlfHREE GENERATIONS OF ORGAN IUIlDING" Service Mechanical and TDnal Robulldlng New Organs Organ Builden and • Repairing * FRANK J. SAUTE R SONS Inc, * • Conlroctural Servldng Phones: 388·3355 For Unexcelled Service "'232 We.' 1241h Place PO 7·1203 AI.;p, lIIinall 60658 • Rebuilding 26 THE DIAPASON CIa.sified advertising rales: per ward $.2Q minimum charge, $2.50; box numb.r. additional $1.00. CLASSIFIED ADVERTISEMENTS Replie. to box numbers should b ••en' clo Th. Diapason, 380 Northw.st Highway, Des Plainu,lL 6DOl6: ---=:-::-:=-=-- ELECTRONIC ORGANS FilR SALE-MISC_ FOR SALE-MISC. (OR SALE-MISC. HAMt.40ND G.77, SERIAL # 1334, " THE EN AEOLIAN PLAYER CONSOLE, 2. MANUAL, 8' TROMPmE, 13, TR IVO, " INCH SCALE. USED PIPES, CHESTS, CONSOLES AND MIS tertainer," with leslie tone cabinet. Exclusive IS-rank. Aeolian player system (Duo-Art and Voiced 30% strong. 4'h" wind , 'A taper shall ots. t' ellaneous equipment in g ood condition. Write: tone wheel generator. Harmon1calfv enriched regular) for 53·rank organl Over 1,000 rolls fM New Shiney mint condition. no marh. Crated. Boll 2061, Knoxv ille. TN 37901. loneban. Contemporery styling. like new. After • above. 1'h-hp single-phase Orgobro. 5" wp, SI25O, firm. 3331 Van Orman, Ft. Wayne. IN November 17. 1919, contad: Mrs. Manker. 2'XM $ISO. ] -hp single-phaH! Drgoblo, 11" wp, $350. 4M104. (219) 432-3794. WAREHOUSE CLEARANCE SALE: LARGEST West Boulevard, Apt. 8, Belley'lIe, Il 62221. Huge stlltic regulator, 4' x 8', $25_ 16' Aeolian inventory of pipes and various other com· Violone, 12 pipes, 4'12" wp, S1OO . 8 Aeolian Or I ' HASKELL PRINClfAL, 12 PtPES , $200; 4' ponents, some new. some old. Various makes. RODGERS CAMBRIDGE no, DRAWKNOB chestral Oboe, 4\f2" wp, $415. 8' Aeollan Eng Prjncipal, 73 pipes. new. $750; " . Gemshorn, Send SASE for tisl_ W _ J . Froehlich, m Grove console. computer combination action. Speak. lis h Horn, 4V'2" wP. $4SO. 8' Aeolian VOl Hu 11 pipes, new. $7!iOi Meid inger blower, S8OO; St., Westfield. NJ 07090. ers: I P·2, :3 W-6's. I M. Il. Two yeDrs old. Ask. ]2 note pedal board, new, $400: 16' Quintaton, mana, 4'12" wp, $ISO_ 4' Aeolian Harmonic 4 MANUAL CONSOLE, DRAWKNOI , MOV· ing $17,500. Address l ...f · THE DI APASON. Flute, 4'12 " wp. S125_ For information call (415) 12 pi pe~, mitered, new, with toe board, $300; Reservoir. 2' • 4', $100: Offset chest, 42 notes, able. 1%2 Laukhuff/K1a""_ With or without re 647-5132 davs, or wr ite: Sale. ] 101 20th St., San mote cllpture combination. For details write SEVERAL ARTISAN CUSTOM ORGANS AT Francisco, CA 94110. with schwimmer bottom. $180: 24 note offset half· pric:e. new lind recondiH oned. Also new chest, wi lh schw.mmer boHom. $I~; 2 ~ev' Robert Newton, 1047 Pennington lane, Cuper orchestra belts lind eledro nic pedal divisions. SLEIGH BELLS AND XYLOPHONE, PERFECT boards, brand new, no springs. SI7S/pllir. No t ino, CA 9501"_ Send for I;" ts. Newport Organs, Bo. 261 3. New orig inal condition. Phone Bernie , Toronto, On crating or shipping. pid-up only. Jlld Elk. WINDLlNE: ODDS AND ENDS. MmAFlEX port Beach. CA 92663. tariC1. Canada. (416) 2'l7-I I'I2. 421 Summit Drive, Xhaumburg. It 60192 . {J 12l 52'9-7901. [I) 8" x 4', ( I) 8" II 4.5', t l) &" x "._ ( Il H. D_ ALLEN , CONN CHURCH, THEATRE 01(. 3-MANUAL CHURCH CONSOLE, BUILT 1M! Rubber 8 • 8'_ OS) Hardfiber .... x 010" . Best gans. 3SO grand pianos. Largest H!lection in by Organ Supply Corp. Beautiful cherrvwood. SPENCER BLOWER, LIKE NEW, 'IrHP, inS o lflll r. S_ H. De mbinsky. 612 Broadview S.E. , USA over 1500. Vk tor. 30D N.W. 54th St., .5 mllnual pistons, 5 generals. 3 ellpression RPM , 8" top outlet. 5" wind. 110/220_ $ 120 82.84 MarningsWe Ave., Yonken, New York 10703 Y ONE HUNDRED &: TWENTY YRARS Kim6fl'C-+Jllfln, .!Jnc. E J. H. & C: S. ODELL & CO., INC. II!"-' Box 4058, C.R.S. A 1859-1979 R Fi"e Generation. buildin" Odell Or«aru Johnson City, TN 37601 S 914 Yonken 5-2607 615-282-4473 WANT" A PRACTICE ORGAN? PEMBROKE PIPE ORGAN II. kh fOlm) Send lIamp lor b,ochuttl THE OR G A N LOFT Qua/it,! Organ ComponenbJ EPSOM, N.H. 03234 T.I. 6C)3..736.-4716 "mttmb.,: If It don NOT haw. pipes. It I, NOT an organ &'0e ••111111 II. 1J. . , . d:1.ItJ...... 7047 South-Comstock Avenue, Whittier, California 90602 • (213) 693-4534 NOVEMBER, 1979 27 Murtagh -McFarlane Artists Management 127 Fairmount Avenue Hackensack, New Jersey 07601 201-342-7507 Marie-Claire Alain George Baker Robert Baker Guy Bovet- David Craighead Catharine Crazier Susan Ferre Gem> Hancock Judith Hancock , . t~ " Clyde Hollaway Peter Hurford Francis Jackson Marilyn Keiser Susan Landale Joan Upplncott r:'lit.,._· · ..' 'f:J ,t ~. 1 i. ··tT:_}. H ~ (:1;;j MarIlyn Mason James Moeser Martin Neary- Simon Preston- MIchael Radulescu .,,;-. -. _...' . ,:... ,;, \.:/ .. .." ; ~."( -~. ''I \ . . \.= "':". ;/ ~J George Ritchie Daniel Roth Rene Soorgln Michael Schneider Danald Sutherland LacId Thomos John Weaver William Whitehead Gordon & Grady Wilson Heinz Wunderlich Gerd Zacher- *European Artists Available Season 1979-1980