THE DIAPASON JULY, 2010
The Yankton College Memorial Organ United Church of Christ-Congregational Yankton, South Dakota Cover feature on pages 26–27
July 2010 Cover.indd 1 6/9/10 10:29:26 AM July 2010 pp. 2-19REV.indd 2 6/9/10 10:30:58 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred First Year: No. 7, Whole No. 1208 JULY, 2010 On Teaching This article serves as a nostalgic re- Established in 1909 ISSN 0012-2378 BRAVO!! I just fi nished reading the minder for us “older” folk; however, I An International Monthly Devoted to the Organ, “On Teaching” column by Gavin Black believe that it also serves as a clear indi- the Harpsichord, Carillon, and Church Music in the May issue. I will be looking for- cator of what people refer to as a “clas- ward to the future articles about the sical education.” Dr. Heaton literally Buxtehude and Boëllmann organ selec- had daily access to some of the greats tions that will be discussed. Mr. Black is in organ music and composition as well CONTENTS Editor & Publisher JEROME BUTERA [email protected] to be commended for his teaching abili- as “down the street” access to some of 847/391-1045 ties and communication skills in order the most important pipe organs of the FEATURES to achieve this worthwhile project. His 20th century. Organbuilders and research: Associate Editor JOYCE ROBINSON prior columns, in my opinion, have al- Dr. Heaton’s diary entries should Another point of view [email protected] ways been “fi rst rate!” Best wishes for serve as an example to the young or- by John M. Nolte 20 847/391-1044 continued success with the magazine. ganists of today to actively seek out A Tribute to Grigg Fountain Contributing Editors LARRY PALMER Your publications have been greatly ap- the fi nest musical offerings and, if pos- upon his 90th birthday Harpsichord preciated. Well done!! sible, get to hear them either in person compiled by Marilyn Biery 22 Don Stoner or via digital media. And if an “in per- JAMES MCCRAY Meyersdale, Pennsylvania son” recital is attended, we learn that Conference XXVII: St. Mary of the Assumption Choral Music it isn’t enough to hear it and leave, but Cathedral, San Francisco, California Charles Huddleston Heaton Diary to go to the artist, ask questions, cor- by Paul Monachino 25 BRIAN SWAGER Carillon I have had the privilege of calling respond with him or her, and enrich Charles H. Heaton a personal friend their formal education and dare I say, NEWS & DEPARTMENTS JOHN BISHOP since the summer of 1971. I have read their lives. Editor’s Notebook 3 In the wind . . . with delight his accounts in “Dear Diary” Robert J. Pegritz Letters to the Editor 3 in the May 2010 issue. Pittsburgh, Pennsylvania Here & There 3, 4, 6, 8, 10, 12 GAVIN BLACK On Teaching Appointments 10 Nunc Dimittis 10 Reviewers Charles Huddleston Heaton Looking Back 12 Jay Zoller David Herman In the wind . . . by John Bishop 12 Here & There John L. Speller On Teaching by Gavin Black 15 St. Thomas Church, Leipzig, cel- St. Mary’s Cathedral, San Francis- REVIEWS ebrates the 325th anniversary of J.S. co, California, continues its music series Music for Voices and Organ 17 THE DIAPASON (ISSN 0012-2378) is published monthly Bach’s birth and the 10th anniversary on Sundays at 3:30 pm: July 4, Chris- New Recordings 17 by Scranton Gillette Communications, Inc., 3030 W. Salt of the church’s “Bach Organ” with a toph Tietze; 7/11, Karen Beaumont; New Organ Music 18 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. series of organ recitals: July 3, Michael 7/18, Duane Soubirous; 7/25, Martin Book Reviews 19 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 MSG RLY. E-mail:
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses or for the same course offered subsequently.
Editor’s Notebook
In this issue a digital version of The Diapason, and Among the offerings in this issue of other items. Your response is important The Diapason is John Nolte’s discus- in planning our next century. sion of research in organbuilding, spe- If you did not receive the survey, cifi cally measurements of open-toe and please contact me. We kept the survey closed-toe pipes and the effects on voic- short and simple, with just 10 questions; ing techniques. He refers to the earlier it should take only a few minutes to com- article on the same topic by Judit Ang- plete the survey. Please do take time to ster and Francesco Ruffatti (January respond to these questions. Results will 2010, pp. 24–26; this article is available be published in succeeding issues. on our website—click on “Articles” un- der the “Archives” heading). Resource Directory Marilyn Biery has compiled tributes It is not too early to plan for the 2011 to Grigg Fountain, following his 90th Resource Directory. Take a moment to Front row (l to r): Laura Ross, Chelsea Vaught, Victor Li; middle row: Stephen birthday (October 2008), and Paul Mo- check your company’s listing in the 2010 Buzard, Brett Judson, Andrew Pester; back row: Joan Lippincott, Diane Maynard, nachino reports on the Conference of directory, or, if you were not listed, visit Kola Owolabi Roman Catholic Cathedral Musicians’ our website and enter a new listing. Go annual meeting. This is in addition to our to
JULY, 2010 3
July 2010 pp. 2-19REV.indd 3 6/9/10 10:31:32 AM 7/28, Michael Stefanek, Faith Luther- gan concert series July 13–August 17. tions, announces a composition com- tion. Deadline for submissions is Janu- an Church, Appleton; The 40-minute noontime concerts are petition for an “organ demonstrator,” ary 1, 2011. Before entering, request August 4, Jeffrey Verkuilen, Holy played on the church’s 1883 Hutchings- a work designed to illustrate aspects of guidelines and application form from the Cross Catholic Church, Kaukauna; Plaisted organ, restored in 2003: July 13, the pipe organ to a specifi c age group Friends of the Kotzschmar Organ, Inc. 8/11, John Skidmore, St. Joseph’s Tom Mueller; 7/20, Harold Stover; 7/27, by means of the musical illustration of a at
Felgemaker façade, Elizabeth City, North Carolina
The 3-manual Felgemaker organ in First Christian Church (Disciples of Ken Cowan, Anthony Rispo, Laura Ross, Dana Steele, and Patrick Parker Christ) in Elizabeth City, North Carolina will be 100 years old in July. The organ Students of Todd Wilson at the Bach, Nun komm, der Heiden Heiland, will be prominently featured in the morn- Cleveland Institute of Music played in BWV 658; Dupré, Fugue in F Minor, ing service on July 18. A birthday lun- a masterclass given by Ken Cowan at op. 7, no. 2; and Patrick Parker: Vierne, cheon will follow in the Fellowship Hall, Plymouth Church of Shaker Heights Final from Symphonie No. 2. The organ with an afternoon recital at 2 pm. Four on March 18. Performers and reper- is a 3-manual Holtkamp (1964), rebuilt organists will perform, including Nina S. toire included Laura Ross: Dupré, arr. with additions by Tim Hemry in 2000. Gregory, organist of the church; Carl L. Farnam, Cortège et Litanie; Anthony Pictured are Ken Cowan, Anthony Anderson, organist at Trinity Presbyteri- Rispo: Mendelssohn, Sonata IV in B-fl at Rispo, Laura Ross, Dana Steele, and an, Prescott, Arizona; Mark L. Williams, Felgemaker console, Elizabeth City, (3rd and 4th movements); Dana Steele: Patrick Parker. composer and organist at West Trenton North Carolina (New Jersey) Presbyterian Church; and E. Rodney Trueblood, freelance organist in the congregation’s new building, at in northeast North Carolina and south- which time the Felgemaker was given to east Virginia. First Christian. Joseph Pool, Nags Head, The organ was originally installed in North Carolina, removed the organ and First United Methodist Church, Lex- installed it at First Christian, replacing ington, North Carolina in 1910. The last a failing electronic. For information: service played in Lexington was Easter 252/338-8256; 1987. A new, larger organ was installed
CERTIFIED APPRAISALS Collections of organ books, recordings, and music for gift, tax, and estate purposes
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4 THE DIAPASON
July 2010 pp. 2-19REV.indd 4 6/9/10 10:31:52 AM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Professor of Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Organ, Indiana University Montevideo, Uruguay Palm Beach, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Catherine Ennis Henry Fairs Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist/Lecturer Organist Dijon, France Spartanburg, South Carolina Frostburg, Maryland Gainesville, Florida London, England Birmingham, England
Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Tuscaloosa, Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea
David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Choral Conductor Organist/Pianist Organist Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana Helsinki, Finland Fort Worth, Texas Bergen, Norway New York, New York Champaign, Illinois
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Mark Quarmby Ann Marie Rigler Organist Organist/Lecturer Harpsichord & Organ Organist Organist/Teacher Organist/Lecturer Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa Sydney, Australia William Jewell College
Stephen Roberts Brennan Szafron Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Beth Zucchino Organist/Harpsichordist Organist/Harpsichordist Organist/Musicologist Organist Organists/Pianists organist/harpsichordist/pianist Danbury, Connecticut Spartanburg, South Carolina Speyer, Germany Charleroi, Belgium Edmonton, AB, Canada Sebastopol, California www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
July 2010 pp. 2-19REV.indd 5 6/9/10 10:32:19 AM First (Scots) Presbyterian Church, with a with restorations and additions by South- few of the manualiter pieces performed fi eld Organ Builders in 2004. The score on the church’s John Phillips harpsi- is published by Zimbel Press. For infor- chord. The performers were JeeYoon mation: 617/548-3974; Choi (host and organizer), Robert Gant,
Gordon Atkinson, president of the Edward A. Broms Society of Organists, Melbourne, Vic- Gordon Atkinson and Frances Nobert toria, and Frances Nobert, region IX councillor of the American Guild of Church. Dr. Nobert presented a lec- Organists, participated in the 33rd An- ture/recital, “Music, She Wrote: Organ nual Conference of the Organ Historical Compositions by Women,” on a 1910, Trust of Australia. The April 2010 event three-manual Hill & Son organ tubular- explored organs in historic urban and pneumatic organ at Pitt Street Uniting rural settings in New South Wales. Dr. Church in Sydney. Nobert is a member Atkinson demonstrated a two-manual of the Los Angeles AGO chapter, while Chapell & Co. mechanical-action instru- Atkinson belongs to both the Ann Arbor ment of ca. 1823 in Vaucluse Uniting and the Tidewater chapters.
Craig Cramer
Craig Cramer recently returned from his annual concert tour of historic organs Peter Krasinski of Germany. He performed the fi rst of seven recitals in May at the Protestant Edward A. Broms and Peter Kra- Church in the town of Eckenhagen on sinski are featured on a new record- the historic 18th-century organ by Johann ing, Organ Symphony #1 by Edward A. Christian Kleine. He also performed con- Broms, on the Zimbel label. The work, certs at the Kloster Steinfeld in the Eifel commissioned by Peter Krasinski, was (König organ, 1727), the church of Schel- premiered March 28 and 29, 2008 at lerten (1769 Müller organ), the church of Holy Name Parish, West Roxbury, Mas- St. Nikolai and Martini in Steinkirchen sachusetts; the CD was recorded live at (Schnitger, 1787), the Stadtkirche of Bad the premiere. Organ Symphony #1 is in- Wimpfen (Johann Adam Erlich, 1748), in spired by the creation story at the begin- Kirchheimbolanden (Alffermann, 1844), ning of J.R.R. Tolkien’s The Silmarillion, and fi nally at the Speyer Dom (new choir Paul Jacobs, Aaron Tan, Jeff McLelland, John Woolsey, Michael Velting, Jacob a mythic prehistory of The Lord of the organ by Seiffert). Benda, Andrew Risinger Rings, and is structured in fi ve move- Cramer will return to Germany for ments. The recording was made on the two more concerts in July, the fi rst on the The fi rst Huntsville Organ Fes- tition organizers were Mark Moorehead, church’s 1938 Wicks organ, op. 1691, ³ page 8 tival took place March 12–13, with a David Miller, and Suzanne Purtee. guest artist recital, organ scholarship Each contestant played a work by competition, and masterclass. The event Bach, and one composition from the was planned by Suzanne Purtee, Wilson 19th and 20th centuries. First place went Luquire, and the Huntsville AGO execu- to Aaron Tan, who is working towards a tive board members. doctorate in materials engineering at the The festival weekend opened with a University of Michigan, Ann Arbor, and recital by Paul Jacobs, sponsored by the studies organ with David Palmer at the Huntsville Chamber Music Guild’s Ce- University of Windsor, Ontario. Second lebrity Series and held at Trinity United place was awarded to Jacob Benda, who Methodist Church on its 56-rank, 1991 is completing a master’s degree at Loui- Möller organ. The program included siana State University, where he studies works by Reger, Franck, Reubke, Bou- with Herndon Spillman. Third place langer, Schumann, and Bach. fi nalist was John Woolsey, a junior at First Baptist Church of Huntsville, the University of Michigan, Ann Arbor, Elizabeth Hostetter, organist, hosted where he studies with James Kibbie. the next day’s competition. The church The weekend concluded with a mas- houses a 1965-era, 79-rank Casavant terclass led by Paul Jacobs; each contes- organ. The $1000 fi rst place award was tant performed a new selection rather provided by the Milnar Organ Company than one from their competition rep- of Eagleville, Tennessee. Judges for the ertoire. David Harrison, a Mississippi competition were Jeff R. McClelland College freshman and student of Robert of Independent Presbyterian Church, Knupp, also participated in the master- Birmingham, Alabama; Andrew Ris- class. A closing dinner gave the judges, inger, organist and associate director contestants, and their guests an opportu- of music at West End United Method- nity to mingle. ist Church and curator of the organ for More information on this event, and the Schermerhorn Symphony Center, the next festival in 2011, may be found at Nashville, Tennessee; and Michael Velt-
Daisy Bridges, Susan and Stephen Talley
Covenant Presbyterian Church, ranks, the instrument resides in the Charlotte, North Carolina, received church’s music studio, and joins the a gift of a two-manual/pedal Flentrop church’s other organs: a fi ve-manual organ from Daisy and Henry Bridges. Aeolian-Skinner in the sanctuary, a Susan and Stephen Talley, ministers of two-manual Schlicker tracker in the music, assisted by soprano Joan Kel- sanctuary gallery, and a two-manual ley and a string ensemble, presented Johnson/Schlicker tracker in the cha- a dedicatory concert on March 21. pel. David Nelms of Pipe Organ Service The Flentrop organ was built for the of the Carolinas disassembled, moved, Bridges’ home in 1968 at the same and reinstalled the instrument. Named time that D.A. Flentrop was building after one of Charlotte’s most generous the large instrument for Duke Univer- benefactors of arts and education, it is sity Chapel. Comprising nine stops/ten now “The Henry Bridges Organ.”
6 THE DIAPASON
July 2010 pp. 2-19REV.indd 6 6/9/10 10:37:22 AM
2008 Schuke organ in the Magdeburg in celebration of the tenth anniversary of Organists,” with works by Durón, Bach, Dom, the second in Nassau (Saxony) on the Meistersingers, conducted by Brian and Widor. The recital was given in par- the 1748 Gottfried Silbermann organ. Dehn, in June at Red Hill Lutheran tial fulfi llment of the DMA degree. Mer- Craig Cramer is represented by Penny Church, Tustin, California, and at Mis- edith is a student of Judith Hancock. Lorenz Artist Management: sion Basilica San Juan Capistrano. For
Sherith Israel in San Francisco, and La- fayette-Orinda Presbyterian Church, Lafayette, California. His musical posts have included Organ Scholar at West- Leon Nelson minster Abbey in London and organist Philip Crozier at the Cathedral of St. John the Divine Leon Nelson has written two new in New York and St. Mark’s Cathedral in pieces, “Trumpet Tune in C” and “Pro- Philip Crozier plays eight recitals in Minneapolis. A graduate of Oberlin Con- cessional,” included in a new collection, Europe this summer: servatory and Yale University, his men- The Wedding Organist (50 Organ Set- July 24, Evangelische Stadtkirche, tors include Dame Gillian Weir, Simon tings for the Perfect Wedding), com- Schopfheim, Germany, 8 pm; Preston, Thomas Murray, William Porter, piled and edited by Jane Holstein and August 1, Evangelische Kirche, Nie- Harald Vogel, and Haskell Thomson. published by Hope Publishing Com- der-Moos, Germany, 5 pm; The Willis organ heard on this CD pany, Carol Stream, Illinois. Along with 8/3, Svendborg International Organ- and others like it were widely prevalent traditional wedding music, the collec- festival, Denmark, 8 pm; in larger English parish churches during tion includes arrangements and original 8/5, Zomerserie Oude & Nieuwe Kerk, much of the 20th century. As the century Frederick Hohman works by such composers as Lloyd Lar- Delft, Holland, 8 pm; waned, some churches closed and fi ner son, Donald Hustad, Joel Raney, Doug- 8/7, Brigidakerk, Geldrop, Holland, organs were relocated—some beyond Frederick Hohman is featured on las Wagner, Hal Hopson, Jane Holstein, 4:15 pm; the British Empire. The Willis organ re- a new recording, Methuen Century Gordon Young, and others. It can be pre- 8/8, Barockkirche St. Franziskus, corded on this CD, built for St. Stephen’s (double-disc DVD and CD package), on viewed and purchased on Hope Publish- Zwillbrock, Germany, 4:30 pm; Church in Hampstead, London, is now the Pro Organo label (CD 7324). The ing Company’s website: 8/15, Maribo Domkirke, Denmark, 8 pm; in Göteborg, Sweden, serving since 1998 recording celebrates the 100th anniver-
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July 2010 pp. 2-19REV.indd 8 6/9/10 10:37:47 AM
“The Shadow,” with Orson Welles, and Nunc Dimittis “The Bob and Ray Show.” Her television credits include “As the World Turns” and the “Today” show. In recent years, Miss John Albert Davis Jr. died March Rio accompanied silent fi lms at movie 18 in Poughkeepsie, New York, at the houses. She was most closely associated age of 86. Born July 21, 1923, in Pulas- with the Tampa Theatre in Florida. ki, New York, he was an organ major at Born on June 2, 1902, Rosa Rio’s Westminster Choir College, interrupting maiden name and birthplace are not his studies to serve in the U.S. Army Air known; her given name was Elizabeth Corps during World War II. After fi nish- and she was raised in New Orleans. She ing his bachelor’s degree at Westminster, began piano lessons at age 8 and later he served as organist and choirmaster at entered the Oberlin College Conser- Park Congregational Church in Grand vatory. She transferred to the Eastman Rapids, Michigan. In 1955 he was ap- School of Music, which had a program pointed organist and choirmaster at the in silent-fi lm accompanying, and began U.S. Military Academy at West Point. calling herself Rosa Rio. During this time he earned a master’s de- In the 1920s, Rio played in movie hous- gree in musicology at Boston University. es around the country before being hired David Troiano Karl Held He also directed the Ladycliff College by the Fox Theater in Brooklyn. When Women’s Glee Club for many years. sound was added to fi lms, she worked earned a DMA degree from the Univer- visor to the president of Gettysburg After retiring from West Point in as an accompanist and vocal coach, in- sity of Michigan, where he studied organ College, where he developed an inter- 1985, he served as organist-choirmaster cluding for an unknown singer named with Marilyn Mason and harpsichord national concert and lecture series incor- at the Reformed Church in Poughkeep- Mary Martin, whom Rio accompanied with Edward Parmentier. He is music di- porating cultural classroom exchanges sie until December 2009. John Davis was on her successful audition for the Cole rector at St. Clare of Montefalco Church on a global level. preceded in death by his wife of 58 years, Porter musical “Leave It to Me!” (1938), in Grosse Pointe Park, Michigan. Held’s numerous awards include the Dorothy Ann Deininger; he is survived Martin’s Broadway debut. At NBC, Rio presentation of the key to his native Get- by his daughter, two sons, two grandsons, played for as many as two dozen radio tysburg, Pennsylvania by Mayor William and one great-grandson. shows a week, often with just 60 seconds Troxell for “the promotion and appre- between shows to bolt from one studio ciation of the arts for all Americans.” He John “Jack” Hutton Jr. died March to another. On September 1, 1939, the received nominations for 2010 Tony and 10 in New Orleans, Louisiana, at the day Germany invaded Poland, she was Drama Desk awards as producer for the age of 82. He was organist-choirmaster summoned to work at 2 am, performing recent Broadway revival of Ragtime, and of Rayne Memorial United Methodist somber music between news bulletins. a 2010 MAC (Manhattan Association of Church in New Orleans for 42 years, During World War II, she had her own Cabarets & Clubs) Award for his produc- directed the Concert Choir of New Or- show, “Rosa Rio Rhythms,” broadcast to tion of Hysterical Boldness. leans for 30 years, and taught at the Uni- American troops overseas. versity of New Orleans and Dillard and She was a Hall of Fame member of Loyola universities. the American Theatre Organ Society, A native of Wilkinsburg, Pennsylva- and had presented two command perfor- nia, he earned bachelor’s and master’s mances before the U.N. General Assem- degrees from the Peabody Conservatory, bly. She was also an honorary member of and held MSM degrees from Southern the Detroit and Central Florida theatre Methodist University and Perkins Theo- organ societies and of the Clearwater, logical Seminary. Prior to his move to Florida AGO chapter. New Orleans, he taught at the Hamp- Rosa Rio is survived by her husband, William Whitehead ton Institute and Maryville College, and Bill Yeoman, whom she married in 1947, served as minister of music at churches three grandchildren, and nine great- William Whitehead is featured on a in West Virginia and Texas. grandchildren; a son, John Hammond new recording, Mendelssohn: Complete Hutton served Rayne Memorial III, died several years ago. Organ Sonatas, on the Chandos label Church from 1965 until his retirement in (CHAN 10532). Recorded on the 1818 2007, when he was named choirmaster Lincoln organ in the ballroom of Buck- emeritus. After losing most of his music ingham Palace, the program includes the library to Hurricane Katrina, he worked Here & There six sonatas of Opus 65. For information: to rebuild Rayne Memorial Church and
10 THE DIAPASON
July 2010 pp. 2-19REV.indd 10 6/9/10 10:38:25 AM Unveiling the Future
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10050189_JOH_NWE_CAMPAGNE_USA_ZW_246X360.indd 1 5/28/10 12:59 PM MorningStar Music Publishers an- July 13, St. George’s Anglican Church, Alexander McCurdy appointed head nounces the release of new organ music: Guelph, Ontario, 8 pm; of organ department at Curtis Institute Aria (Homage to Flor Peeters and Paul July 14, Cathedral of St. Catherine of of Music, Philadelphia Manz) by Michael Burkhardt (10-170, Alexandria, St. Catharines, Ontario, 8 pm Porter Heaps named winner of the $7.00); O Love, How Deep: Three Hymn July 15, Hamilton Place, Hamilton, H. W. Gray anthem prize Settings for Organ by Craig Phillips (10- Ontario, 8 pm; Harvey Gaul celebrates 25th anniver- 240, $12.00); Six General Hymn Impro- July 16, Roy Thomson Hall, Toronto, sary at Calvary Church, Pittsburgh visations, Set 3, by Michael Burkhardt Ontario, 8 pm; Franklin S. Palmer died June 5 in (10-539, $14.00); Introductions, Inter- July 17, Redeemer College, Ancaster, Seattle, WA ludes & Codas on Traditional Hymn Ontario, 7:30 pm. For information: New York AGO convention is largest Tunes, Set 4, by Donald Rotermund
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12 THE DIAPASON
July 2010 pp. 2-19REV.indd 12 6/9/10 10:39:27 AM Hilltop cathedrals on Serifos, Catholic cathedral on the left
1601. (This has been easy to maintain as there have been only fi ve organists there since 1863.)1 The plaque honoring clergy in the Cathedral of Serifos goes back to 343 AD. No kidding! The organ at the Catholic cathedral in Serifos The island of Aegina is a touristy place near Athens, a good stopping point for casting facility from about 1000 BC that the development of crafts that depend boats traveling to the more distant Cy- was discovered nearby. I was captivat- on intense heat. cladies. It’s a major producer of pistachio ed by the idea that such sophisticated One of the most gifted Greek sculp- nuts (we brought home a couple kilos) techniques were developed so long ago tors was Praxiteles. He lived from 400– and home to some extraordinary arche- (4500-year-old pottery kilns?), and as the 330 BC, not all that old. But his work ological sites. The museum in Aegina Cycladic islands are volcanic, including a was far ahead of his time. As far as we Town includes decorated pottery from couple that are still active, I wondered know, he was the fi rst to sculpt life-size 2500 BC and shows a model of a bronze what role volcanoes might have had in female nudes from marble. There’s a
ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD AAATFEE DBO DOBSON CASAVANT FRERES TAYLOR BOODY BOODY TAYLOR
Serifos Catholic priests
the dominance of the Greek Orthodox Church, which does not use musical in- struments, means that there are very few organs there. Our vacation was a tour of the Cycladic Islands in the Aegean Sea, which form a political state whose capi- Butter
tal is Spathi on the island of Serifos. The DYER R. population of Greece is about eleven million—ten thousand are Roman Cath- Doesn’t Claim olics, and most of them live on Serifos. There are dueling cathedrals (Orthodox and Catholic) on hilltops above the city, to and sure enough, there’s a small pipe
organ in the Catholic cathedral. We GARLAND FISK climbed hundreds of stairs from the port Taste Like to the hilltop, and unbelievably we were not able to get into the organ loft. It’s common in American churches to Margarine! see a plaque honoring the succession of FRITTS pastors. A few congregations around us in New England trace that history to the seventeenth century. Organists revere the plaque in the organ loft of the Church of St. Sulpice in Paris where organists are traced back to Nicolas Pescheur in GOULDING & WOOD
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JULY, 2010 13
July 2010 pp. 2-19REV.indd 13 6/9/10 10:39:44 AM the committee before the site by the en- trance to the Palazzo Vecchio on Piazza della Signoria was chosen. Apparently Leonardo didn’t get his way.2 So much for the image of the artist toiling in his studio, free to express his deepest emotions through an unlikely medium that he understands better than anyone. It’s a romantic image to be sure, but especially when there’s a lot of money involved and the artwork is for a public place, there are likely to be a lot of spoons in the soup. I know that guy Each month I receive several jour- nals with photos of pipe organs on the front cover and I always try to guess the builder before I look inside. I’m often wrong, but there are a half-dozen North American organbuilders whose styles are so clearly recognizable to me that I get Praxiteles: Aphrodite of Credos them right every time. As most organs are commissioned by committee, I ad- legend that he had a romantic relation- mire those builders who can create and ship with his primary model, Phryne, maintain recognizable styles. who came from Thespiae (origin of the I like to think of a pipe organ as an ex- Dobson organ, St. Peter Claver, West Hartford, Connecticut (photo: courtesy Dobson term thespian) and was known as one of pression of the sensibilities of the builder. Pipe Organ Builders, Ltd.) the most beautiful women of her time. I love the process of organ design, when She was the model for Praxiteles’ famous the concept of an instrument gets put scend the whims and pressures of doz- Who brought the camel? Aphrodite of Credos. Their relationship on paper. When several companies are ens of committees refl ects both artistic So what good comes from artworks was explored by Camille Saint-Saëns in invited to submit proposals to a church integrity and conviction. designed by committee? You know the his comic opera Phryne. (How did he for a new instrument, it’s interesting to old saying, “A camel is a horse that was ever stumble on that subject?) see the various drawings—how each fi rm Stop, look, and listen designed by a committee.” If too many Praxiteles worked in Athens. His would meet the particular challenges of Visual design is only part of the job. people, especially those who know little model came from Thespiae, about 150 the building. And sometimes we get to A pipe organ is both an architectural or nothing about organs, are involved in kilometers away. He worked with marble see several different concepts by a single element and a musical instrument. Ide- planning an organ, whose art is it? Or is from the Cycladic Island of Paros, more builder for a particular instrument. ally, there’s some relationship between it even art? An organbuilder can with- than 200 kilometers away by water. Think Organbuilder Lynn Dobson has an organ’s appearance and its musical draw a proposal if he’s not happy with of the logistics of transporting a six-foot produced many wonderful pipe organ content—but sometimes a building’s the concept the client insists on, but you block of marble from Paros to Athens designs, and as his fi rm celebrates its architecture doesn’t allow it. It’s easy to can’t eat a withdrawn proposal. How just to carve a statue of a pretty woman. thirty-fi fth anniversary they have created picture the stark contemporary building many of us have produced projects we It would be diffi cult enough now with an online exhibition of many of his draw- owned by a congregation that would be disagree with? If you have a story, send power equipment and hydraulics. Prax- ings, including designs of many organs best served by an organ of classic style. me a message at
THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET the first Sunday of each month at wrti.org
14 THE DIAPASON
July 2010 pp. 2-19REV.indd 14 6/9/10 10:40:06 AM Example 1 On Teaching by Gavin Black
Example 2
to learn the right notes securely and ef- should go in which hand. This question disadvantage to dividing the passage up fi ciently. I will try my best to do this in a must precede detailed questions about between the hands is that it gives more way that leaves open as many different fi ngering, and it is often overlooked or to think about in the learning process interpretive possibilities as possible. In shortchanged by students. More about and to remember in playing, and prob- particular, I do not mean to take sides this later.) Since the passage is basi- ably takes longer to learn. in any debate about how much to incor- cally high—in the right hand region On a more positive note, an advantage Buxtehude BuxWV 141 – Part 2: porate “authentic” fi ngerings and pedal- of the keyboard—and is probably not to keeping the passage in one hand is Fingering, pedaling, and ings, or about what those are or might going to be played in a way that is pro- that it is probably easier or more natural practicing, part 1 be in any particular case. That does not hibitively fast for one hand, it makes to project the overall rhetorical shape of In this month’s column, we will look at mean that I will not mention them or in- sense to start out by assuming that it is the line when the shape and spacing of the opening section of the Buxtehude E clude them among the possibilities. As I a right-hand passage. the notes is felt in the most direct physi- major Praeludium in great detail as to fi n- hinted but did not quite state last month, However, it also makes sense to look cal way by the player. None of these con- gering and pedaling, and outline ways of I will not discuss any work on memoriza- for places where taking some of the siderations is absolute, and a teacher and practicing that section. When we return to tion. (I have, like many performers and notes in the left hand would make things student can think about them and work this piece, after beginning our look at the teachers, somewhat mixed and compli- easier. Each student can look the passage them out. Boëllmann Suite Gothique, we will ana- cated feelings about memorization, but over and make this judgment for him- Just for the record, the fi ngering that lyze the section that begins in m. 13 with I do not consider it to be a necessary or or herself. It might, for example, make I myself would use to play this passage regard to practicing and learning that sec- integral part of learning a piece well and sense to take the four sixteenth notes of is shown in Example 2. This is largely a tion. These two sections offer several dif- performing it in a way that is both solid the third beat of m. 3 in the left hand. common-sense and hand-position-based ferent textures and types of writing; each and artistically worthwhile. I will discuss These notes are lower than the rest and fi ngering. For example, the choice of 1-3 suggests a different approach to the very memorization as an issue unto itself in a using the left hand to play them would to begin the passage is entirely based on practical act of learning the notes. These later column.) put that hand in a good position to par- the way that my own fi ngers happen to textures include the one-voice opening, ticipate in playing the chord on the fi rst fall over those notes, given my posture the multi-voiced but not strictly contra- Fingering beat of m. 4. and my arm angle. (The arm angle stems puntal measures that immediately follow, Since the opening of our Praeludium It is also possible to share the notes from my preference for letting my el- and the rigorously contrapuntal—fugal— (see Example 1) is a monophonic state- more or less equally between the hands, bows fl oat out from my sides, which in section that begins in the soprano voice ment of three rather long measures— though I myself have not been in the turn is—for me—part of a relaxed pos- in m. 13. Each of these textures recurs in 49 notes—the fi rst question that arises habit of doing so in this passage. An ad- ture.) The fi rst four notes could just as this piece, and of course throughout the is which hand or hands should play it. vantage of sharing the notes between the well be played 1-2-3-4 or 2-3-4-5. The repertoire as well. (This foreshadows the most important two hands is that it is just easier to ex- choice of 3 rather than 4 for the D-natu- This and the next few Buxtehude col- practical question about any passage of ecute. This becomes more important the ral 32nd note late in m. 1 is designed to umns will focus on the steps necessary keyboard music; namely, which notes faster a player wants the passage to go. A make it easier to reach the coming G#
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JULY, 2010 15
July 2010 pp. 2-19REV.indd 15 6/9/10 10:40:29 AM with 4 (rather than 5). The point of play- question is which hand should play some Example 3 ing that G# with 4, in turn, is twofold: of the inner-voice notes. As I mentioned fi rst, to place the (long) third fi nger on above, this is extraordinarily important. the F# and the (shorter) second fi nger on I have seen students waste a lot of time the E; second, to make it easier then to or even make an easy passage almost un- reach the high B on the fi nal half-beat of playable by assigning notes to hands in an the measure with fi nger 5. (It would also awkward way. This is usually caused by be fi ne to play those notes—G#-F#-E— assuming too readily that the notes print- with 3-2-1.) For me, keeping the thumb ed in the upper staff should be played off of raised keys is a guiding principle. by the right hand and those printed in A reason for not playing the third beat the lower staff should be played by the of m. 1 with 2-1-2-5, etc. (but rather left hand. In fact, there should never be with 4-3-2-5, etc.) is that the gesture such an assumption unless the two hands of turning the second fi nger over the are meant to be on different keyboards, thumb to play the G# moves the hand providing different sounds for different away from the upcoming (high) E, and parts of the texture. In general, the two therefore makes the playing of that note manual staves between them present awkward—at least, that is how it works a note picture, and we have ten fi ngers with my hand. In m. 3, the non-adjacent with which to play that note picture in fi ngerings of each of the beat groupings the most reliable way possible. are all designed to move the hand in the In each of the measures in Example correct direction for whatever is coming 3, there are notes in what is more or up next. less the alto voice that are printed in This fi ngering is not intended to be a the upper staff; some of these might be recommendation or even a suggestion: it best played in the left hand. The notes is just how I would probably do it. There that I have highlighted are those that I are many other ways. (Some of these would choose to play in the left hand. might be more historically minded—with Again, this is not by any means the only more disjunct or pair-wise fi ngerings—or way to do it. The fi rst criterion that I use Example 4 that passage towards convincing rhythm less so—with substitution or more use of in working this out is that “extra” notes is whatever will get the notes learned the the thumb, even occasionally on a black should be placed in the hand that other- most securely. The use of very small note note.) The important thing is that teacher wise has less to do. That is at work very values early in practicing is so removed and student work out a fi ngering that is strikingly in mm. 7-8, and the beginning from later performance, in time and in appropriate for that student. Sometimes of m. 9, but also elsewhere. Sometimes feel, that I have never known it to come that process involves a lot of specifi c in- hand choices are made based on the back and haunt or infl uence the quality put from the teacher, sometimes little or need to prepare what comes next. That of a that performance.) none. A teacher should always look for applies here in m. 11, where I am not Some variation is possible in the mode ways to let the student assume increas- taking several notes in the left hand that of reconnecting the separate hands. In ingly more responsibility for working out could, or in a sense should, be in the left general, the slower you are willing to fi ngerings. I tend to give very few spe- hand, so as to make it possible for the left ciples of practicing are always the same, keep things, the more promptly you can cifi c fi ngering suggestions, but keep an hand to play the (tenor) E in the chord and they are both so important and so let yourself put components of the whole eye out for spots where a student may in m. 12. (There would be other ways to diffi cult psychologically (for most of us, texture together. There is some speed at not have succeeded in fi nding something deal with this, involving substitution.) certainly including me) that they can’t which any given student could indeed that works well. In those cases, I will in- Sometimes the notes of a passage in be repeated too often: break the music skip the step of separating hands. For vite the student to analyze the spot again, a middle voice can be divided between down into manageable units—short most of us, in moderately or very diffi - perhaps with more input from me. the hands just to make that passage eas- passages, separate hands and feet; prac- cult passages, this tempo is very slow in- So in this case, once a fi ngering has ier—less inclined to get tangled. This is tice slowly enough; speed up gradually deed, and in general it is not a good idea been worked out, the most effective ap- the case here in m. 5 and to some extent and only when the unit being prac- to aim to do this. (Not a good idea partly proach to practicing the passage is clear. in m. 10. An overriding consideration is ticed is really ready for it. In the case because it taxes our boredom thresh- That is, since it is only one line and one hand position: how can notes be divid- of the passage under discussion, one old and partly because separate-hand hand—at least, certainly one hand at a ed between the hands in a way that sensible way to divide things up might practicing also allows us to hear things time—there is no concern about how to best allows each hand to remain in a be as follows: clearly.) In general, if each hand feels combine parts, and in what order. The natural, comfortable position? 1) the right hand from the last few notes really solid at a certain tempo—ready in plan is just to practice it. First, choose a After the hand assignments have been of m. 3 through the downbeat of m. 9 theory to be performed by itself at that very slow tempo: slow enough that play- worked out, the next step is to work out 2) the left hand from the downbeat of tempo—then it is possible to put those ing the right notes with the planned fi n- fi ngering. (In the process, some hand m. 4 through the second beat of m. 9 hands together at a somewhat slower gering is actually easy. This might, for one choices may be changed.) As always, fi n- 3) the right hand from the fi rst high B tempo. How much slower varies from player, be sixteenth note equals 60, for an- gering will depend in part on factors that in m. 8 through m. 12 one situation to another. The overriding other 80, for another 45. For an advanced differ from one player to another, includ- 4) the left hand from the half note D# principle is a familiar one: when you put player or a good reader it might be faster, ing the size and shape of the hands, exist- in m. 8 through m. 12, and the hands together, the tempo should be and it might be all right to think about a ing habits or “comfort zones,” and artis- 5) the pedal part, which I will discuss such that the results are accurate and the pulse for the eighth note even from the tic goals concerning articulation, tempo, in its own right just below. experience feels easy—no scrambling, beginning. Anything is all right, as long as and other matters. Example 4 shows a (Notice that the sections are designed to no emergencies, no near misses. the student does not start with too fast a possible sample fi ngering for one of the dovetail, not to bump into one another. tempo. Then, having played the passage more convoluted of these measures. As This guarantees that practicing in sec- Pedaling several times at this starting tempo, the always, there is a lot here that could be tions will not cause fi ssures or awkward The pedal part in mm. 4–12 of this student should play it several times a lit- done differently. For example, it could transitions to develop. This is quite im- piece is simple though non-trivial. I tle bit faster, then a little bit faster still. At make sense to play the E that is the portant. It also applies to practicing would play the fi fteen pedal notes with some point, the beat in the student’s head fi rst note in the top voice of the fi rst full across page turns.) the following feet, all toes: will naturally shift from the sixteenth measure with 5, or the D#/B right-hand Each of these units should be played l-r-r-r-l-r-l-r-l-r-l-l-r-r-l note to the eighth note, then to the quar- chord later in that measure with 2/1. It many times at, initially, a very slow tem- Other possibilities involve, for example, ter note. The crucial thing is not to get would also be possible to take the A#- po: as always, slow enough that it feels playing the fi rst note of m. 5 with left toe ahead of a tempo that honestly feels easy. B in the fi rst full measure with the left easy. For most students it would prob- (crossing over) or playing the second note This, if practiced rigorously, will lead to hand, probably with 2-1. The above is ably make sense, given the somewhat of that measure with right heel; or play- unshakeable security. just one way of doing it. complex texture of this passage, to start ing some of the two-note groupings that Meanwhile, the rest of the opening with a beat—in the student’s head or span bar lines (between mm. 6–7, 7–8, section is multi-voiced, a mix of not very Practicing from a metronome—that will repre- 8–9) with one foot, either all toes or toe strict counterpoint and homophonic writ- Once the fi ngering has been worked sent the 32nd note, so that each of the and heel. Once a student has decided on ing. In this passage, the main practical out, the next step is practicing. The prin- sixteenth notes will receive two of those a pedaling, he or she should play through beats. This 32nd-note beat might initially the pedal part slowly, not looking at the be at 100, or 80, or 120: whatever feels feet, until it is second nature. Since the comfortable. Then each unit should be note values are all long, getting the pedal sped up gradually. part up to tempo will not take as long or (Some musicians express concern that go through as many stages as it would starting the practicing procedure with with some other passages. However, it is beats that represent very short notes— extremely important not to shortchange many levels down from the “beat” sug- the practicing of even this fairly simple gested by the time signature—will result pedal line. This is all the more true be- in playing that lacks a sense of underly- cause in general lower notes and slower ing pulse, that is too divided into small notes play the greatest part in shaping fragments. However, it is insecurity as to the underlying pulse and rhythm in or- the notes, fi ngerings, and pedalings that gan music. This pedal line is both. is by far the greatest cause of rhythmical- When the pedal part seems very solid, ly unconvincing playing. At the early to then it is time to begin practicing it with middle stages of learning a passage, the the left hand. It is often true—for most best thing that we can do to predispose players—that “left hand and pedal” is
16 THE DIAPASON
July 2010 pp. 2-19REV.indd 16 6/9/10 10:40:51 AM the combination of parts that requires with that warmth of sound surely seems notes; its music is on the back cover but American composers, played by the fa- the most work. Therefore it should be like a good idea. To assist with this, the is not indicated in the choral score. The miliar combination of organ and trum- started as soon as each of those parts is reviews below all feature the use of a solo text is in German and English and the pet. Drs. Benjamin and Steed perform ready. It is also often true that once left violin with choir, but do not require a full choral music is very contrapuntal; the as a duo under the name “Clarion.” The hand and pedal is very secure, and the orchestra. Consider programming a cho- keyboard part consists of repeated, pul- fi ve mostly lengthy pieces were com- right hand part is well learned, and the ral work with an additional solo violin at sating chords. posed from 1995–1998. two hands together are secure, then the least once or twice a year. Your congrega- Best known of the composers repre- whole texture will fi t together without tion (and choir) will be delighted. How Can I Keep from Singing, Tay- sented is probably Samuel Adler, whose too much trouble. However, it certainly lor Davis. SATB, violin, oboe, and virtuosic Clarion Calls begins the disc. never hurts to practice right hand and In the Light of His Glory and Grace, piano, MorningStar Music Publish- Of its four movements, the exciting fi nal pedal as well. In the case of this section, Mark Shepperd. SATB, keyboard, ers, MSM-50-2545, $2.25 (M). “Celebration” is very effective. The sin- there are a couple of places where the and violin, Augsburg Fortress, 978- Subtitled My Life Flows on in Endless gle-movement, 13-minute Breezeworks strongest rhetorical and rhythmic inter- 0-8006-6426-8, $1.75 (M). Song, this setting from the Luther Col- by Donald Freund follows, commis- action is between the something that is The text and tune by Helen H. Lem- lege Music Series features an attractive sioned by Clarion, as apparently were all being played by the right hand and the mel (1863–1961) has been arranged by folk melody that begins in unison and numbers played here. It contains many bass line in the pedal. This is the case, Mark Shepperd. The text is based on 2 develops into four parts with the vio- ideas and is well worth hearing, both for for example, with the transition from m. Corinthians 4:18, with the choral parts lin/oboe playing throughout. The choral the musical interest and the very accom- 3 to m. 4, and also the middle of m. 10. on two staves and the violin part on a music is on two staves with a relatively plished musicianship of the performers. Practicing the right hand and pedal to- staff above them; a separate violin part is simple keyboard part. This is a sure win- Brunelleschi’s Machines by Eugene gether will draw the attention of the ears included on the back cover. The expres- ner that is not diffi cult. O’Brien is intended to evoke machines to these spots. sive music is syllabic with some minimal of the Renaissance and later ages, ac- Next month we will start looking at the divisi. Neither the keyboard nor the vio- We Three Kings, James Laster. SATB, cording to the notes, realizing that the Boëllmann, concentrating on understand- lin part is diffi cult; this would be useful keyboard, violin, and fi nger cymbals, organ itself is a complex machine. The ing the overall shape of the piece and for most church choirs. Augsburg Fortress, 978-0-80006- amazing Icarus Wept by James Mobber- looking for connections and contrasts. Q 6418-3, $1.90 (M). ley introduces various tape sounds into Healer Divine, Raymond H. Haan. Here is that Epiphany work for next the mix. Of the fi ve movements played Gavin Black is Director of the Prince- SATB, organ, violin (or viola), harp year; it combines the traditional melody here, “Eleven Feet from the Sun” is self- ton Early Keyboard Center in Princeton, (or piano), and optional assembly, and text with one by 19th-century poet/ explanatory. As for “Strap on Your Lob- New Jersey. He can be reached by e-mail at GIA Publications, G-6386, $1.60 (E). musician John Henry Hopkins. Choral ster” and “Getting Waxed,” don’t ask! I
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JULY, 2010 17
July 2010 pp. 2-19REV.indd 17 6/9/10 10:41:05 AM expected: a contemporary mechanical- music education, serving for 27 years on friends. Cabena used humorous titles fortissimo and vigorously and in a short action organ with 56-note manual and the faculty of Wilfrid Laurier University such as MacMillan’s Majesty, Raymond’s time leads into a softer andante section 30-note pedal compasses, it is located in before he took early retirement in 1996. Rownde, Willan’s Whim (Fantasy on one before returning to the opening music. a church building across from Danville’s Dr. Cabena has nearly 500 compositions note), Victor’s Variations and so on, for a The second movement, Intermezzo, al- Center College. to his credit. delightful homage to ten of his friends. It ternates several times between a melodic Should you need additional Bach re- Seven organ works of Barrie Cabena was published by Waterloo Music Com- andante and a vigorous vivace. The fi nal cordings to add to your stash, or perhaps are reviewed below; all are published pany Limited, 1967. movement, Rondo, plays happily with a are just beginning a collection, this well- by ECS Publishing (www.ecspublish quirky tune and irregular rhythms. played example would be a good one to ing.com). Cabena’s organ music often Organ Sonata II (Sonata for Manuals own. Twelve varied compositions are in- reminded me of the music of Daniel Only), ECS Publishing 6856, $12.50. Sonata in Five Movements (Organ cluded, ending with the BWV 532 Prel- Pinkham—well thought-out, cohesive, Dr. Cabena wrote the Sonata for Sonata IX), ECS Publishing 6868, due and Fugue in D Major (listed here dissonant, with unexpected lyrical beau- Manuals Only for the benefi t of students $22.50. as “Toccata”), given a rollicking perfor- ty, and the use of historical forms. It is who, having a good keyboard technique, The longest of the sonatas reviewed mance by David Briggs and taken at the rare that Cabena added extra notes to fi nd the early stages of organ study frus- here, Sonata IX was composed in 1971 upper limit of tempo. fi ll out a texture. Rather, he has written trating. It is meant to explore some of for the AGO mid-winter conclave in De- out careful suggestions for registration the basic colors of the different divisions. troit. In its construction, however, it was Tom Johnson: Organ and Silence. and manual changes. I found the music The sonata is broken into three move- designed to show off the three-manual Wesley Roberts, organ. Chapel of to be well written, always remaining in ments: Theme and Six Variations, Pas- tracker-action Casavant organ at First- the Sisters of Loretto, Nerinx, Ken- his own consistent style. Depending on torale, and Toccata. The piece presents St. Andrew’s United Church, London, tucky. Ants Records AGO5, $16.00; your church’s acceptance of new sounds, a number of technical diffi culties, but at Ontario. As in most of Cabena’s organ
18 THE DIAPASON
July 2010 pp. 2-19REV.indd 18 6/9/10 10:41:26 AM relieved dissonance, the lack of harmonic beginning with the ten-bar introduction and Fugues of Bach/Krebs as well as everywhere else on the number of new relief here is more disturbing. and an opening presentation of the tune two Orgelbüchlein settings. Much of the organs built in the course of the year, I found the Prelude on New Britain in the soprano. The melody stays in the music, while not overly edited, is fi tted most British organbuilders were fortu- to be the most effective prelude in the soprano against running sixteenth notes with fi ngerings and pedalings. In some nately able to make this up by means of set. The fi rst statement of the tune calls in the left hand, before the tune jumps of the early music, the author suggests a an increase in restoration and rebuilding for an 8′ reed against chords and running to a pedal solo on an 8′ stop. The devel- more legato approach (fi nger and pedal work, some of which was the result of eighths in the left hand, and a slow-mov- opment takes us through B minor and C substitutions as well as use of heels) than insurance claims resulting from fi re and ing pedal line. This gives way to a forte minor before a calm closing in D minor. currently is in fashion; later in the book, weather damage. statement of the melody, again in the This is one of the most effective volun- however, he advocates semi-detached Among the many interesting articles soprano, but this time against a two-part taries in the volume. I have every inten- playing as the norm in early music. in this year’s volume is one by Michael accompaniment in eighth notes. A short tion of playing this piece next Christmas One might quibble about very small Blighton, head voicer of Mander Organs, coda ends the piece. Eve when it will be most appropriate. points, such as the suggestion in a section on the new Dome division reeds at St. Promised Land is the longest and most The music in this volume makes me on service playing that we are “accompa- Paul’s Cathedral in London. The same rigorous prelude in the set. Each verse want to see the other two volumes. They nying” hymns and liturgy (as compared author has a second article on a Brit- grows in volume and complexity. Short are a fi tting tribute to a much-loved with “leading”); the manner in which re- ish export to the United States, the new interludes set off the different sections. English composer and certainly make us peated notes are to be played; and the Mander gallery organ at Peachtree Unit- The fi nal verse modulates from F minor more aware of some of his lesser-known misspelling of “Wittenberg” [!]—minor ed Methodist Church in Atlanta, where to F major, and the prelude ends bril- hymn tunes. quibbles. In fact, the students who mas- it joins the previous Mander chancel liantly. This is also quite effective. —Jay Zoller ter the pieces in this volume, with sup- organ of a few years back. There are ar- Wondrous Love brings the set of pre- Newcastle, Maine port of the technical studies integrated ticles by Adrian Lucas, Kenneth Tickell, ludes to a close. Of the three verses, the therein, not only will have developed a and John Norman on the important new fi rst is the only loud one. The second is serviceable technique for making music Tickell organ in Worcester Cathedral. faster in a two-part texture, with the mel- Adagio in B-Flat, Tomaso Albinoni, on the organ but also will have a collec- Mark Venning, the head of Britain’s larg- ody in the left hand, and the fi nal verse edited and arranged by G. Franklin tion of well-crafted and attractive pieces est organ building company, Harrison & ends softly. Eddings. MorningStar Music Pub- to play in church. Harrison, has an article on his fi rm’s res- In general, this is a very nice set of lishers MSM-10-974, $7.00. —David Herman toration of the 5-manual Walcker organ preludes on early American tunes. Cer- This is an arrangement, including a Trustees Distinguished Professor of in the Stockholm City Hall in Sweden. tainly, each one is serviceable music and part for an optional C instrument, of a Music and University Organist On the historic organ front, Dominic they rank from easy to medium in dif- movement of Albinoni’s Oboe Concerto, The University of Delaware Gwynn has an article on the restoration fi culty. However, in many places, due to op. 9, no. 2: a clean score of a not-so- of the 1579 Theewe claviorganum in extreme stretches in the hand, the mel- well-known piece by a contemporary of the Victoria & Albert Museum in South ody is very diffi cult to play legato in pas- Bach. The voice leading in the realiza- Kensington. (In view of the fact that the sages where a legato touch would seem to tion of the continuo part (here, left hand Book Reviews V & A is proposing to abolish their mu- be appropriate. At times, the dissonance, and pedal) is nearly always well done—so sical instrument gallery, it is rather odd, without any resolution, becomes tedious. much so that the occasional consecutive though laudable, that they should still be There are virtually no tempo markings in fi fths/octaves are the more conspicuous. Organ Building: Journal of the Insti- spending money on restoring the exhib- any of the pieces, which leaves the per- tute of British Organ Builders, Vol- its.) Dominic Gwynn’s business partner, formance interpretation entirely up to Triumphant March on “Darwall’s ume 9 (2009). 116 pp., ISSN 1472- Martin Goetze, has an article on a mid- the performer. 148th,” Andrew Clarke. Tenuto Pub- 9040; ISBN 978-0-9545361-6-9. IBO nineteenth-century British export to lications (Presser) 493-00105, $5.95. Publications Group, 13 Ryefi elds, Chile, the 1849 Benjamin Flight organ in I Sing the Almighty Power of God: Might not “Theme and Variations on Thurston, Bury St. Edmunds, IP31 the Santiago Cathedral. (One hopes this Organ Voluntaries on the Hymn . . . ” have been a more appropriate title 3TD, United Kingdom; tel. & fax instrument did not fare badly in the re- Tunes of Ralph Vaughan Williams, than “Triumphant March?” In any case, 01359-233433 (from the USA 011- cent Chilean earthquake.) An absolutely Vol. II, by Robert Lind. Paraclete Darwall’s tune goes through the varia- 44-1359-233433). charming little organ is the 1783 James Press PPM0839, $18.00; tion treatment (minor, eighth notes, trip- Available through the IBO web-store Grange Hancock instrument in the Par-
JULY, 2010 19
July 2010 pp. 2-19REV.indd 19 6/9/10 10:41:46 AM Organbuilders and research: Another point of view John M. Nolte
he January 2010 issue of The Dia- noted that the wind pressure inside the (Atoe)2 = ΔPfl ue Tpason featured an article by Judit pipe foot in open-toe pipes showed an (Afl ue)2 ΔPtoe Angster and Francesco Ruffatti on or- average pressure drop of 10% or less ganbuilders and research.1 This kind from the original pressure inside the where A is the area of the toe or fl ue, of work is very necessary and useful, windchest, while in the closed-toe pipes, and ΔP is the pressure drop at the toe and it can generate profi table discus- even though these were still fairly open, or fl ue. sion that leads to a better and broader the pressure drop was about 40 to 50%.”2 Let’s illustrate this with a chart. If the understanding of the pipe organ. The I was surprised that a group of voicers original chest pressure is 100mm, then research reported in January is far from and physicists was surprised. This is ex- the area of the toe compared to the area complete, but it is a very good discus- actly what one should expect. Let’s look of the fl ue will give these results for the sion starter. Several things in the article at what happens in the foot of the pipe. pressure in the foot: struck a chord with me, and I will elab- See Figure 1. orate on two of them. In this article I When the organist plays the note, Atoe Afl ue Foot Pressure will discuss the open-toe versus closed- air enters the foot of the pipe through 1 2 20mm toe question on the basis of a little the toe, and it exits the foot of the pipe 1 1 50mm technical background that goes back through the fl ue. If the pipe is well 2 1 80mm to Daniel Bernoulli, an 18th-century made, and the toe is seated properly in 9.95 1 99mm Swiss scientist. This will be followed by the chest, all of the air that enters the a reprint of my article, “Scaling Pipes toe leaves through the fl ue. When the Notice that when the area of the toe in Wood,” originally published in the chest pressure is higher, the air coming opening and the area of the fl ue are the Journal of American Organbuilding in out of the pipe hole travels faster. When same, half of the chest pressure is lost March 2001. the pressure is lower, the air travels in the toe, and half is lost when the air The question of open-toe versus slower. The size of the hole does not af- exits the fl ue to the atmosphere. When closed-toe requires an understanding of fect the speed of the air—it just controls the toe opening is smaller than the fl ue, what organ wind pressure is with respect the volume of air that comes out of the the pressure in the foot is even less than to voicing. There is a big difference be- chest. If the fl ue is completely closed half of chest pressure. We have seen tween windchest pressure and voicing so the air has nowhere to go, when the examples of pipes voiced on 10″ wind pressure. Windchest pressure is the valve is open the pressure in the foot will pressure that were actually speaking on pressure present at the toe of the pipe rise until it is equal to the pressure in the 2″ wind pressure. For fl ue pipes, wind when the valve is opened. Voicing pres- chest. If we open the fl ue, air will escape pressures of 8–10″ are found at the lan- sure is the pressure at the languid. In from the foot, and the toe hole will re- guid of fairground organs designed to be every case, voicing pressure is lower place it as fast as it can. In every case the played outdoors and heard up to a quar- than windchest pressure. When we pressure in the foot will be lower than ter mile away. Rarely do indoor pipes say an organ is on 5 inches wind pres- the pressure in the chest. Because the receive pressures over 4″ at the languid. sure, measured in the chest, all we know volume of air leaving the pipe at the fl ue When the toe is larger than the fl ue, about voicing pressure is that it is less is the same as the volume of air enter- more than half of the chest pressure than 5 inches—it could be 2 inches or ing at the toe, we can use variations of is present in the foot of the pipe. less. What happens in the foot of the Bernoulli’s equation to predict what the When the ratio is about 10:1, the toe is pipe is the key. difference in chest pressure and foot fully open and 99% of chest pressure is In the research article, one measure- pressure will be. The rule is that the present in the toe. ment that was taken was the wind pres- pressure drops at the toe and the fl ue For many years the American Institute sure in the foot of the pipe. The author vary inversely with the squares of their of Organbuilders has recommended that states, “To everyone’s surprise, it was areas. Here is the formula: in good fl ue voicing we aim for a toe that is twice the area of the fl ue. No- tice from the chart that this yields 80% of chest pressure in the toe. This allows the Figure 1. This cutaway view of an organ voicer a little latitude to make the pipe pipe illustrates the important difference louder or quieter by regulating the toe between windchest pressure and voic- more or less open. ing pressure. The foot of the pipe low- ers windchest pressure. The area of the Why the emphasis on the pressure in toe and the area of the fl ue determine the foot? Air passes through the fl ue to the exact pressure that creates pipe the upper lip where an oscillation de- speech when the air fl ows through the velops that creates the standing wave in fl ue towards the upper lip of the pipe the body of the pipe. What matters for mouth. pipe speech is the velocity of the air at the fl ue, and that velocity is determined toe-to-fl ue ratio of 2:1, that means that by the pressure in the foot of the pipe to achieve the same tonality between the just below the languid. The blower two voicing methods, the chest pressure pressure, the pressure in the chest, and for the closed toe must be 25% higher. the pressure at the bottom of the ocean If I voice an open-toe pipe on 80mm are all irrelevant. windchest pressure, I must voice the With this technical information in comparable closed-toe pipe on 100mm mind, I really must question the exper- windchest pressure. The cut-up, the size iments that were supposed to deter- of the fl ue, and the treatment of the lan- mine whether or not there is a differ- guid should be the same. ence between closed-toe and open-toe When organs started to use tubu- voicing. The experiments referred to lar pneumatic and electro-pneumatic in the article state that windchest pres- actions, these early actions required sure was constant, and that pressure windchest pressures of 4″ to 6″ to op- in the foot was twice as much for the erate properly. When these new chests open-toe compared to the closed-toe. were used to rebuild older organs Then both pipes were voiced to match that were voiced on lower pressures loudness. This proves nothing about with open or nearly open toes, the old the difference between open-toe and pipes had to be revoiced to the higher closed-toe voicing. windchest pressures. Frequently, all the If I voice a pipe with an open toe on voicers did with the old pipes was to 70mm wind pressure, and then voice a close the toes until the pressure in the pipe with an open toe on 35mm wind foot was lowered to where it had been pressure, and I make the two pipes originally. This method is fast, and if the equally loud, will there be a difference pipes were going back into the same in tonality? Of course there will be. The room, the original voicing and regula- pipe voiced on the higher pressure will tion was already correct. drive the upper harmonics more in re- In the last few years we happened lation to the fundamental, and the tone upon a large supply of treble pipes that will be brighter. That is exactly what the were well made and voiced with open chart in Figure 5 in the article illustrates. toes on low pressure, around 65mm 1 The only difference is that the research- (2 ⁄2″). We have used them to replace ers achieved a pressure in the foot of inferior trebles in a number of sets of about 35mm by closing the toe, instead pipes on several different, but higher, of opening the toe and setting windchest pressures. Closing the toes was all that pressure at 35mm. was necessary, unless the pipes needed If I want to compare open-toe voic- to be made signifi cantly louder. ing to closed-toe voicing, the pressure To do a meaningful comparison be- in the foot must be the same, not the tween open-toe voicing and closed-toe pressure in the windchest. If we use the voicing, several identical pipes should be
20 THE DIAPASON
July 2010 pp. 20-21.indd 20 6/9/10 10:45:08 AM Photo 2. A cutaway view of the noisy and quiet toe-holes. The straight section of Photo 1. A noisy toe and a quiet toe. The toe-hole on the left has a short straight the hole on top and the countersunk section of the hole on the bottom have been section that creates noise when air passes through it. The toe-hole on the right has shaded for clarity. Notice how the countersink brings the wall of the hole to a point been countersunk to eliminate the noise. to eliminate friction and noise.
voiced to match as perfectly as possible either open or closed toes. When the Raising the chest pressure too high Notes with open toes. Then raise the windchest pressure in the foot is too high, opening can cause wind noise problems, but 1. “Organbuilders and research: Two points pressure for one of them and see if clos- the fl ue will lower the foot pressure, but these can be controlled by keeping the of view,” Francesco Ruffatti and Judit Angster, The Diapason, January 2010, 24–27. ing the toes will bring back the match. it also creates a wider air stream than windchest pressures from being exces- 2. Ibid., 25. It will. necessary to create the musical note, sive. So much for my contribution to 3. Ibid. The researchers also noted another so some of the air generates noise, not this part of the discussion. difference: tone. Large fl ues are also sometimes The researchers also mentioned in- John M. Nolte has been in organ building used to compensate for upper lips that vestigations into transitions between for more than 40 years. In 1986 he founded Under equal conditions, the ‘wind noise,’ are too thick. Once again, excessive stopped and open pipes, or between his own company, which has grown to a staff a natural component of the pipe sound that amounts of air traveling through the fl ue wood and metal pipes within the same of fi ve, including his sons Benjamin and Jer- the voicer normally tends to reduce or create unwanted and unnecessary noise. rank. My research on wood pipes will be emy. The fi rm has an international reputation eliminate, was by far more noticeable in for quality wood pipes. They have supplied closed toe pipes. This is not at all an irrele- A thinner lip and smaller fl ue will elimi- presented in the reprint of my March voiced and unvoiced pipes to many of the vant difference: in practical terms, it means nate the problem. 2001 article, “Scaling Pipes in Wood.” best American organbuilders, and recently that pipes voiced with closed or partial- When the area of the toe is relatively The research for this article was based completed a commission for all of the wood ly opened toes will require a heavier small compared to the fl ue, the velocity on years of making reproductions of pipes in the new Nicholson organ at Llandaff presence of ‘nicks’ at the languids in of the air entering the toe is substan- wood pipes for antique orchestrions, Cathedral. Nolte has been active in the Amer- order to control wind noise, and this in tially higher than the velocity of the air and a study of historic wood pipe scal- ican Institute of Organbuilders for the past turn will determine signifi cant modifi ca- ten years, and has shared technical informa- 3 exiting the fl ue. As the air in the foot ing, notably the Compenius organ of tions to the structure of their sound. slows down, the degree to which it has 1610. On the practical side, this led to a tion with that organization with a Journal of American Organbuilding article, convention to slow down will create turbulent con- commission for an all-wood practice or- lecture, and mid-year seminar on various as- There are several distinct ways wind ditions in the foot of the pipe, which gan, which also had strict action require- pects of wood pipe scaling, production, and noise can be generated in a pipe with generate noise both in the foot and at ments. This organ will be featured in a voicing. The fi rm is currently focusing on a closed toes, and the treatment must ad- the fl ue. Some voicers use steel wool or future article. Q highly refi ned mechanical action. dress the problem. Nicking is seldom the other devices in the foot itself to over- only solution, and rarely is it the best so- come this. lution for eliminating wind noise. Nicking can be used to control wind At the toe, if chest pressure is noise in all of these circumstances, and quite high, the velocity of the air if the tonal quality resulting from the through the toe can create turbu- nicking is what one wants, so be it. If, lence and, consequently, noise. Tur- instead, we want a tone more like what bulence is exacerbated when friction in is achieved without nicking in open-toe the toe opening slows down the air at voicing, attention to detail can achieve the boundary of the hole, while the air this quite easily. towards the middle of the hole is unim- The 2:1 relationship of toe area peded. The solution is to carefully coun- to fl ue area, along with the correct tersink the toe hole so that the smallest windchest pressure, will overcome part of the hole comes to a point in the these problems. A ratio of 1:1 can be cross-section. See the photos for ex- used with good results if the voicer is amples of a noisy and a quiet toe. The very attentive to detail. When the toe closed toe pictured in the research ar- becomes smaller than the fl ue, trouble ticle has not been properly treated to is not far behind. The use of partially keep it as quiet as possible. closed toes to regulate pipe speech At the fl ue, noise is generated can provide results equal in virtu- when the fl ue is overly large. This ally every respect to what can be happens for different reasons. When achieved with open toes. In order to the chest pressure or foot pressure is too accomplish this, it is necessary for the low, the fl ue must be opened more to get windchest pressure to be higher than it enough volume of air to produce a loud would be for open-toe voicing so that enough sound. This can happen with the pressure in the pipe foot is ideal.
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JULY, 2010 21
July 2010 pp. 20-21.indd 21 6/9/10 10:45:30 AM A Tribute to Grigg Fountain upon his 90th birthday Compiled by Marilyn Biery
rigg Fountain was born in October, G 1918, in Bishopville, South Caroli- na. He attended Wake Forest College for a year and received a B.A. in music from Furman University (1939). He contin- ued his training in music, earning both B.M. and M.M. degrees in church music and organ from Yale University (1943), studying with Luther Noss. He also had private organ studies with Arthur Pois- ter (1945) and Marcel Dupré (1946). He studied Baroque organ literature with Helmut Walcha in Frankfurt-Am-Main, Germany, on a Fulbright Fellowship in 1953–54. From 1946–1961 he was on the faculty at Oberlin Conservatory of Music. In 1961 he was appointed pro- fessor of organ and church music in the School of Music at Northwestern Uni- versity, from which he retired as Emeri- tus in August 1986. During that time he was also organist and choirmaster at Al- ice Millar Chapel, on the Northwestern campus. Grigg and Helen Erday Foun- tain celebrated their 60th wedding an- niversary on April 2, 2009, a union that Grigg Fountain (courtesy Northwestern Uni- produced four children—Bruce, John, versity Archives) Drew, and Suzanne—and eight grand- children. Helen passed away on Octo- student or choir would then apply the les- Dedication of the Alice Millar Chapel organ, 1964, with Benn Gibson turning ber 12, 2009. They maintained homes son learned to the rest of the piece pages. James Hopkins was conductor (not in picture) (courtesy Northwestern Uni- in Port Isabel, Texas, and Albuquerque, • Having students practice with the versity Archives) New Mexico. metronome on the off-beats, which cre- ates a dance-like step, particularly in edge of it was unrivalled, your enthusi- twenty-three years, I heard myself say- It’s diffi cult to believe that Grigg Baroque music, and enables precise and asm contagious. You conveyed your pas- ing one day that “the clouds in the sky Fountain could actually, fi nally, be 90 infectious rhythm (Richard Enright did sion so convincingly that it became mine, look ominious.” years old. He told everyone that he was this too—I’m not sure who infl uenced too. It is impossible to sing a hymn in You spoke to your students and some- 115, and had been married for 70 years. whom on this one) church today without thinking of you. times to co-workers in illustrations. To And, of course, those of us who were • Teaching a student to perfect a diffi - Your ‘forgettery’ is legendary. It is the organ student, “You have to treat tender students, thinking he was terribly cult, lyric pedal solo by fi rst having them striking that you still recall the smallest a memory slip as you would a skidding old already, had little trouble (almost) play the pedal solo with the right hand, details about former choir members, car—go with the skid, bring yourself believing him. But now that he has near- then with the pedal (silent) playing with how you cite sources for the vast, varied back and move on.” ly reached the age that he joked about, the right hand, then dropping out the store of information you so readily share. I shall always think of you as an educator those of us who know and love and ad- right hand and repeating these steps un- I love your insatiable curiosity. at heart. You so wanted us to understand mire him have taken a moment to stop til the student could play the pedal solo In the years since NU, I have been for- why a hymn’s phrasing was important—a and write about the man who inspired in as well with the feet as they could with tunate to get to know not only the men- hallmark of your congregational organ us such fi erce loyalty, passionate music- the fi ngers (try this with the Messiaen tor, but the man. The persona of those playing. And to this day some hymns shall making, dedicated yet loving eye-rolling, Serene Alleluias). days seems only a veneer of the man you always be “right” only when played in a and complete admiration—a musician Grigg also had at least two regular, are: the sense of humor, the eccentric- Fountainesque manner. whose life and career was spent in joy- non-credit classes: the hymn-playing ity perhaps exaggerated then to give you And, of course, we all remember you ful and hell-bent exploration of all that class of his studio that met weekly to play room in an environment that otherwise taught playing with a minimum of extra- makes music vital and compelling. hymns in the ways mentioned above, might have restricted you. The depth of neous movement; no dramatic swoop- Grigg was known for unusual tech- plus as many ways as Grigg could imag- your generosity, decency, and formidable ing over the keys for you. Your students niques both as an organ teacher and a ine, and probably with a hymnal on their intellect were sometimes obscured by ir- learned to play while balancing a hymnal choral conductor. Some of them were heads, and the “Wizards,” comprising repressible charm, affability, and an in- on the head. (I, in turn, tried typing and adapted from skills he learned from aspiring conductors, who were given in- exhaustible supply of intricately detailed using the Dictaphone pedal while bal- working with Robert Shaw at the First struction in conducting hymns as well as stories in true southern tradition. ancing a hymnal on my head.) Unitarian Church in Shaker Heights, the opportunity to conduct the Chapel The greatest lesson you taught me Ah, the memories and tales are end- Ohio. It is not possible to touch upon Choir during services. was not musical, but human. When you less. Thanks to you, I have a store of more than a few of them, since he was It’s Grigg’s voice that I heard in my ear learned that I was unable to fi nance fur- wonderful Fountain memories that will continually experimenting with tech- for years after studying with him in the ther studies, you took me by the hand. always make me smile. niques and musical ideas, but here are early 1980s. “Now, now, now Marilyn, You did not let it go until we arrived at Affectionately, some that recurred with regularity: is THAT how you wanted that phrase the dean’s offi ce, where you arranged ev- Margaret-at-the-desk • Rehearsing choirs on syllables (noo, to sound?” “Marilyn, is the choir doing erything. You showed me what kindness, nah, bum, bim, too, etc.) to acquire even- EXACTLY what you want them to do?” I grace, and mercy were about. What bet- Margie Verhulst began working at Alice ness of tone, precise rhythm, and beauty couldn’t practice the organ without hear- ter example could you wish to live? What Millar Chapel in 1963, the start of what would be 40 years working in the chapel offi ce. She of vowels ing his voice, challenging and encourag- better legacy could you wish to leave? met her husband, Walter Bradford, who was • Rehearsing choirs on subdivisions ei- ing, and I took that voice with me from With thanks and love, learning the ropes as an organ builder, at the ther by having them count (one-and, two- Illinois to Connecticut to Minnesota. Alisa chapel. Now retired, she can simply enjoy the and, three-and, four-and) or by using the From Grigg I learned how to make my continuing fi ne music at Millar without typ- above syllables and breaking down the feet play phrases on the pedals to rival Alisa Kasmir was a student of vocal per- ing choir notes or scheduling organ practice. rhythm to the smallest division in order to phrases I could sing or play with my formance at Northwestern and member of its She also has the luxury of looking back on Chapel Choir under the direction of Grigg those days with great joy and gratitude. This “get inside” the notes and phrases hands, how to play hymns that sang, and Fountain from 1978–1984. She now resides in • Constantly insisting on musical how to pay attention to every single note is a brief glimpse of Marge Verhulst Brad- Holland but maintains frequent phone contact ford, a.k.a. Margaret-at-the-desk. phrases that had direction I play, sing, conduct, or write. He was the with Grigg. Last year they planned the music • Rehearsing choirs totally without teacher whose presence and style was so together for the Maundy Thursday service at • piano assistance all the time, at every re- vivid and compelling, most of us who ex- St. Mary’s Anglican and Episcopal Church Most esteemed and honored Herr Ka- hearsal, with any choir he was conduct- perienced it have never forgotten it, nor in Rotterdam, where Alisa still sings an occa- pellmeister, ing, from the 60-voice Chapel Choir to ceased to be grateful. So, to you, Grigg sional solo and knows where the on/off switch As you may remember, we met in the the 15-voice Bahá’í Choir Fountain, organist, choir-director, men- on the organ is! spring of my junior year at Northwest- • Teaching organists to play hymns by tor, professor, church musician, friend, • ern, when you played my Carol Suite having them play three parts and sing the here are a few tributes from those who with fl utist Darlene Drew at a Millar fourth, by having them put the melody in know you well, and love you anyway: Dear Grigg, service. You promptly rechristened me the pedals and bass line in the left hand, Are you sure? How many times have “Evangelical,” and I found myself in the and STILL play the other two parts (or • you stopped unsuspecting students, fac- Chapel Choir the following fall. perhaps sing the alto and play the tenor Dear Grigg, ulty or even passersby to query, “Are you Through you, Northwestern opened in the right hand), so that you knew what What better occasion than your 90th sure?” My answer is, yes, I am sure; you to me in a new way. You suggested that I was going on with every single note of birthday to pay tribute to a professor are truly part of Alice Millar Chapel and use the Chapel Oratory—the “Prophet’s the hymn who consistently went beyond his duties Northwestern University lore. And now Chamber,” as you called it—as a compo- • Teaching organists to play hymns, to become a true mentor, advisor, and you head into your 90s, and one wonders sition studio a few times a week. And you and then all literature, by leading with friend? You are a remarkable man. Oth- if you are still quite the character we provided an introduction to Alan Stout, the pedals, which creates a powerful ers may write about the mark you have knew you to be. who became my Kompositionslehrer. propulsion of the manual technique made in your fi eld. I write about the one You spoke in a word order that led Two years in Chapel Choir transformed • Spending an entire lesson, or some- you have left on my heart. one to believe your native tongue had choral singing for me; all subsequent times an entire quarter, on the fi rst phrase Church music should uplift and edify, been German instead of South Carolin- choral experiences seemed tame and of a piece, with the expectation that the you said. Words to cherish. Your knowl- ian. And after working with you for some dull. Music-making at Millar was dy-
22 THE DIAPASON
July 2010 pp. 22-25.indd 22 6/9/10 10:48:44 AM Grigg Fountain, with Christine Kraemer at the organ and the Chapel Choir (courtesy Northwestern University Archives)
dral of St. Paul, working with James and Marilyn Biery. Thomas’s music has been per- formed by the Minnesota Orchestra and the Westminster Cathedral Choir, and has been recognized by the American Academy of Arts and Letters. Thomas lives in Minneapolis, where he is still singing. • Dear Grigg, In your ninetieth year, although I am sure you will insist that you are at least 115, it is a good and proper exercise to refl ect on all that you have given me— given all of us, who have had the good fortune to work with you. You shared David Evan Thomas with Grigg at Grigg- your knowledge, also your craft, and fest (Grigg’s retirement concert and most of all your passion for making mu- festivities), June 1986 (from David Evan sic not just notes. You are teacher, col- Thomas) league, and friend all at the same time, Grigg conducting in the Alice Millar basement (courtesy Northwestern University because I am still learning and sharing, Archives) namic, as you collaborated with staff, while always enjoying your company. organists, and singers on a new worship There are three hallmarks of your his tone will improve her singing.” You Choir in the fall of 1972 when he returned to experience each week. It was a commu- teaching that constantly inspire me. You made each of us feel that we were im- grad school; he stayed until Grigg’s retirement nity, not just an ensemble. From you I have a keen sense of hearing and listen- portant as individuals and to the entire in 1986. Kurt started as choir librarian, turned learned to think about the Why of sing- ing. This seems so basic, but you heard ensemble. Finally, I wish I had a nickel pages for Grigg’s preludes and postludes, be- ing, not just the How, and to think cre- both where the “sound” was, whether in for every time I heard you say, “Now la- came a conducting student, participated in atively about how music serves a larger choir or on the organ, and you knew how dies and gentlemen, that is in tune and in “Wizards,” was a grad assistant, assistant con- ductor, and vocal/language coach. Kurt is de- purpose. Your conducting technique was to get it to where it would transcend the time, BUT IT DOESN’T MAKE THE lighted to call Grigg his mentor and friend. inimitable—though many of us did our bounds of the page. I will never forget HAIR ON THE BACK OF MY NECK honest best to imitate you; I even tried you saying about one of your graduate STAND UP!” You refused to let us get • to apply it to Gilbert & Sullivan—but the students after a performance he did, away with cold music-making and phras- Dear Grigg, music you pulled from us transcended “Well, that is not the way I would have ing—ever. When I was appointed as a full-time technique. At its best, it was prayer, pure done it, BUT it had complete validity.” Thanks for all the inspiration and joy faculty member of the Northwestern laughter, hallelujah. You wanted us to become our own artists you have given and still give to all of us. University School of Music in 1962, I For all the opportunities you gave me and not just clones. And I watched you Kooort (Kurt R. Hansen) was absolutely elated. This was my fi rst to sing, conduct, arrange, play the trum- agonize from week to week about seat- teaching position, and of course North- pet or the organ, perhaps your greatest ing plans for the choir and how to make Kurt Hansen fi rst met Grigg in the fall of his western was the “plum” of the appoint- gift to me, Grigg, was the seriousness small ensembles that utilized everyone, freshman year, 1964, at his Chapel Choir audi- ments that year. I was already well aware with which you treated me as a compos- not just the strongest voices or musicians. tion. Kurt was in the Chapel Choir from 1964 of the excellent reputation of the school er, young as I was. For one December “Maybe if I put her next to him, her mu- to 1968, and after a four-year “vacation” in the in general, and was particularly happy to Sunday in 1979, you requested brass set- sicianship will rub off on his voice, and Air Force band program, rejoined the Chapel be working in a university with such a tings for “St. Denio.” On short notice, I cranked out a noisy, festive arrangement, which went off with aplomb. As I walked around campus later that day, I felt new- Custom builder of pipe, combination ly born as a composer. Later that year, I and all-digital organs gave an unconventional senior recital in the chapel, with you graciously playing the organ, and members of the Chapel Choir on loan. You helped set me on a path I haven’t strayed from since. I’ve been going through old Millar recordings, and I have memorable dubs of Brahms’s “Lass dich,” Britten’s Te Wicks Deum, and the Lutkin “Benediction,” as well as the big pieces from my years: Rachmaninoff, Schönberg, Bruckner. Organ Company Thank you for all those experiences, now memories that haven’t lost any of their sweetness or power. But there is one little recording I prize, because it docu- ments our work together: Krebs’s setting of “Wachet auf.” I’m playing the tune se- 1100 5th St. renely on the trumpet; you’re playing a giggling trio on the Millar organ. Let Krebs’s ditty be a toast to you in Highland IL 62249 your 90s: a gently carbonated spiritual cocktail, a happy mixture of humor and gravity, shaken lightly. David Evan Thomas (a.k.a. David Evangelical Thomas) 877-654-2191
David Evan Thomas was a member of the Alice Millar Chapel Choir as an under- graduate at Northwestern, from 1979–1981. He studied subsequently at Eastman and the Opus 3047 University of Minnesota. From 2003–2005, www.wicks.com he was composer-in-residence at the Cathe- Basilica of St. Mary Minneapolis, MN
JULY, 2010 23
July 2010 pp. 22-25.indd 23 6/9/10 10:49:02 AM Kurt Hansen (left) and Grigg, June 1986 Griggfest, with Helen Fountain (facing Richard Enright, Wolfgang Rübsam and Grigg Fountain lesson with freshman Grigg) and Drew Fountain (right) (From David Evan Thomas) Grigg Fountain (counterclockwise), Al- James Biery, Alice Millar Chapel, 1974 ice Millar (Uldis Saule, ION Photographics) (Uldis Saule, ION Photographics) (courtesy strong organ and church music program. fi cult work is performed. Usually, such a (courtesy Northwestern University Archives) Northwestern University Archives) Shortly before my move to Evanston, a work involves an incredible number of friend talked about the remarkable tal- notes (usually very fast notes), advanced James Hopkins, AAGO, taught music still chuckle when I recall our organ class ents and virtues of another recent ap- techniques, a dazzling display of physical composition at Northwestern 1962–66, after one day, singly and in groups, in the Mil- pointment, Grigg Fountain. I was en- or musical prowess or endurance, etc. At receiving his M.M. degree from Yale, and re- lar Chapel gallery, gamely attempting to couraged to seek you out, as you were “a the service in question, you did indeed turned in 1968–71 after completing the PhD dance “Der Tag, der ist so freudenreich” at Princeton. He composed and arranged mu- truly unique” individual. give a dazzling performance at the organ. sic for various instrumental and choral ensem- from the Orgelbüchlein. Soon after my arrival, I investigated You had carefully investigated each and bles for use in services at Alice Millar Chapel As I look back upon my career as a the various church programs in the vi- every problem, defect or weakness of the while the organ was being installed. He is now church musician, I am particularly grate- cinity of the university. I decided that instrument. You knew which keys stuck, Professor Emeritus of Music at the University ful for the complete musical education the most interesting was in fact the which pipes spoke slowly, which valves of Southern California, where he taught from I received from you at Northwestern. university church service, led by the shut slowly, which specifi c notes were 1971–2005. His catalog includes many works For centuries, the art of the organist, university chaplain, with choral and or- painfully out of tune, which pistons were for choral ensembles, organ solo, organ duet, and the church musician, was set apart gan music under your direction. At that unreliable, and so forth. and many other combinations. His Concierto from other musical disciplines by the de los Angeles was the fi rst organ work to be time, the services were held in Lutkin At the organ offertory, you played a heard in a public concert at the Walt Disney expectation that the organist would mas- Hall, a music auditorium named after piece during which you were able to Concert Hall in Los Angeles. ter all the facets of music-making: per- famed musician Peter Christian Lutkin feature each and every one of these formance, improvisation, score-reading, of ‘benediction’ fame. At my fi rst visit to problems! You had worked out special • transposition, composition, conducting, these services, my reaction was mixed: fi ngering so that getting to each sticky Dear Grigg, voice training, diplomacy, and so on. You the organ music was very good in spite key, out-of-tune note or other unfortu- I have so many vivid memories of my provided a remarkable environment at of the old, very ordinary Casavant organ, nate musical situation was treated in a four years with you at Northwestern, but Millar Chapel that offered constant op- an instrument whose only claim to fame rather fl amboyant way. “Let the wor- I can’t help but focus on those fi rst few portunities to learn and practice all these was that, at some earlier time, André shipper see just what I have to endure weeks as a timid and frightened freshman. skills. And we were allowed, yes encour- Marchal had given a recital on it. The with this terrible instrument” must have I knew that studying organ with you was aged, to experiment in so many different choir and the sermon were also good, been your guiding incentive. Even the going to be an unusual experience when, ways. Those vocal improvisations, with but the surroundings—theater seating, a non-musicians had to have realized that in the course of determining bench height fl ute-celeste clusters sustained by pen- stage, very little Christian art or decor— what they were hearing was just plain and position at the console, you asked me cils in the keys, are not something I have made the experience less than totally sat- awful. Immediately afterward, you “What kind of underwear do you wear, ever found a practical use for, but they isfactory. In talking with you afterward, stepped to the podium to ask for for- boxers or briefs?” I don’t think many or- planted the seeds for me to develop or- you expressed your great frustration with giveness, explaining rather sheepishly gan professors ask that question of new gan improvisational skills on my own af- having to produce music on such an in- that you had done the best you could students. (Apparently boxer shorts offer ter leaving Northwestern. Thank you for adequate, poorly maintained organ. under such trying circumstances. You a convenient way to gauge one’s front-to- encouraging all of us to sing, to conduct, I continued attending church in Lut- then expressed your profound desire back position on the bench.) to prepare hymn settings, and above all kin, feeling more at home each time and that the university get a new, adequate You may not remember, but my fresh- to value the skills and talents of others. more in tune with the ethos as I got to instrument for your good, and the good man year was the year that you doggedly I am also grateful for your unique abil- know more students, faculty, and you. of all humanity. attempted to teach us that all music— ity to teach students to teach themselves. My attendance was soon rewarded by One was hard-pressed to know and particularly Baroque music—relates Yes, we would spend an entire hour at what I can only describe as “the most ex- whether to cry or laugh, whether to ap- to dance. (This was part of your peda- the organ picking apart the fi rst measure traordinary virtuoso performance” I have plaud or boo. Whatever one’s reaction, gogical genius: there was always some of a Bach toccata. But the real learning ever witnessed. the performance was memorable—and sort of overarching concept or theme occurred in the seven days following, For most people, a “virtuoso” musical totally VIRTUOSO. that held together a lesson, rehearsal, or when we were expected to apply that performance is one in which a very dif- James Hopkins often, as in this case, an entire year.) I knowledge, in the practice room, to the rest of the piece—and then, in subse- quent years, to apply it to other works in the same genre. In a very real sense, you 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ continue to teach me to play the organ every day. DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX Best wishes, and thanks for everything, 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV as you sail into your tenth decade. James Russell Lowell Biery ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG James Biery received a B.Mus. in organ OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV from Northwestern in 1978, successfully &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK managing to play enough complete pieces to fi nish a senior recital under Grigg’s tute- 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ lage. He ate donuts with the Millar Chapel Choir every Sunday morning of his four WKHLQVWDOODWLRQ undergraduate years, and did some singing, conducting, and organ playing, too. After re- ceiving another Northwestern organ degree, 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX he went on to play the organ and teach choirs to “bum” and “nah” at a parish church and PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW two cathedrals. He and Marilyn Biery now ply their trade at the Cathedral of Saint Paul 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations in St. Paul, Minnesota. FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions Marilyn Perkins Biery received B.M. and Solutions for Old Pipe Organs M.M. degrees in organ performance from Northwestern, where her graduate study was with Grigg, for whom she was also gradu- ate assistant at the Alice Millar Chapel in 1981–82. Marilyn spent four undergraduate years in the well-behaved Richard Enright studio, watching the Grigg students have fun running out for ice cream during studio class, sit askew in the chapel pews, and behave like the fun-loving, eccentric organ students they were, so she decided to become one herself (and marry one). Marilyn is now at the Ca- www.rodgersinstruments.com thedral of Saint Paul, in St. Paul, MN, where she and James Biery carry on as many Grigg traditions as possible.
24 THE DIAPASON
July 2010 pp. 22-25.indd 24 6/9/10 10:49:24 AM Conference XXVII: St. Mary of the Assumption Cathedral, San Francisco, California Paul Monachino
The 27th Conference of Roman Cath- olic Cathedral Musicians was held Janu- ary 4–7, 2010 in San Francisco, Califor- nia. St. Mary Cathedral music director Chris Tietze was the conference host. Members gathered on Monday af- ternoon for a tour of the cathedral and demonstration of the Ruffatti pipe or- gan. A reception and dinner hosted by the cathedral followed in the rectory. A brief welcome meeting was held, where attendees introduced themselves and the business agenda for the week was an- nounced. Evening Prayer in the cathe- dral concluded the evening. Tuesday began with Morning Prayer followed by a spiritual refl ection by Fr. James McKearney, rector of St. Patrick’s Seminary and University. His refl ection suggested that we undertake our ministry with “courage, compassion and competence.” William Mahrt, president of the Church Music Association of Amer- ica, delivered a presentation focused on Gregorian chant as a template for 27th Conference of Roman Catholic Cathedral Musicians, San Francisco the sacred nature of music. Following lunch, members took a tour of three sig- nifi cant structures in the city. St. Mark’s Lutheran was severely damaged dur- ing the 1989 earthquake but has been completely restored and includes a fi ne Taylor & Boody organ. Temple Sherith Israel was one of the few structures to survive the 1906 earthquake and houses an unaltered Murray Harris organ. The fi nal stop was the Palace of the Legion of Honor, where we were treated to a concert by John Karl Hirten on the E. M. Skinner organ and had time to browse the extensive art collection. Or- gan concerts are regularly scheduled at the Palace and, from our experience that day, attract a fascinated and enthusiastic audience. In the evening an organ con- cert was presented at St. Mary’s by Ron McKean of Oakland, who performed an entirely improvised program in mu- sical styles and forms from the fi fteenth through the twentieth centuries. Wednesday began with Morning Prayer at the cathedral and a second spiritual refl ection by Fr. McKearney focusing on music in relation to dis- cipleship. After a business meeting, members traveled to Oakland and the new Cathedral of Christ the Light. Af- ter lunch, Fernand Létourneau gave a presentation on the design of the organ at the cathedral. Then Brother William Woeger, FSC, the liturgical art consul- tant for the cathedral project, offered a presentation on the artwork and design of the cathedral. He began with a refl ec- tion on creation and human creativity, particularly related to ecclesial art and worship. A cathedral tour followed. That evening, a concert featured the choirs of St. Mary’s Cathedral, Blessed Sacrament Cathedral (Sacramento), and St. Joseph Cathedral (San Jose). Newly appointed music director Rudy deVos accompa- nied the choirs and performed several organ solos. On Thursday, Morning Prayer was followed by a business meeting and the composers’ reading session. At noon, Mass was celebrated, with Archbishop Niederauer presiding. Music was pro- vided by the cathedral musicians and the Honors String Quartet from San Domenico High School. After some free time in the afternoon, members attended Evensong at Grace Cathedral, and then returned to St. Mary’s for the banquet. During the cocktail hour, music was pro- vided by the Golden Gate Bellringers, a group associated with the Golden Gate Boys Choir. Q
Paul Monachino is Director of Music/Or- ganist at Our Lady, Queen of the Most Holy Rosary Cathedral in Toledo, Ohio and a mem- ber of the Conference of Roman Catholic Ca- thedral Musicians.
JULY, 2010 25
July 2010 pp. 22-25.indd 25 6/9/10 10:49:42 AM Cover feature
Salmen Organ Company, 2007, served us and our clients well. For the Wessington Springs, South Dakota past ten years, following the termination The Yankton College Memorial of a relationship with a national organ Organ at United Church of building fi rm, I have been able to work Christ-Congregational, more closely with and appreciate the Yankton, South Dakota knowledge and craftsmanship of our One cannot speak of the Yankton, friends at OSI in Erie. Their attitude is South Dakota organ without mention- refreshing in that they are always look- ing a parallel project in Boulder, Colo- ing for ways to serve us; they are creative rado. We have been privileged to have in assisting us in fi nding solutions when recently worked with Organ Supply some seem impossible; they openly em- Industries as we built these two new brace new concepts and layouts with the 3-manual instruments for the United premise that “anything is possible”; most Church of Christ-Congregational, Yank- importantly from a strictly business per- ton, South Dakota, and First Congrega- spective, we get what we want, when we tional Church, Boulder, Colorado. These need it, delivered as promised for a fair congregations and the experiences with and open price. I believe that the part- them are so nearly parallel that they de- nership we enjoy with OSI has allowed serve to be told almost as a single story. us to deliver higher quality instruments Both are thriving downtown congrega- for a lower price than was previously tions with historic buildings that had possible in our business. suffered the neglect of time. Both had —David Salmen existing instruments; while unique and somewhat interesting, neither served its Historical sketch of organ music at congregation in a reliable and musical First Congregational Church manner. Each church has a music pro- The Civil War had ended, and Yankton gram without rival in its own commu- was a frontier town of approximately 400 nity. And each—while offering an array inhabitants. Immigrants came to take of meaningful and much needed social advantage of the Homestead Act, signed ministries—has also been an infl uential into law by President Lincoln in 1862. medium in which music and fi ne arts Imagine that—160 acres of free land have been fostered and shared with a for those brave enough to leave the Old larger community. Country and come to Dakota Territory. When the opportunity arose to de- The people who came were religious and sign new instruments for the Yankton wanted a church. and Boulder congregations, we took our The Congregational Church was orga- typically conservative approach. This ap- nized here on April 6, 1868, at the home proach seeks to use viable existing mate- of A. G. Fuller by the Rev. E. W. Cook rials in an environmentally and musically from Wisconsin. On November 6, 1868, sound manner, while always keeping the Rev. Joseph Ward and his bride Sarah stewardship of the congregation as a fo- arrived in Dakota Territory as mission- cusing factor in our design recommenda- aries. Services were held two days later tions. Each of the congregations’ existing (November 8, 1868) in the lower level of instruments had some beautifully craft- the Dakota Territorial Capitol Building. ed pipework from previous incarnations, Thirty-three people attended. mostly in which the true color and clarity A charter member of this congrega- of the stops had not yet been realized. tion was J. B. S. Todd, a cousin of Mary Working with the architects and contrac- Lincoln, wife of the president. At the tors for Yankton and Boulder, we were Christmas Eve service, he pinned a note able to infl uence the outcome visually on the Christmas tree, which read: “lots Yankton College Memorial Organ, United Church of Christ-Congregational, and acoustically of each of the historic for the church.” On Christmas Day, Rev. Yankton, South Dakota conservation efforts. Ward, one of the trustees, and J. B. S. Historic conservation, I believe, is an Todd went to see the lots. They chose ideal approach to working with older the lots this church still occupies to- buildings. It recognizes the historic in- day. Some members questioned, “Who tegrity, inherent beauty, and original would attend a church so far from town? design intent of a structure; and while . . . way out on the prairie!” maintaining this character, it brings the The earliest church was built of wood building into full usefulness and com- and dedicated July 17, 1870. It is report- pliance for today’s needs and service. It ed to have had a “hand-organ.” The pres- would seem that most historic American ent brick church was built in 1904 and churches have suffered from decades-old dedicated May 14, 1905. attempts at modernizations. Too often, In 1880 Rev. Ward founded Yankton one will fi nd ceilings covered in acousti- College. It was the fi rst institution of cally absorbent tiles as a perceived cure higher learning in the Dakota Territory. for a problem caused by the installation It had a School of Theology, which grad- of a poor amplifi cation system. In ad- uated German-speaking Congregational dition, one will usually fi nd a sea of ag- ministers, who served many communi- ing, thick carpet installed, often over a ties in the Dakota Territory and beyond. beautiful wooden fl oor. Paneling covers Yankton College had a highly respect- cracking plaster over lath. ed Conservatory of Music, which origi- Visually the rooms appear straight out nally used the (brick) church sanctuary as of the 1950s post-WW II era. Gone are its concert hall. Staff included musicians the encased instruments and decorative such as Dr. Lee N. Bailey, Ida Clawsen façades that complemented and graced Hunt, J. Laiten Weed, Dr. Evelyn Hohf, the original building’s design. Quite of- Floyd McClain, Lewis Hamvas, Gene Final enlargement and renovation of previous organ in 1980 ten an inadequate or neglected pipe Brinkmeyer, Stan Rishoi, and others. Dr. organ speaks through a tattered grille- Hohf and Mr. Brinkmeyer were organ- covered opening. Fortunately for the ists of this church for many years. Yankton and Boulder congregations, The fi rst pipe organ in Yankton was in- they were served with leadership from stalled in First Congregational Church. within and design teams from outside Records reveal that the congregation the congregation to recreate exciting voted to form a “Committee on Music” new worship spaces—relevant to today on January 5, 1882. In 1888 a Johnson while being faithful to their past. For tracker organ was installed. A recital was me, worshipping with these congrega- given on September 6 of that same year, tions while working on their instruments with an offering of $52.90 received. has reinforced the UCC mantra, “God Is In 1905 this organ was enlarged and Still Speaking.” Yes, there is great histor- placed in the present brick church build- ical importance to the biblical message ing. In 1957 the organ was modernized, and the message of sanctuaries of a more and the console moved to the choir loft. ancient time, but both are also being re- The tracker action was changed to an discovered today in a way that is fresh, electrically controlled system. This proj- relevant and new! ect cost $14,000. In 1980 the organ was As an organbuilder, I have relied upon enlarged and renovated to three manuals our friends at Organ Supply Industries for a cost of $40,000 by Eugene Doutt of as valued partners in our musical en- Watertown, South Dakota. deavors. Their business model of being During the historic renovation of the our partner in production while never sanctuary in 2004, it was necessary to re- our competitor in the marketplace has move all organ pipes and parts because 1888 William Johnson organ, enlarged and moved to 1905 brick church
26 THE DIAPASON
July 2010 pp. 26-27.indd 26 6/9/10 10:50:48 AM of this congregation for their support. ful music to the glory of God, which be- Yankton College Conservatory graduates gan at the First Congregational Church, Ted and Jennifer Powell are the present way out on the prairie in Dakota Terri- organist and choir director. Chelsea Chen tory 120 years ago. played the dedicatory recital. —Brooks and Vi Ranney We look forward to the next 100 years as we continue the tradition of wonder- Photo credit: David Salmen
The Yankton College Memorial Organ at First Congregational Church, United Church of Christ-Congregational, Boulder, Colorado Yankton, South Dakota Salmen Organ Company, 2007 Salmen Organ Company, 2007 Wessington Springs, South Dakota Wessington Springs, South Dakota 3 manuals, 41 stops, 51 ranks 3 manuals, 36 stops, 46 ranks GREAT ′ GREAT 16 Rohrfl ute (Swell) ′ 8′ Principal 61 pipes 16 Bourdon (Choir) ′ 8′ Principal 61 pipes 8 Harmonic Flute 49 pipes 8′ Harmonic Flute 61 pipes (1–12 from Bourdon) ′ 8′ Bourdon 61 pipes 8 Bourdon (Choir) ′ 8′ Chimney Flute (Swell) 8 Rohrfl ute (Swell) ′ 8′ Gemshorn (Choir) 4 Octave 61 pipes ′ 2′ Flachfl ute 61 pipes 8 Flauto Dolce* 61 pipes 8′ Flute Celeste* 49 pipes IV Fourniture 244 pipes ′ 8′ Tromba (Choir) 4 Octave 61 pipes ′ 4′ Spillfl ute 61 pipes 8 Basson (Choir) ′ 8′ Posaune (Pedal) 2 Flachfl ute 61 pipes Cymbelstern IV Fourniture 244 pipes 16′ Basson (Choir) Tremulant ′ Great-Great 16-UO-4 8 Tromba 61 pipes 8′ Basson (Choir) Swell-Great 16-8-4 ′ Choir-Great 16-8-4 8 Festival Trumpet preparation Pedal on Great Continuo Tremulant MIDI I Sawyer Cymbelstern Great-Great 16-UO-4 SWELL Swell-Great 16-8-4 8′ Montre 61 pipes Choir-Great 16-8-4 8′ Chimney Flute 61 pipes Pedal Continuo on Great 8′ Viola 61 pipes MIDI on Great 8′ Voix Celeste (TC) 49 pipes * located in Swell ′ Salmen organ, First Congregational Church, Boulder, Colorado 4 Principal 61 pipes SWELL 4′ Hohlfl ute 61 pipes ′ 2 ′ 16 Rohrfl ute 73 pipes 2⁄3 Nasard 61 pipes 8′ Montre 61 pipes 2′ Blockfl ute 61 pipes ′ 3 ′ 8 Rohrfl ute (ext) 1⁄5 Tierce 61 pipes 8′ Salicional 61 pipes IV Plein Jeu 244 pipes 8′ Voix Celeste 49 pipes 16′ Bombarde 85 pipes ′ ′ 4 Prestant 61 pipes 8 Trompette 61 pipes 4′ Hohlfl ute 61 pipes 8′ Bombarde (ext) 2 2⁄3′ Nasard 61 pipes 8′ Hautbois 61 pipes ′ ′ 2 Blockfl ute 61 pipes 4 Bombarde Clarion (ext) 3 ′ ′ 1⁄5 Tierce 61 pipes 8 Festival Trompette preparation IV Plein Jeu 244 pipes Tremulant 16′ Bombarde 85 pipes Swell-Swell 16-UO-4 8′ Trompette 61 pipes Choir-Swell 8 8′ Hautbois 61 pipes MIDI II 4′ Bombarde Clarion (ext) 16′ Festival Trumpet preparation CHOIR 8′ Festival Trumpet preparation 16′ Bourdon 73 pipes ′ Tremulant 8 Diapason 61 pipes Swell-Swell 16-UO-4 8′ Bourdon (ext) ′ Choir-Swell 8 8 Spitzfl ute 61 pipes MIDI on Swell 8′ Flute Celeste (TC) 49 pipes 4′ Geigen Octave 61 pipes ′ CHOIR 4 Koppelfl ute 61 pipes 16′ Gemshorn 73 pipes 2 ′ 2⁄3 Twelfth 61 pipes 8′ Geigen Principal 61 pipes 2 Fifteenth 61 pipes 8′ Doppel Flute 49 pipes 3 ′ 1⁄5 Seventeenth 61 pipes (1–12 from Stopt Diapason) IV Scharf 244 pipes 8′ Stopt Diapason 61 pipes 16′ Basson 73 pipes ′ Swell and Choir divisions under construction at OSI ′ 8 Gemshorn (ext) 8 Tromba 61 pipes 8′ Gemshorn Celeste 49 pipes 8′ Clarinet 61 pipes ′ ′ 4 Octave 61 pipes tion. The organ chamber had to be pre- 16 Posaune (Pedal) 4′ Koppelfl ute 61 pipes pared with new walls, proper insulation, ′ 2 8 Posaune (Pedal) 2⁄3′ Twelfth 61 pipes new wiring, and a new fl oor. This added Tremulant 2′ Fifteenth 61 pipes 3 to the daunting tasks addressed so consci- Choir-Choir 16-UO-4 1⁄5′ Seventeenth 61 pipes entiously by the renovation committee. Swell-Choir 16-8-4 IV Scharf 244 pipes On January 9, 2005, a semi-trailer Pedal on Choir 8 16′ Basson 73 pipes Great/Choir Transfer 8′ Posaune (Pedal) loaded with over 2,000 pipes arrived at MIDI III ′ the church; it was unloaded by a host 8 Basson (ext) 8′ Clarinet 61 pipes of excited members. David Salmen be- PEDAL 8′ Festival Trumpet preparation gan the installation of the new Yankton 32′ Resultant ′ Tremulant College Organ. The three-manual organ 16 Principal 32 pipes Choir-Choir 16-UO-4 with 33 ranks of pipes and a beautiful 16′ Subbass 32 pipes ′ Swell-Choir 16-8-4 new console was installed. The visible 16 Bourdon (Choir) Pedal on Choir 8′ Oktav 44 pipes (black) expression shutters and a few ′ Great/Choir Transfer 8 Diapason (Choir) MIDI on Choir pipes dating to the original 1888 organ 8′ Chimney Flute (Swell) were reminders that the organ had yet to 8′ Bourdon (Choir) PEDAL be completed. For nearly three years the 4′ Oktav (ext) 32′ Resultant members of the congregation worked to- 4′ Chimney Flute (Swell) 16′ Contra Bass 32 pipes gether to pay down the remaining build- II Mixture 68 pipes 16′ Subbass 44 pipes ing renovation debt and raise the funds 16′ Posaune 73 pipes 16′ Gemshorn (Choir) 16′ Bombarde (Swell) 16′ Rohrfl ute (Swell) to complete the new organ. ′ ′ February 2008 again found the con- 16 Basson (Choir) 8 Oktav 44 pipes 8′ Posaune (ext) 8′ Subbass (ext) Detail of corner case tower turning gregation assembled to unload another 8′ Bombarde (Swell) 8′ Gemshorn (Choir) semi-trailer of pipes, windchests, res- 4′ Posaune (ext) 8′ Rohrfl ute (Swell) of construction dust. The organ was re- ervoirs, and the casework necessary to 4′ Basson (Choir) 4′ Oktav (ext) moved in October 2003 by David Salmen complete the organ. The organ now con- 4′ Clarinet (Choir) 4′ Rohrfl ute (Swell) of Salmen Organs & Farms, Wessington tains 46 ranks of pipes. Great-Pedal 8-4 4′ Gemshorn (Choir) Springs, South Dakota. Among the pipes It has truly been a labor of love and Swell-Pedal 8-4 II Mixture 64 pipes Choir-Pedal 8-4 16′ Posaune** 73 pipes saved and put in storage, until a new or- sacrifi ce for the members of this congre- ′ gan could be built and safely installed, gation, who love to sing with the majes- MIDI IV 16 Bombarde (Swell) 16′ Basson (Choir) were some that were part of the original tic accompaniment of a pipe organ. Mu- 8′ Posaune (ext)** 1888 organ. sic has always been central in worship Salmen Organ Company 8′ Bombarde (Swell) Plans for a new organ were on hold un- to this church. The 45-member Adult 38569 SD Hwy. 34 4′ Posaune (ext)** til the Yankton College Board of Trustees Choir enjoys this fi ne instrument as they Wessington Springs, SD 57382 4′ Basson (Choir) announced a $100,000 named grant in prepare not only to lead Sunday wor- 8′ Festival Trumpet preparation Telephone: 605/354-1694 Great-Pedal 8-4 appreciation for the support given by this ship, but also for special masterworks Cell: 605/354-1694 congregation to the college over many concerts and cantatas. Swell-Pedal 8-4 Fax : 605/539-1915 Choir-Pedal 8-4 years. The grant challenged the congre- We remain ever grateful to Yankton E-mail: [email protected] gation to pledge an equal amount. Plans College, the J. Laiten Weed Endowment, MIDI on Pedal Web: www.salmenorgans.com ** located in Choir that were on hold were now put into ac- and to the generous members and friends
JULY, 2010 27
July 2010 pp. 26-27.indd 27 6/9/10 10:53:04 AM 2010 Summer Carillon Concert Calendar New Organs by Brian Swager
Albany, New York July 10, 17, 24, 31, September 4, John Albany City Hall, Sundays at 1 pm Gouwens July 11, Hans Hielscher July 18, Marcel Siebers Danbury, Connecticut St. James Episcopal Church Alfred, New York Wednesdays at 12:30 pm Alfred University, Davis Memorial Carillon July 7, Dave Johnson Tuesdays at 7 pm July 14, Gordon Slater July 6, Carlo van Ulft July 21, Marcel Siebers July 13, Margo Halsted July 28, George Matthew, Jr. July 20, Lee Cobb July 27, Jonathan Lehrer Dayton, Ohio Deeds Carillon Allendale, Michigan July 4 at 11 am Grand Valley State University, Cook Caril- July 18, August 1, 15, 29 at 3 pm lon, Sundays at 8 pm August 28 at 1 pm July 4, Julianne Vanden Wyngaard Larry Weinstein, carillonneur July 11, Julia Walton July 18, Peter Langberg Detroit, Michigan July 25, Grand Valley Carillon Collaborative Jefferson Avenue Presbyterian Church August 1, Gert Oldenbeuving July 20, Peter Langbert, 7:30 pm August 8, Carol Anne Taylor August 15, Julianne Vanden Wyngaard St. Mary’s of Redford Catholic Church August 22, John Courter Saturdays at 5:15 pm July 17, Peter Langberg Ames, Iowa July 31, Gert Oldenbeuving Iowa State University July 27, Min-Jin O, 7 pm East Lansing, Michigan August 17, Jeremy Chesman, 7 pm Michigan State University, Beaumont Tow- September 12, Tin-Shi Tam with ISU er Carillon, Wednesdays at 6 pm Percussion, 3 pm July 7, Elizabeth Vitu & Laurent Pie July 14, Ray McLellan Ann Arbor, Michigan July 21, Peter Langberg University of Michigan, Burton Memorial July 28, Gert Oldenbeuving Tower, Mondays at 7 pm July 5, Carol Jickling Lens Erie, Pennsylvania July 12, Anne Kroeze Penn State University, Smith Chapel July 19, Peter Langberg Thursdays at 7 pm July 26, Gert Oldenbeuving July 8, Carlo van Ulft August 2, Ann-Kirstine Christiansen July 15, Margo Halsted July 22, Lee Cobb Berea, Kentucky July 29, Jonathan Lehrer Berea College, Draper Building Tower September 6, John Courter, 7:30 pm Fort Washington, Pennsylvania St. Thomas Church, Whitemarsh Bloomfi eld Hills, Michigan Tuesdays at 7 pm Christ Church Cranbrook July 6, Gerard and Richard de Waardt Sundays at 5 pm July 13, Melissa Weidner July 4, Carol Jickling Lens July 20, Charles Dairay July 11, Elizabeth Vitu and Laurent Pie July 27, Lisa Lonie July 25, Gert Oldenbeuving August 3, Malgosia Fiebig, 8 pm August 1, Ann-Kirstine Christiansen August 8, Pat Macoska Glencoe, Illinois August 15, Carrie Poon Chicago Botanic Garden Mondays at 7 pm Kirk in the Hills Presbyterian Church July 5, Elizabeth Vitu Andover Opus 117, Peter Griffi n residence, Harpswell, Maine Sundays at 10 am and noon July 12, Lee Cobb July 4, Carol Jickling Lens July 19, Doug Gefvert July 11, Elizabeth Vitu and Laurent Pie July 26, Helen Hawley changes to open metal, with the voicing July 18, Peter Langberg August 2, Richard M. Watson gradually ranging from a fl ute in the bass July 25, Ann-Kirstine Christiansen August 9, Charles Dairay to a principal sound in the 4′ range. August 1, Gert Oldenbeuving August 16, David Maker The casework is solid cherry, with case August 8, Carol Anne Taylor August 23, Tin-Shi Tam pipes of polished tin. The keyboards have September 5, Dennis Curry August 30, Wylie Crawford September 6, James M. Brown bone naturals and ebony sharps. The St. Hugo of the Hills Catholic Church drawknobs are pau ferro, with engraved Thursdays at 7 pm Grand Rapids, Michigan inserts. The key action and stop action July 15, Sharon Hettinger Grand Valley State University are mechanical. The visual design is by July 29, Gert Oldenbeuving Wednesdays at noon Don Olson, the mechanical design by August 5, Charles Dairay July 7, Julianne Vanden Wyngaard Michael Eaton, and the tonal design and July 14, Sharon Hettinger fi nishing by John Morlock. Ben Mague Centralia, Illinois July 21, Peter Langberg was the team leader, with Al Hosman, Centralia Carillon July 28, Gert Oldenbeuving July 11, August 8, Carlo Van Ulft, 2 pm David Zarges, and David Michaud re- September Carillon Weekend Green Bay, Wisconsin sponsible for casework, windchests, and September 4, George Gregory, 2 pm First Evangelical Lutheran Church wind system. The tonal crew consisted September 4, Claire Halpert, 2:45 pm July 19, Gerald Martindale, 7 pm of Don Glover, Jonathan Ross, and Fay September 5, Ray McLellan, 2 pm Morlock. Mr. Griffi n is a retired busi- September 5, Carlo van Ulft, 2:45 pm Hartford, Connecticut nessman and organ afi cionado. He stud- Trinity College Chapel ies organ with Ray Cornils, Portland’s Charlotte, North Carolina Wednesdays at 7 pm municipal organist. Covenant Presbyterian Church July 7, Dave Johnson —Don Olson July 18, Gerald Martindale, 12 noon July 14, Gerard and Richard de Waardt photo credit: Ben Mague July 21, Jonathan Lehrer Chicago, Illinois July 28, Marcel Siebers University of Chicago, Rockefeller Chapel 2 manuals, 13 stops, 12 ranks August 4, Claire Halpert Sundays at 6 pm August 11, Milford Myhre July 4, Elizabeth Vitu MANUAL I August 18, Daniel K. Kehoe ′ July 11, Lee Cobb 8 Chimney Flute 58 pipes July 18, Doug Gefvert 4′ Principal 58 pipes Jackson, Tennessee ′ July 25, Helen Hawley First Presbyterian Church 2 Fifteenth 58 pipes August 1, Richard M. Watson II Mixture 116 pipes August 28, Jackson Symphony Orches- August 8, Charles Dairay tra and carillon, 6:45 pm August 15, David Maker MANUAL II August 22, Tin-Shi Tam Griffi n logo on music desk 8′ St. Diapason 58 pipes Kennett Square, Pennsylvania ′ 4 Flute 58 pipes Cohasset, Massachusetts Longwood Gardens, Sundays at 3 pm 2 2⁄3′ Nazard 58 pipes July 11, Melissa Weidner Andover Organ Company, ′ St. Stephen’s Episcopal Church 2 Principal 58 pipes Sundays at 6 pm July 18, Charles Dairay Methuen, Massachusetts, 3 ′ 1⁄5 Tierce 58 pipes July 4, Ulla Laage July 25, Thomas Lee Opus 117, 2009 8′ Hautboy 58 pipes August 8, Malgosia Fiebig Peter Griffi n residence, July 11, Wesley Arai July 18, Gerard and Richard de Waardt August 22, Ellen Dickinson Harpswell, Maine PEDAL ′ July 25, Marcel Siebers In February 2009, Andover Or- 16 Subbass 30 pipes August 1, Ellen Dickinson LaPorte, Indiana gan Company completed Opus 117, 8′ Flutebass 12 pipes ′ August 8, J. Samuel Hammond The Presbyterian Church of LaPorte a residence organ for Peter Griffi n of 4 Chorale 12 pipes August 15, Milford Myhre July 25, Mark Lee, 4 pm Harpswell, Maine. The organ is an ex- Couplers panded version of our ELM model prac- Manual II to Manual I Culver, Indiana Lawrence, Kansas tice/teaching instrument. It features our Manual I to Pedal Culver Academies, Memorial Chapel Caril- University of Kansas three-stop mechanical unit Pedal that Manual II to Pedal lon, Saturdays at 4 pm Sundays and Thursdays at 8 pm begins with stopped wood pipes and July 3, Charles Dairay July 1–29, Elizabeth Berghout
28 THE DIAPASON
July 2010 pp. 28-33.indd 28 6/9/10 10:54:03 AM Luray, Virginia July 23, Buck Lyon-Vaiden Luray Singing Tower July 30, Peter Langberg Tuesdays, Thursdays, Saturdays and Bert Adams, FAGO Sundays in July and August at 8 pm, David Philadelphia, Pennsylvania Park Ridge Presbyterian Church PATRICK ALLEN Breneman, carillonneur First United Methodist Church of Ger- July 27, Jason Perry mantown Park Ridge, IL GRACE CHURCH August 3, Jason Perry July 5, Gerard and Richard de Waardt, Pickle Piano & Church Organs NEW YORK 7:30 pm Bloomingdale, IL Madison, Wisconsin University of Wisconsin, Thursdays at 7:30 pm Princeton, New Jersey July 8, 15, 22, 29, Lyle Anderson Princeton University, Grover Cleveland Tower, Sundays at 1 pm Christopher Babcock Mariemont, Ohio July 4, Gerard and Richard de Waardt Mary M. Emery Memorial Carillon July 11, John Widmann Sundays at 7 pm July 18, Melissa Weidner St. Andrew’s by the Sea, July 4, Richard D. Gegner July 25, Claire Halpert Hyannis Port July 11, Richard M. Watson August 1, Malgosia Fiebig July 18, Richard D. Gegner August 8, Kim Schafer St. David’s, South Yarmouth July 25, Richard M. Watson August 15, Daniel K. Kehoe August 1, Richard D. Gegner August 22, R. Robin Austin August 8, Richard M. Watson August 29, Janet Tebbel August 15, Richard D. Gegner and Rich- September 5, Anton Fleissner and Emily ard M. Watson Kirkegaard August 22, Richard D. Gegner August 29, Richard M. Watson Rochester, Minnesota September 5, Richard D. Gegner Mayo Clinic September 6, Richard M. Watson, 2 pm July 5, Amy Johansen, 4 pm July 26, John Widmann, 7 pm Middlebury, Vermont Middlebury College Rochester, New York Fridays at 7 pm University of Rochester, Hopeman Memo- July 9, Elena Sadina rial Carillon, Mondays at 7 pm July 16, Gordon Slater July 5, Carlo van Ulft July 23, Sergei Gratchev July 12, Margo Halsted Dean W. Billmeyer GAVIN BLACK July 30, Julia Littleton July 19, Lee Cobb Princeton Early Keyboard Center August 6, Alexander Solovov July 26, Jonathan Lehrer University of Minnesota August 13, George Matthew, Jr. 732/599-0392 St. Paul, Minnesota Minneapolis 55455 • [email protected] www.pekc.org Minneapolis, Minnesota House of Hope Presbyterian Church Central Lutheran Church Sundays at 4 pm Sundays at 11:10 am July 4, Amy Johansen July 4, Amy Johansen July 11, Johathan Lehrer July 11, Jonathan Lehrer July 18, Ronald Kressman July 18, Ronald Kressman July 25, John Widmann Byron L. Blackmore THOMAS BROWN July 25, John Widmann August 1, Dave Johnson UNIVERSITY Crown of Life Lutheran Church PRESBYTERIAN CHURCH Montreal, Quebec Sewanee, Tennessee Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA St. Joseph’s Oratory, Sundays at 2:30 pm The University of the South July 11, Robert B. Grogan Sundays at 4:45 pm 623/214-4903 ThomasBrownMusic.com July 25, Charles Dairay July 4, J. Samuel Hammond August 8, David Maker July 11, John Bordley August 22, Andrée-Anne Doane and July 18, Anton Fleissner Claude Aubin Simsbury, Connecticut David Chalmers DELBERT DISSELHORST Naperville, Illinois Simsbury United Methodist Church Concert Organist Naperville Millennium Carillon Sundays at 7 pm Tuesdays at 7 pm July 4, Daniel K. Kehoe GLORIÆ DEI CANTORES Professor Emeritus July 6, Elizabeth Vitu July 11, David Maker Orleans, MA University of Iowa–Iowa City July 13, Lee Cobb July 18, Marcel Siebers July 20, Doug Gefvert July 25, Gerard and Richard de Waardt July 27, Helen Hawley August 3, Richard M. Watson Springfi eld, Massachusetts Trinity United Methodist Church August 10, Charles Dairay STEVEN EGLER OHN ENSTERMAKER August 17, David Maker Thursdays at 7 pm Central Michigan University J F July 8, Amy Heebner August 24, Tin-Shi Tam First Presbyterian Church August 25, Julianne Vanden Wyngaard July 15, Hans Hielscher TRINITY-BY-THE-COVE July 22, Marcel Siebers Mt. Pleasant, Michigan 48858 July 29, David Maker SOLO Shelly-Egler New Britain, Connecticut NAPLES, FLORIDA First Church of Christ, Congregational RECITALS Flute and Organ Duo Tuesdays at 7 pm Springfi eld, Missouri July 6, Dave Johnson Missouri State University July 20, Marcel Siebers Sundays at 6 pm July 18, Jeremy Chesman Organist / Pianist New Haven, Connecticut August 15, Malgosia Fiebig JAMES HAMMANN September 19, George Gregory Yale University, Yale Memorial Carillon Michael Gailit DMA-AAGO Fridays at 7 pm www.gailit.at Stamford, Connecticut offi [email protected] University of New Orleans July 9, Yale Univ. Summer Carillonneurs First Presbyterian Church July 16, Gerard and Richard de Waardt July 15, David Maker and Nicole Ber- Konservatorium Wien University Chapel of the Holy Comforter July 23, Charles Dairay nier, 7 pm University of Music, Vienna July 30, Marcel Siebers August 6, Claire Halpert Toronto, Ontario August 13, Milford Myhre Metropolitan United Church July 11, Margo Halsted, 2 pm ANDREW HENDERSON, DMA Northfi eld, Vermont WILL HEADLEE Norwich University, Saturdays at 1 pm West Hartford, Connecticut 1650 James Street Madison Avenue Presbyterian Church July 3, George Matthew, Jr. First Church of Christ Congregational New York, NY July 10, Hans Hielscher Thursdays at 7 pm Syracuse, NY 13203-2816 July 17, Gerard and Richard de Waardt July 8, Lee B. Leach (315) 471-8451 www.andrewhenderson.net July 24, Marcel Siebers July 15, First Church Carillonneurs July 31, David Maker July 22, George Matthew, Jr. July 29, Marcel Siebers Norwood, Massachusetts Norwood Memorial Municipal Building Williamsville, New York Harry H. Huber MICHELE JOHNS Mondays at 7 pm Calvary Episcopal Church D. Mus. A.Mus.D July 4, Lee B. Leach, 3 pm Wednesdays at 7 pm July 5, Ulla Laage July 7, Carlo van Ulft Kansas Wesleyan University, Emeritus Organ — Harpsichord July 12, Wesley Arai July 21, Lee Cobb University Methodist Church The University of Michigan July 19, Gerard and Richard de Waardt July 28, Jonathan Lehrer School of Music July 26, Marcel Siebers August 4, Gloria Werblow SALINA, KANSAS August 2, Ellen Dickinson August 9, J. Samuel Hammond Valley Forge, Pennsylvania August 16, Milford Myhre Washington Memorial Chapel LORRAINE BRUGH, Ph.D. Wednesdays at 7:30 pm Ottawa, Ontario July 7, Gerard and Richard de Waardt A two-inch Peace Tower Carillon July 14, Melissa Weidner Associate Professor July and August, weekdays, 11 am, An- July 21, Charles Dairay Professional Card drea McCrady July 28, Doug Gefvert University Organist July 6, Dana Price, Jonathan Hebert, August 4, Malgosia Fiebig in The Diapason and Minako Uchino August 11, Daniel K. Kehoe Valparaiso University July 13, Robert Grogan August 18, Doug Gefvert Valparaiso, IN For information on rates and July 20, Jason Lee August 25, Robin Austin July 27, Charles Dairay www.valpo.edu specifi cations, contact: Victoria, British Columbia Jerome Butera Owings Mills, Maryland Netherlands Centennial Carillon McDonogh School, Fridays at 7 pm Sundays at 3 pm, January–December 219-464-5084 [email protected] July 9, Gerard and Richard de Waardt Saturdays at 3 pm, July–August [email protected] 847/391-1045 July 16, Tin-shi Tam Rosemary Laing, carillonneur
JULY, 2010 29
July 2010 pp. 28-33.indd 29 6/9/10 10:54:21 AM Brian Jones KIM R. KASLING D.M.A. Calendar Director of Music Emeritus St. John’s University TRINITY CHURCH Robert Parris; Christ Episcopal, Roanoke, VA This calendar runs from the 15th of the month of Collegeville, MN 56321 7:30 pm BOSTON issue through the following month. The deadline is the fi rst of the preceding month (Jan. 1 for Feb. 28 JULY issue). All events are assumed to be organ recitals Carolyn Shuster Fournier; Methuen Memo- unless otherwise indicated and are grouped within rial Music Hall, Methuen, MA 8 pm each date north-south and east-west. •=AGO chap- Gordon Turk; Ocean Grove Auditorium, JAMES KIBBIE ter event, • •=RCCO centre event, +=new organ Ocean Grove, NJ 7:30 pm The University of Michigan dedication, ++= OHS event. Tony Robertson; Old Salem Visitor Center, Information cannot be accepted unless it speci- Ann Arbor, MI 48109-2085 Winston-Salem, NC 12 noon ORGAN CONSULTANT fi es artist name, date, location, and hour in writ- Michael Stefanek; Faith Lutheran, Appleton, 734-764-1591 FAX: 734-763-5097 ing. Multiple listings should be in chronological order; www.gabrielkney.com WI 12:15 pm email: [email protected] please do not send duplicate listings. THE DIAPA- David Jonies; Sinsinawa Mound, Sinsinawa, SON regrets that it cannot assume responsibility for WI 7 pm the accuracy of calendar entries. 29 JULY David K. Lamb, D.Mus. Gordon Turk, with orchestra, Jongen, Sym- phonie Concertante; Ocean Grove Auditorium, Director of Music/Organist ARTHUR LAMIRANDE UNITED STATES Ocean Grove, NJ 7:30 pm East of the Mississippi First United Methodist Church [email protected] 31 JULY Columbus, Indiana www.youtube.com/watch?v=WTkDk-cX1X4 Gordon Turk; Ocean Grove Auditorium, 812/372-2851 15 JULY Ocean Grove, NJ 12 noon Tom Trenney, improvisation workshop; Old John Gouwens, carillon; The Culver Acad- St. Mary’s Church, Detroit, MI 10:30 am emies, Culver, IN 4 pm Tom Trenney, improvisation workshop; St. Aloysius Church, Detroit, MI 3:45 pm 1 AUGUST BETTY LOUISE LUMBY Joanne Peterson; St. Mary’s Catholic Church, Nicole Cochran; St. Paul Cathedral, Pitts- David Lowry Menasha, WI 12:15 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD burgh, PA 4 pm DSM • FAGO Steven Betancourt; Holy Name Cathedral, 1512 BLANDING STREET, COLUMBIA, SC 29201 17 JULY Chicago, IL 4 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO Gordon Turk; Ocean Grove Auditorium, Ocean Grove, NJ 12 noon ROCK HILL, SC 29733 MONTEVALLO, AL 35115 3 AUGUST John Gouwens, carillon; The Culver Acad- Jennifer McPherson; First Parish Church, emies, Culver, IN 4 pm Brunswick, ME 12:10 pm Josh Stafford & Ahreum Han; Merrill Audito- 18 JULY rium, Portland City Hall, Portland, ME 7:30 pm •Andrew Henderson, Mary Huff, Renée Anne Louprette, Nancianne Parrella & Ste- 4 AUGUST James R. Metzler phen Tharp; St. Ignatius Loyola, New York, NY Adrienne Pavur; Methuen Memorial Music 4:30 pm Hall, Methuen, MA 8 pm PARK CONGREGATIONAL CHURCH Larry Allen; St. Paul Cathedral, Pittsburgh, Gordon Turk; Ocean Grove Auditorium, PA 4 pm GRAND RAPIDS, MICHIGAN Ocean Grove, NJ 7:30 pm E. Rodney Trueblood, Carl Anderson, Mark Jeffrey Verkuilen; Holy Cross Catholic Williams & Nina Gregory, Felgemaker 100th Church, Kaukauna, WI 12:15 pm birthday recital; First Christian Church (Disciples Bruce Bengtson; Sinsinawa Mound, Sinsin- of Christ), Elizabeth City, NC 2 pm awa, WI 7 pm Gerre Hancock; Madonna della Strada Cha- LEON NELSON pel, Loyola University, Chicago, IL 3 pm 5 AUGUST Richard Hoskins; Holy Name Cathedral, Chi- Christopher Babcock; All Saints Episcopal, A.S.C.A.P. cago, IL 4 pm FELLOW, AMERICAN GUILD OF ORGANISTS University Organist Rehoboth, DE 12:15 pm North Park University 345 SADDLE LAKE DRIVE 19 JULY 6 AUGUST ROSWELL-ATLANTA, GEORGIA 30076 Chicago, Illinois •John Walthausen; First Presbyterian, New (770) 594-0949 Marijim Thoene, with vocalist; Cathedral of York, NY 4 pm St. Mary, Peoria, IL 7 pm
20 JULY 7 AUGUST Harold Stover; First Parish Church, Bruns- Gordon Turk; Ocean Grove Auditorium, DOUGLAS O’NEILL BEDE JAMES PARRY wick, ME 12:10 pm Ocean Grove, NJ 12 noon Isabelle Demers; Merrill Auditorium, Portland Karen Beaumont; All Saints Cathedral, Mil- Cathedral of the Madeleine City Hall, Portland, ME 7:30 pm waukee, WI 2 pm Salt Lake City, Utah ALL SAINTS’ CHURCH •Christopher Creaghan; Riverside Church, New York, NY 7 pm [email protected] 8 AUGUST LAS VEGAS, NEVADA Ben Outen; Christ Episcopal, Roanoke, VA Russell Weismann; St. Paul Cathedral, Pitts- 801/671-8657 7:30 pm burgh, PA 4 pm William Kuhlman; Shrine of Our Lady of Gua- 21 JULY dalupe, La Crosse, WI 3 pm MARILYN MASON Jacob Street; Methuen Memorial Music Hall, Dan Pollack; Holy Name Cathedral, Chicago, Methuen, MA 8 pm IL 6:30 pm CHAIRMAN, DEPARTMENT OF ORGAN •Robert Ridgell, hymn festival; Church of the UNIVERSITY OF MICHIGAN Holy Family, New York, NY 8 pm 10 AUGUST ANN ARBOR Gordon Turk; Ocean Grove Auditorium, Christopher Ganza; First Parish Church, “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Ocean Grove, NJ 7:30 pm Brunswick, ME 12:10 pm with awesome technique and a thrilling command of its daring writing.” Victor Fields; Old Salem Visitor Center, Win- The American Organist, 1980 ston-Salem, NC 12 noon 11 AUGUST Jon Riehle; Mt. Olive Lutheran, Appleton, WI Scott Dettra; Methuen Memorial Music Hall, 12:15 pm Methuen, MA 8 pm Jay Peterson & David Jonies; Sinsinawa Mark Laubach; Ocean Grove Auditorium, SYLVIE POIRIER Mound, Sinsinawa, WI 7 pm Ocean Grove, NJ 7:30 pm LARRY PALMER John Skidmore; St. Joseph’s Catholic Church, 22 JULY Appleton, WI 12:15 pm PHILIP CROZIER •Frederick Teardo; St. Thomas Church Fifth Marijim Thoene; Sinsinawa Mound, Sinsina- Professor of Avenue, New York, NY 8 pm ORGAN DUO wa, WI 7 pm Harpsichord and Organ 23 JULY 15 AUGUST 3355 Queen Mary Road, Apt 424 Heather & Mark Paisar; St. Mary’s Catholic John Sittard; St. Paul Cathedral, Pittsburgh, Meadows School of the Arts Church, Menasha, WI 7 pm Montreal, H3V 1A5, P. Quebec PA 4 pm Ronald Wise; Boone United Methodist, SOUTHERN METHODIST UNIVERSITY Canada 24 JULY CONCORA Festival Choir; Bethany Covenant Boone, NC 4 pm (514) 739-8696 Church, Berlin, CT 4 pm Peter Richard Conte; Madonna della Strada Dallas, Texas 75275 Singing Boys of Pennsylvania; Oswego Har- Chapel, Loyola University, Chicago, IL 3 pm Fax: (514) 739-4752 bor Festival, Oswego, NY 7:30 pm Derek Nickels; Holy Name Cathedral, Chi- Musical Heritage Society recordings [email protected] John Gouwens, carillon; The Culver Acad- cago, IL 4 pm emies, Culver, IN 4 pm 17 AUGUST 25 JULY Ray Cornils; First Parish Church, Brunswick, Mark Pacoe; St. Paul Cathedral, Pittsburgh, ME 12:10 pm PA 4 pm Christoph Bull, silent fi lm accompaniment; Singing Boys of Pennsylvania; Mt. Gretna Camp- Merrill Auditorium, Portland City Hall, Portland, A four-inch Professional Card meeting Tabernacle, Mt. Gretna, PA 7:30 pm ME 7:30 pm Marilyn Keiser; Boone United Methodist, Baroque Band; Martin Theatre, Ravinia Park, HE IAPASON Boone, NC 4 pm Highland Park, IL 8 pm in T D Ruth Tweeten; Shepherd of the Bay Lutheran, Ellison Bay, WI 7 pm 18 AUGUST For rates and specifi cations Kathrine Handford; Shrine of Our Lady of Michael Smith; Methuen Memorial Music Hall, Guadalupe, La Crosse, WI 3 pm Methuen, MA 8 pm contact Jerome Butera Jay Peterson; Holy Name Cathedral, Chi- David Bohn; St. Bernard’s Catholic Church, cago, IL 4 pm Appleton, WI 12:15 pm 847/391-1045 Mark McClellan; Sinsinawa Mound, Sinsina- 27 JULY wa, WI 7 pm [email protected] Katelyn Emerson; First Parish Church, Bruns- wick, ME 12:10 pm 21 AUGUST James David Christie; St. Paul Cathedral, Gordon Turk; Ocean Grove Auditorium, Pittsburgh, PA 7:30 pm Ocean Grove, NJ 12 noon
30 THE DIAPASON
July 2010 pp. 28-33.indd 30 6/9/10 10:54:53 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 22 AUGUST 27 JULY John Weaver, reed organ, with fl ute & cello; Charles Luedtke; Bethlehem Lutheran, Stephen G. Schaeffer Union Church, Belgrade Lakes, ME 4 pm Mankato, MN 12:10 pm ROBERT L. Nicholas Will; St. Paul Cathedral, Pittsburgh, Recitals – Consultations PA 4 pm 2 AUGUST Louise Temte; Shrine of Our Lady of Guadal- SIMPSON Jelani Eddington; Spreckels Organ Pavilion, Cathedral Church of the Advent upe, La Crosse, WI 3 pm Christ Church Cathedral Balboa Park, San Diego, CA 7:30 pm Jonathan Ryan; St. John Cantius Church, Birmingham, Alabama 1117 Texas Avenue Chicago, IL 2 pm www.AdventBirmingham.org Houston, Texas 77002 Stephen Schnurr; Holy Name Cathedral, Chi- 3 AUGUST cago, IL 4 pm Aaron Hirsch; Bethlehem Lutheran, Mankato, MN 12:10 pm 24 AUGUST Chelsea Chen; Merrill Auditorium, Portland 9 AUGUST Stephen Tappe City Hall, Portland, ME 7:30 pm James David Christie; Spreckels Organ Pa- Organist and Director of Music Beal Thomas vilion, Balboa Park, San Diego, CA 7:30 pm 25 AUGUST Saint John's Cathedral Mount Calvary Church Stephen Roberts; Methuen Memorial Music 10 AUGUST Baltimore Hall, Methuen, MA 8 pm Denver, Colorado Craig Williams; Ocean Grove Auditorium, Chad Fothergill; Bethlehem Lutheran, Manka- www.sjcathedral.org [email protected] Ocean Grove, NJ 7:30 pm to, MN 12:10 pm Marillyn Freeman; St. Paul Lutheran, Neen- ah, WI 12:15 pm 16 AUGUST Stephen Steely; Sinsinawa Mound, Sinsina- Keenan Boswell & Nicole Cochran; Spreck- ORGAN MUSIC OF THE SPANISH BAROQUE wa, WI 7 pm els Organ Pavilion, Balboa Park, San Diego, CA 7:30 pm 29 AUGUST David Troiano Joe Utterback Adam Brakel; St. Paul Cathedral, Pittsburgh, 17 AUGUST DMA MAPM COMMISSIONS & CONCERTS PA 4 pm Sandra Krumholz; Bethlehem Lutheran, Elizabeth & Raymond Chenault; Boone Unit- 586.778.8035 Mankato, MN 12:10 pm 732 . 747 . 5227 ed Methodist, Boone, NC 4 pm [email protected] Michael Batcho; Holy Name Cathedral, Chi- cago, IL 4 pm 23 AUGUST Dennis James; Spreckels Organ Pavilion, 31 AUGUST Balboa Park, San Diego, CA 7:30 pm Ray Cornils, with Kotzschmar Festival Brass; David Wagner Merrill Auditorium, Portland City Hall, Portland, 24 AUGUST DMA Kevin Walters ME 7:30 pm Christine Schulz; Bethlehem Lutheran, Mankato, MN 12:10 pm Madonna University M.A., F.A.G.O. Livonia, Michigan UNITED STATES 30 AUGUST Rye, New York West of the Mississippi Carol Williams, with jazz musicians; Spreck- [email protected] els Organ Pavilion, Balboa Park, San Diego, CA 7:30 pm 17 JULY John Karl Hirten; California Palace of the Le- gion of Honor, San Francisco, CA 4 pm INTERNATIONAL KARL WATSON Cherie Wescott 18 JULY Concerts • Masterclasses • Coaching Duane Soubirous; St. Mary’s Cathedral, San 15 JULY SAINT LUKE’S Francisco, CA 3:30 pm Francis Jackson; Alexandra Palace, London, 405/942-3958 John Karl Hirten; California Palace of the Le- UK 7:30 pm METUCHEN e-mail: [email protected] gion of Honor, San Francisco, CA 4 pm Choral concert; Hamilton Place, Hamilton, ON, Canada 8 pm 19 JULY Chelsea Chen; Spreckels Organ Pavilion, 16 JULY Balboa Park, San Diego, CA 7:30 pm Roman Perucki; Cathedral, Lausanne, Swit- Davis Wortman zerland 8 pm RONALD WYATT 20 JULY Michael Pelzel; Chiesa Parrocchiale, Maga- Chad Winterfeldt; Bethlehem Lutheran, dino, Switzerland 8:30 pm St. James’ Church Trinity Church Mankato, MN 12:10 pm Choral concert; Roy Thomson Hall, Toronto, Galveston ON, Canada 8 pm New York 23 JULY J. Melvin Butler; St. Mark’s Cathedral, Se- 17 JULY attle, WA 7:30 pm Lorenzo Ghielmi; Thomaskirche, Leipzig, Germany 3 pm Charles Dodsley Walker, FAGO 24 JULY Olga Grigorieva; Musée suisse de l’orgue, Keith Thompson; California Palace of the Le- Roche, Switzerland 5 pm Artist-in-Residence Founder/Conductor gion of Honor, San Francisco, CA 4 pm Mario Duella, with Coro Andolla di Villados- Saint Luke’s Parish Canterbury Choral Society sola; Santuario della Madonna delle Grazie, Por- 1864 Post Road 2 East 90th Street 25 JULY tula, Italy 5 pm Darien, CT 06820 New York, NY 10128 Martin Welzel; St. Mary’s Cathedral, San Choral concert; Redeemer College, Ancaster, (917) 628-7650 (212) 222-9458 Francisco, CA 3:30 pm ON, Canada 7:30 pm Keith Thompson; California Palace of the Le- gion of Honor, San Francisco, CA 4 pm 18 JULY Sigrid Steck & Stefan Lust; Ev. Stadtkirche, 26 JULY Besigheim, Germany 11:15 am William Webber, C.A.G.O. Kalevi Kiviniemi; Spreckels Organ Pavilion, Joris Verdin; Orgue Alain, Romainmôtier, Organist/Director, First Christian Church, Danville, KY Balboa Park, San Diego, CA 7:30 pm Switzerland 4 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: http://webspace.setel.com/~wmwebbiv DAVID SPICER First Church of Christ www.organconsulting.ca Wethersfi eld, Connecticut
RUDOLF ZUIDERVELD Illinois College, Jacksonville House Organist First Presbyterian Church, The Bushnell Memorial Hartford Springfi eld
Cathedral of St. John Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581, ext. 106
Maxine Thévenot Director of Cathedral Music & Organist
JULY, 2010 31
July 2010 pp. 28-33.indd 31 6/9/10 10:55:11 AM Marie-Claire Alain; Abbatiale, Romainmôtier, Martin Baker; St. John the Evangelist, Lon- 1 AUGUST Antonio Caporaso; St. Paul’s Cathedral, Lon- Switzerland 5 pm don, UK 7:30 pm Mariko Takei; Evangelische. Stadtkirche, Be- don, UK 4:45 pm Anna-Victoria Baltrusch; Chiesa Parrocchia- sigheim, Germany 7 pm James Taylor; Westminster Abbey, London, le, Gordola, Switzerland 8:30 pm 25 JULY Philip Crozier; Evangelische Kirche, Nieder- UK 5:45 pm Christian Lane; St. Paul’s Cathedral, London, Guy Bovet; Orgue Alain, Romainmôtier, Swit- Moos, Germany 5 pm UK 4:45 pm zerland 4 pm Roland Muhr; Chiesa della Beata Vergine As- 9 AUGUST Peter Barley; Westminster Cathedral, Lon- Guy Bovet; Abbatiale, Romainmôtier, Swit- sunta, Scopello, Italy 9 pm Gillian Weir; Soelleroed Kirke, Copenhagen, don, UK 4:45 pm zerland 5 pm Andrew Ager; St. Paul’s Cathedral, London, Denmark 8 pm Tobias Frank; Westminster Abbey, London, Francesco Bongiorno; Cappella di S. Marta e UK 4:45 pm Felix Hell; Kaiserdom Königslutter, Königslut- UK 5:45 pm Chiesa di S. Giacomo, Campertogno, Italy 9 pm Angela Kraft Cross; Westminster Abbey, ter, Germany 7 pm Philip Crozier; Basilique Notre-Dame, Mon- Tobias Frank; St. Paul’s Cathedral, London, London, UK 5:45 pm Fabio Ciofi ni; Chiesa di S. Michele Arcangelo, treal, QC, Canada 7 pm UK 4:45 pm Rastiglione, Italy 9 pm Kevin Kwan; Westminster Cathedral, London, 2 AUGUST 19 JULY UK 4:45 pm Luca Lavuri; Chiesa dei SS. Giovanni e Gi- 10 AUGUST Paul Jacobs; St. John the Divine Anglican Christian Lane; Westminster Abbey, London, useppe, Mollia, Italy 9 pm Gillian Weir; Klosterkirke, Nybøbing Falster, Church, Victoria, BC, Canada 8 pm UK 5:45 pm Denmark 8 pm 3 AUGUST Michele Croese, with trumpet; Chiesa di S. 20 JULY 27 JULY Philip Crozier; Svendborg International Organ Sebastiano, Trivero, Italy 9 pm Xavier Deprez; Chiesa Parrocchiale, Maga- Jean-Charles Ablitzer, with vocal ensemble; Festival, Denmark 8 pm James McVinnie; Westminster Abbey, Lon- dino, Switzerland 8:30 pm Collégiale, St-Ursanne, Switzerland 9 pm Mark Steinbach; Chiesa di S. Maurizio, Voc- don, UK 7 pm David Saint; Worcester Cathedral, Worcester, Robert Quinney; Westminster Abbey, Lon- ca, Italy 9 pm UK 1:10 pm don, UK 7 pm James O’Donnell; Westminster Abbey, Lon- 11 AUGUST John Scott; Westminster Abbey, London, UK Margaret de Castro; St. James United don, UK 7 pm Leo van Doeselaar; Grote St. Laurenskerk, 7 pm Church, Montreal, QC, Canada 12:30 pm Rafael de Castro; St. James United Church, Alkmaar, Netherlands 8:15 pm Kurt-Ludwig Forg; St. James United Church, Montreal, QC, Canada 12:30 pm Michele Croese, with trumpet; Chiesa di S. Montreal, QC, Canada 12:30 pm 28 JULY Antonio Abate, Cravagliana, Italy 9 pm Michael Radulescu; Grote St. Laurenskerk, 4 AUGUST Isabelle Demers; Église Saint-Jean-Baptiste, 21 JULY Alkmaar, Netherlands 8:15 pm Jaap Zwart; Grote St. Laurenskerk, Alkmaar, Montréal, QC, Canada 4:30 pm Gillian Weir; Frauenkirche, Dresden, Ger- Netherlands 8:15 pm many 8 pm 29 JULY Mario Duella, with soprano and contralto; Chie- 12 AUGUST Bart Jacobs; Grote St. Laurenskerk, Alkmaar, Mario Duella; Chiesa di Sant’Anna al Montri- sa di S. Maria della Grazie, Varallo, Italy 9 pm Jan Van Mol, with soprano; Chiesa di S. Bar- Netherlands 8:15 pm gone, Borgosesia, Italy 5 pm Ben Bloor, Richard Dawson, & Lawrence Wil- tolomeo, Scopa, Italy 9 pm Simon Peguiron, with La Voix Magique; Col- Hervé Desarbre; Chiesa di S. Antonio, Borgo- liams; Alexandra Palace, London, UK 7:30 pm légiale, Neuchâtel, Switzerland 8 pm sesia, Italy 9 pm 13 AUGUST Patrick Russill; Westminster Cathedral, Lon- 5 AUGUST Gillian Weir; Domkirke, Haderslev, Denmark don, UK 7:30 pm 30 JULY Philip Crozier; Oude & Nieuwe Kerk, Delft, 4:30 pm Benjamin Guélat; Collégiale, Neuchâtel, Swit- Holland 8 pm Elena Sartori; Cathedral, Lausanne, Switzer- 23 JULY zerland 6:30 pm Dominic Perissinotto; Chiesa di S. Margheri- land 8 pm Imrich Szabó; Cathedral, Lausanne, Switzer- Juan Paradell Solé; Cathedral, Lausanne, ta, Balmuccia, Italy 9 pm Jan Van Mol, with soprano; Chiesa di Santa land 8 pm Switzerland 8 pm Croce, Rassa, Italy 9 pm Margreeth de Jong; Chiesa Parrocchiale, Hervé Desarbre; Chiesa di Santa Mara 6 AUGUST Magadino, Switzerland 8:30 pm Vergine Assunta, Viverone, Italy 9 pm Gillian Weir; Helligaandskirche, Copenhagen, 14 AUGUST Michel Colin; Chiesa di S. Eurosia, Pralungo, Denmark 4:30 pm Gillian Weir; Vor Frelsers Kirke, Horsens, Italy 9 pm Andrzej Chorosinski; Cathedral, Lausanne, Denmark 11 am 31 JULY Switzerland 8 pm Dominique Bréda, with oboe; Musée suisse Gillian Weir; Cathedral, Copenhagen, Den- 24 JULY Massimo Gabba; Chiesa di S. Stefano, Piode, de l’orgue, Roche, Switzerland 5 pm mark 12 noon Jacques van Oortmerssen; Thomaskirche, Italy 9 pm Roberto Padion; Chiesa di S. Lorenzo, Michel Bouvard Leipzig, Germany 3 pm ; Thomaskirche, Leipzig, Ger- Crevola, Italy 9 pm Gillian Weir; Domkirche, Merseburg, Ger- many 3 pm 7 AUGUST Michael Rhodes, with oboe; Victoria Hall, many 5 pm Flavio Desandré, with tenor; Musée suisse de Masaaki Suzuki; Thomaskirche, Leipzig, Ger- Hanley, Stoke-on-Trent, UK 12 noon Philip Crozier; Evangelische Stadtkirche, l’orgue, Roche, Switzerland 5 pm many 3 pm Schopfheim, Germany 8 pm Josef Miltschitzky; Chiesa di S. Lorenzo, So- Felix Hell; Berliner Dom, Berlin, Germany 15 AUGUST Federico Andreoni; Musée suisse de l’orgue, stegno, Italy 9 pm 8 pm Gillian Weir; Høje Kolstrup Kirke, Aabenraa, Roche, Switzerland 5 pm Robert Sharpe; Bridlington Priory, Bridlington, Philip Crozier; Brigidakerk, Geldrop, Holland Denmark 8 pm Mario Duella; Basilica Antica, Oropa, Italy 9 pm UK 6 pm 4:15 pm Philip Crozier; Maribo Domkirke, Denmark 8 pm Simon Preston; Victoria Hall, Hanley, Stoke- Andrew Lumsden; Worcester Cathedral, Giorgio Revelli; Musée suisse de l’orgue, Duo Henry-Laloux; Orgue Alain, Romainmô- on-Trent, UK 12 noon Worcester, UK 6:30 pm Roche, Switzerland 5 pm tier, Switzerland 4 pm Dominic Perissinotto; Chiesa di S. Giovanni Duo Henry-Laloux; Abbatiale, Romainmôtier, Battista, Alagna, Italy 9 pm Switzerland 5 pm ORGAN BUILDERS Richard Brasier; Beverley Minster, Beverley, Petra Veenswijk; Maria van Jessekerk, Delft, UK 6 pm Netherlands 3 pm Jean-Luc Thellin; St. Paul’s Cathedral, Lon- 8 AUGUST don, UK 4:45 pm L. W. BLACKINTON THE NOACK ORGAN CO., INC. Philip Crozier; Barockkirche St. Franziskus, Paul Derrett; Westminster Abbey, London, and associates, inc. MAIN AND SCHOOL STREETS Zwillbrock, Germany 4:30 pm UK 5:45 pm GEORGETOWN, MA 01833 www.noackorgan.com Christian Bacheley; Orgue Alain, Romainmô- 380 FRONT ST. tier, Switzerland 4 pm 17 AUGUST EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America Christian Bacheley, with trumpet; Abbatiale, Gillian Weir; Konservatorium, Esbjerg, Den- Romainmôtier, Switzerland 5 pm mark 7:30 pm Michael Radulescu; Eglise des Jésuites, Por- Philip Crozier; St.-Gertraud-Kirche, Frankfurt martin ott pipe rentruy, Switzerland 8 pm (Oder), Germany 8 pm organ company Kees van Houten; Laurenskerk, Rotterdam, inc. Netherlands 3 pm 18 AUGUST 7408 Somerset Ave. Gerard Gillen; Chiesa di Maria Vergine As- Pieter van Dijk; Grote St. Laurenskerk, Alk- St. Louis, MO 63105 sunta, Grignasco, Italy 9 pm maar, Netherlands 8:15 pm 314-504-0366 Phone 314-569-3879 Fax Martin Ott [email protected] Orgelbaumeister www.ottpipeorgan.com
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32 THE DIAPASON
July 2010 pp. 28-33.indd 32 6/9/10 10:55:35 AM 20 AUGUST Keith Hearnshaw; Bridlington Priory, Bridling- CHARLES CALLAHAN, William Carey Strong Bands, Bach; Toccata on “Christ Jesus Gillian Weir; Skagen Kirke, Skagen, Denmark ton, UK 6 pm University, Hattiesburg, MS, January 22: Ju- Lay in Death’s Strong Bands,” Diemer. 12 noon bilate Deo (Psalm 100), Silver; Adagio (Suite Jürgen Wolf; Cathedral, Lausanne, Switzer- 29 AUGUST dans le style ancien), Enesco, arr. Dickinson; FREDERICK HOHMAN, Goshen Col- land 8 pm Bob van Asperen, harpsichord; Aula, Festiv- Lord God, Now Open Wide Thy Heaven, lege, Goshen, IN, February 14: Concerto in Giovanni Galfetti, with ciaramella; Chiesa alcentrum, Utrecht, Netherlands 1 pm We All Believe in One God, Bach; Litany for a for Two Violins and Orchestra, BWV 593, della SS. Trinità e di S. Carlo, Tavigliano, Italy Felix Hell; RC Church St. Maria Magdalena, All Souls, Schubert, arr. Dickinson; Prelude, Bach; Langsam, Lebhaft (Six Fugues on 9 pm Bobenheim-Roxheim, Palatinate, Germany 7 pm Scherzetto, Vierne; Introduction and Varia- B-A-C-H, op. 60), Schumann; Allein Gott in Paul Bowen; St. Paul’s Cathedral, London, tions sur un ancien Noel Polonais, Guilmant; der Höh sei Ehr’, BWV 662, BWV 664, Bach; 21 AUGUST UK 4:45 pm Grand Choeur, Spence; Alla Pastorella, Récit de Tierce en Taille (Premier Livre Hilmar Gertschen; Musée suisse de l’orgue, Anna Myeong; Westminster Abbey, London, Thayer; Memories, Dickinson; Bourree in d’Orgue), de Grigny; Le Romance de Mon- Roche, Switzerland 5 pm UK 5:45 pm the olden style, Sabin; Impromptu, Parker; sieur Balbastre, Balbastre; Sonate in F, op. 65, Lotus Blossom, Strayhorn, arr. Wyton; Amaz- no. 1, Mendelssohn; No. 1 in C, No. 5 in b (Six 22 AUGUST 30 AUGUST ing Grace, Psalm of Praise—Toccata on Old Canonic Studies, op. 56), Schumann; Toccata Michel Jordan; Orgue Alain, Romainmôtier, Laurent Stewart, harpsichord; Lutherse Kerk, 100th , Callahan. in F, BWV 540a, Bach. Switzerland 4 pm Utrecht, Netherlands 11:59 pm Michel Jordan, with fl ute; Abbatiale, Romain- Alan Spedding; Beverley Minster, Beverley, PHILIP CROZIER, with Stéphanie Vézi- JOAN LIPPINCOTT, Christ Church, môtier, Switzerland 5 pm UK 6 pm na, soprano, and Aura West, trumpet, Eglise Rochester, NY, February 12: Pièce d’Orgue Naoki Kitaya, harpsichord, with cello; Kirche St. Germain d’Outremont, Montreal, QC, in G, BWV 572, Nun danket alle Gott, BWV Amsoldingen, Amsoldingen, Germany 5 pm 31 AUGUST Canada, September 26: A Trumpet Minuet, 657, Schmücke dich, o liebe Seele, BWV 654, Sarah MacDonald; St. Paul’s Cathedral, Lon- Lars Ulrik Mortensen, harpsichord; Lutherse Hollins; Voluntary en La, Selby; Sonate Von Gott will ich nicht lassen, BWV 658, don, UK 4:45 pm Kerk, Utrecht, Netherlands 1 pm en Trio No. 4 en Mi mineur, BWV 528, Prelude and Fugue in C, BWV 547, Contra- Keith Hearnshaw; Westminster Abbey, Lon- Frédérick Haas, harpsichord; Lutherse Kerk, Bach; Suite du premier ton, Bédard; Werde punctus 6 in Stylo Francese, Contrapunctus don, UK 5:45 pm Utrecht, Netherlands 11:59 pm munter, mein Gemüte, Pachelbel; Humor- 4 (The Art of Fugue, BWV 1080), Trio Sonata Travis Baker; St. James United Church, Mon- esque ‘L’organo primitivo,’ Yon; Fugue en in E-fl at, BWV 525, Passacaglia in c, BWV 24 AUGUST treal, QC, Canada 12:30 pm Do, BuxWV 174, Buxtehude; Postlude pour 582, Bach. Francine Nguyen-Savaria; St. James United l’Offi ce de Complies, JA 29; Alain; Impromp- Church, Montreal, QC, Canada 12:30 pm tu, op. 54, no. 2, Carillon de Westminster, JAMES R. METZLER, First Park Con- op. 54, no. 6, Vierne; Let the Bright Sera- gregational Church, Grand Rapids, MI, 25 AUGUST Organ Recitals phim (Samson), Handel. November 15: Offertoire sur les grand jeux Frank van Wijk; Grote St. Laurenskerk, Alk- St. James United Church, Montreal, QC, (Messe pour les Couvents), Couperin; The maar, Netherlands 8:15 pm Canada, September 28: Sonate no. 6, en ré Musical Clocks, Haydn, arr. Biggs; Jesu, joy Giampaolo di Rosa; Westminster Cathedral, DEAN BILLMEYER, Church of St. Lou- mineur, op. 65, no. 6, Prélude et fugue en ut of man’s desiring (Cantata 147), Bach, arr. London, UK 7:30 pm is, King of France, St. Paul, MN, November mineur, op. 37, no. 1, Prélude et fugue en sol Rawsthorne; Passacaglia and Fugue in c, 10: Nun freut euch, lieben Christen g’mein, mineur, op. 37, no. 2, Sonate no. 1, en ré mi- BWV 582, Bach; Pièce Héroïque, Franck; Le 27 AUGUST BuxWV 210, Buxtehude; Ecce Lignum Cru- neur, op. 65, no. 1, Mendelssohn. Jardin suspendu (Trois Pièces), Alain; Cruci- Pierre-Laurent Haesler; Collégiale, Neuchâ- cis, Heiller; Komm, Gott Schöpfer, heiliger fi xion, Résurrection (Symphonie-Passion, op. tel, Switzerland 6:30 pm Geist, BWV 667, Bach. EMMA LOU DIEMER, First United 23), Dupré. Andres Uibo; Cathedral, Lausanne, Switzer- Methodist Church, Santa Barbara, CA, Feb- land 8 pm STEPHEN BUZARD, with Katherine ruary 17: O Sacred Head, Now Wounded, KAREL PAUKERT, with Robert Walters Buzard, soprano, The Presbyterian Homes, Bach; Fantasy on “O Sacred Head,” Diemer; and Michelle Wong, English horn, and Sandra 28 AUGUST Evanston, IL, January 11: Gelobet seist du, Mountain Air and Dance, Balderston; Cho- Simon, soprano, St. Paul’s Episcopal Church, Ludmila Tschakalova, harpsichord; Lutherse Jesu Christ, BuxWV 188, Buxtehude; Das rale Prelude on “Herzliebster Jesu,” Gell; Cleveland Heights, OH, January 15: Les Tab- Kerk, Utrecht, Netherlands 1 pm alte Jahr vergangen ist, BWV 614, In dir ist Three Verses on Wondrous Love, Fruhauf; leaux Galants, d’Hervelois; Partita on the Aurélien Delage & Laurent Stewart, harpsi- Freude, BWV 615, Bach; Canon in A-fl at, op. We Come as Guests Invited, Diemer; Prelude chorale How brightly shines the morning star, chord; Lutherse Kerk, Utrecht, Netherlands 5 pm 56, no. 4, Schumann; An die Musik, Heiden- for the Sabbath, Berlinski; Beneath the Cross Buxtehude; First Choral, Variations on a theme Ernst Kubitschek, with violin; Musée suisse röslein, Die Forelle, Schubert; Prelude and of Jesus, Wood; Beneath the Cross, I Come of Josef Haydn, Andriessen; Au loin, op. 20, de l’orgue, Roche, Switzerland 5 pm Fugue in C, BWV 547, Bach. with Joy, Diemer; Christ Jesus Lay in Death’s Koechlin; Liebster Gott, erbarme dich, Bach.
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Manuals I & II Diapason 8 , Flute Simon Nieminski in a 74-minute CD playing a historic organs by Aeolian-Skinner, Casa- 8′, String F 8, String P 8, String PP 8′, Flute 1913 vintage Brindley & Foster organ, hereto- er organ-related books, recordings, and sheet ′ ′ ′ vant, Hook & Hastings, and Hutchings-Votey, music: www.ohscatalog.org. 4 , Trumpet 8 ; Pedal Flute 16 extension. Cur- fore not heard in a public concert, at Freema- Kilgen, Tallman, Woodberry, Hinners, Cole rently in playable condition; in need of restora- sons’ Hall in Edinburgh, Scotland. The organ & Woodberry, plus instruments by Flentrop, tion. Buyer to remove. The organ will be offered is unique in that it has been maintained in its C. B. Fisk, and Rosales, and Pacifi c Northwest Request a free sample issue of The Diapason for sale on eBay from September 1–25, 2010. original condition, as a fully tubular-pneumatic organbuilders Paul Fritts, Martin Pasi, John For more information visit our website: master- organ, complete with winded stop action and a for a student, friend, or colleague. Write to the Brombaugh, Richard Bond, and many more! Editor, The Diapason, 3030 W. Salt Creek Lane, mason.com/yanktonsr or call Brian Holcomb crescendo pedal labeled as the “Brindgradus.” Renowned organists Douglas Cleveland, Ju- Suite 201, Arlington Heights, IL 60005; or e-mail: 605/665-2414. The program comprises works by several com- lia Brown, J. Melvin Butler, Carol Terry, Bruce [email protected]. posers with Masonic connections. $17.98 plus Stevens, and others are featured in live per- postage at ProOrgano.com. formances on 24 pipe organs built between Henry Pilcher’s Sons tracker, currently in stor- 1871 and 2000. Includes a 36-page booklet PIPE ORGANS age. Some parts missing; was up and playing in with photographs and stoplists. $34.95, OHS my Baltimore home 1980–1990. Original blower, CD Recording, “In memoriam Mark Bux- members: $31.95. For more info or to order: FOR SALE keyboards, couplers, music desk, back-falls, ton (1961–1996).” Recorded at Église Notre- http://OHSCatalog.com/hiorofse.html. trackers, Swell shades, miscellaneous original or re-built stop action, wind duct, chest supports, Dame de France in Leicester Square, London, Portative organ: Designed for small choral or between 1987 and 1996. Works of Callahan, ′ ′, ′, and other parts. Great chest (4 stops), Swell baroque ensembles. Four stops: 8 , 4 2 and chest (5 stops), Pedal chests for 16′ Bourdon. Widor, Grunewald, Salome, Ropartz, and Boëll- Reflections: 1947–1997, The Organ Depart- 1-1/3′, with the last two divided into bass and ′ mann, along with Buxton’s improvisations. $15 ment, School of Music, The University of Mich- Some original pipes (may be damaged): 16 Bour- treble registers and an adjustable point of di- don, 8’ Melodia (TC), 8′ Violin Diapason (TC), 8′ postpaid: Sandy Buxton, 10 Beachview Cres- igan, edited by Marilyn Mason & Margarete vision (b24/c25 or c25/c#26). Adjustable pitch cent, Toronto ON M4E 2L3 Canada. 416/699- Thomsen; dedicated to the memory of Albert Stopped Diapason; additional parts & pipes from between A=440 Hz and A=415 Hz. Quarter- Durst or elsewhere, including: pedalboard, reser- 5387, FAX 416/964-2492; e-mail hannibal@ Stanley, Earl V. Moore, and Palmer Christian. sawn white oak case. Available immediately. ′ ′ ′ ′ idirect.com. voir, 4 Octave, 4 Gedeckt, 2 Blockfl ute, 2 Pic- Includes an informal history-memoir of the For more information, contact Létourneau Pipe colo, Mixture IV, Krummhorn 8′, miscellaneous organ department with papers by 12 current Organs at [email protected] or parts and pipes. It’s yours for $1,000 if you come and former faculty and students; 11 scholarly 888/774-5105. and carry it away as is. Contact: Bill Clisham; cell The OHS Catalog is online at www.ohscata- articles; reminiscences and testimonials by 908/472-7597, e-mail: [email protected]. log.org. More than 5,000 organ and theatre graduates of the department; 12 appendices, organ CDs, books, sheet music, DVDs and and a CD recording, “Marilyn Mason in Re- 19-rank Austin near New York City, 1915 uni- VHS videos are listed for browsing and easy cital,” recorded at the National Shrine of the versal chest with 1962 cantilevered Great added. 8-rank Wangerin near Detroit is seeking a good ordering. Use a link for adding your address Immaculate Conception in Washington, DC. Any modest, reasonable offer will be considered. home. I am in good condition and will bring joy to the OHS Catalog mailing list. Organ Histori- $50 from The University of Michigan, Prof. Playable and located in Northern New Jersey. to my new owner. Owner is asking $3,500 and cal Society, Box 26811, Richmond, VA 23261. Marilyn Mason, School of Music, Ann Arbor, Please contact the Organ Clearing House for de- buyer to remove. For information please contact E-mail: [email protected]. MI 48109-2085. tails (#2380), or phone 201/835-5311. 248/356-0896 or [email protected].
TOTAL PIPE ORGAN RESOURCES
2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
PEEBLES-HERZOG, INC. THE ORGAN COMPANY 50 Hayden Ave. Columbus, Ohio 43222 1220 Timberedge Road Lawrence, Kansas 66049 Ph: 614/279-2211 • 800/769-PIPE (785) 843-2622 www.peeblesherzog.com www.reuterorgan.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
34 THE DIAPASON
July 2010 pp. 34-35.indd 34 6/9/10 10:57:15 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Martin Pasi pipe organ—Two manuals, Atlantic City Pipe Organ Company—Tellers Austin actions recovered. Over 40 years ex- Releathering all types of pipe organ actions 24 stops, suspended-tracker action. Web: 16′ Viol, 73 pipes; Gottfried reeds: 16′ Harmonic perience. Units thoroughly tested and fully guar- and mechanisms. Highest quality materials and http://martin-pasi-pipe-organ-sale.com; phone: Tuba, 85 pipes, 8″ sc, 8″ wp; 16′ Fagott, 4″ sc, anteed. Please call or e-mail for quotes. Tech- workmanship. Reasonable rates. Columbia 425/471-0826. 61 pipes, 4″ wp; 8′ Trumpet, 5″ sc; 8′ Capped nical assistance available. Foley-Baker, Inc., 42 Organ Leathers 800/423-7003. www.columbia Oboe, 8′ French Horn. Tellers 2-manual, 4-rank N. River Road, Tolland, CT 06084. Phone 1- organ.com/col. unit organ. 16′ Gemshorn. 609/641-9422. http:// 800/621-2624. FAX 860/870-7571. foleybaker@ 1977 3-manual, 41-rank Casavant, Opus 3334, mywebpages.comcast.net/acorgan. sbcglobal.net. located in Seattle, WA. This well-maintained or- It’s time to check your company’s listing for THE gan is available immediately. It can be seen and DIAPASON 2011 Resource Directory—or to create played by appointment. Call 425/269-5035 or 1980 OSI Gemshorn 8–2′, 85 notes with chest Aeolian/Robert Morton-style maroon leather one if you haven’t done so! Visit www.TheDiapa- e-mail [email protected] for details and and racking, 3 1/2″ WP, good shape; free. 1980 is now available from Columbia Organ son.com, and from the left column select Supplier specifi cation. OSI Trumpet 8–4′, 73 notes with chest and rack- Leathers! Highest quality. 800/423-7003, Login. For information, contact Joyce Robinson, ing, 3 1/2″ to 4″ WP, good shape; free. Call Kent www.columbiaorgan.com. 847/391-1044,
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-qual- organbuilders ity plaque has a marbleized black fi nish; a slot on the back makes it 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 easy to hang for wall display. Made 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com in the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens W. Zimmer & Sons, inc. in USA included. $10 discount for Organpipes - since 1914 pipe organ builders members of the 50-Year Subscrib- 429 Marvin Road Fort Mill, SC 29707 ers Club. Order yours today: Flues - Reeds Phone/Fax: 803-547-2073 [email protected] Bedrijvenpark "Seyst" wzimmerandsons.com E-1 Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
JULY, 2010 35
July 2010 pp. 34-35.indd 35 6/9/10 10:58:07 AM Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Stephen Cleobury* Douglas Cleveland Michael Unger AGO National Competition Winner Available 2008-2010
Ken Cowan Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director March 2011 Jane Parker-Smith* Peter Planyavsky* Simon Preston* Daniel Roth* Ann Elise Smoot Donald Sutherland The Choir of St. John’s College Cambridge, UK Andrew Nethsingha, Director March, 2011
Westminster Cathedral Choir London, UK Martin Baker, Director Fall 2011 *=European artists available Tom Trenney Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young 2009-2010 and 2010-2011
July 2010 p. 36.indd 36 6/9/10 10:59:07 AM