THE DIAPASON DECEMBER 2018

Stoneleigh Villanova, Pennsylvania Cover feature on pages 26–28 ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN

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

BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 12, ‘Tis the season Whole No. 1309 This issue will likely arrive in your mailbox (or email box) DECEMBER 2018 shortly after Thanksgiving. The staff of The Diapason hopes Established in 1909 you had a pleasant and restful holiday. Stephen Schnurr ISSN 0012-2378 As we now move into the busy season where many of us are 847/954-7989; [email protected] dealing with special events for Advent and Christmas, we wish www.TheDiapason.com An International Monthly Devoted to the Organ, you again the best of this special time. We remind you in this the Harpsichord, Carillon, and Church Music gift-giving season that a subscription to The Diapason makes of Minnesota, Minneapolis, a multi-year project recently com- the perfect gift for friends and students. Through the end of pleted by Foley-Baker. CONTENTS 2018, new subscriptions and gift subscriptions qualify for free In “Harpsichord Notes,” Larry Palmer suggests items for FEATURES CDs from Raven. For information and to purchase a subscrip- a Christmas gift list. Gavin Black continues his discussion An interview with John Rutter tion, visit www.thediapason.com/subscribe. of counterpoint in “On Teaching.” John Bishop, in “In the by Lorraine S. Brugh 19 There will be slight adjustments to the subscription rates on Wind . . .,” remembers the late Steven E. Lawson of New Minnesota’s Northrop organ lives again! January 1. A one-year print subscription will be $43, two years York City, who, among other talents and projects, contributed Aeolian-Skinner Opus 892 restored by $77, three years $106. Our digital issue and student subscriptions immensely to the documentation of the pipe organ throughout Foley-Baker by Michael Barone 24 will remain the same price, $35 and $20, respectively. Our mail- the United States, making this information freely available for ing surcharges to other countries will remain the same in 2019. all on the internet. NEWS & DEPARTMENTS Our Cover Feature highlights Aeolian-Skinner Opus 878, Editor’s Notebook 3 In this issue recently restored and relocated by Emery Brothers of Allen- Here & There 3 Lorraine Brugh presents us a delightful interview with John town, Pennsylvania, to Stoneleigh, Villanova, Pennsylvania, the Appointments 6 Rutter, known globally for his fi ne compositions. Michael new home of the Organ Historical Society. Another residence Nunc Dimittis 10 Barone provides us with a glimpse of the newly restored organ is featured in Organ Projects, an instrument by Fabry, Harpsichord Notes by Larry Palmer 11 On Teaching by Gavin Black 12 Aeolian-Skinner Opus 892 in Northrop Auditorium, University Inc., in a Rockford, Illinois, residence. Q In the wind . . . by John Bishop 14

REVIEWS Special Bulletin Choral Music 16 Book Reviews 16 New Organ Music 16 Nominations are open from December 1 through February he or she should be con- New Recordings 17 New Handbell Music 18 1 for our “20 under 30” Class of 2019. Submit nominations at sidered. Please include www.thediapason.com (click on “20 under 30”), by email (to your own name, title, ORGAN PROJECTS 28 [email protected]), or through postal mail (The Diapa- and company/school/ CALENDAR 29 son, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, church if applicable, and IL 60005). your email address (or RECITAL PROGRAMS 33 Nominees will be evaluated on how they have demonstrated phone number). CLASSIFIED ADVERTISING 34 such traits and accomplishments as leadership skills, creativity Only persons who have and innovation, career advancement, technical skills, and com- been nominated can be considered for selection. Self-nomina- munity outreach. Evaluation of nominees will consider awards tions are not allowed. Nominees cannot have reached their and competition prizes, publications, recordings, and composi- 30th birthday before January 31, 2019. Persons nominated in THE tions, offi ces held, and signifi cant positions. past years but not selected may be nominated again. DIAPASON Nominations should include the nominee’s name, email, Evaluation of the nominations and selection of the members DECEMBER 2018 birth date, employer or school, and a brief statement (300– of the Class of 2019 will take place in February; the winners 600 words) detailing the nominee’s accomplishments and why will be announced in the May 2019 issue of The Diapason.

Here & There

Correction Holy Trinity Lutheran Church, In “Michel Chapuis (1930–2017): A New York, New York, announces its great organist, pioneer, and professor,” 2018–2019 cantata series, Sundays at Stoneleigh Villanova, Pennsylvania Cover feature on pages 26–28 by Carolyn Shuster Fournier (October 5:00 p.m.: December 2, Buxtehude, 2018), three names are misspelled: on Wachet auf; 12/9, Zelenka, Magnifi cat in page 23: Gaston Kern (instead of Alfred D; 12/16, Britten, A Ceremony of Carols; COVER Kern), on p. 24: Alain Langrée (instead January 6, Bach, Cantata 65; Febru- Emery Brothers, Allentown, Pennsylvania; of Langré), and on p. 25, note 63: Odile ary 10, Bach, Cantata 82; 2/17, Buxte- Stoneleigh, Villanova, Pennsylvania 26 Bailleux (instead of Bayeux). hude, Gott hilf mir, BuxWV 34; 2/24, G. C. Bach, Siehe, wie fein und lieblich ist’s; March 5, Bach, Cantata 96; 3/10, Editorial Director STEPHEN SCHNURR Events Carissimi, Jeptha; 3/17, Charpentier, and Publisher [email protected] 847/954-7989 Miserere; 3/24, White, Lamentations of Jeremiah; 3/31, Buxtehude, Fürwahr, President RICK SCHWER er trug unsere Krankheit, BuxWV 31; [email protected] 847/391-1048 April 7, Bach, Cantata 150; 4/14, Bach, Cantata 182; 4/21, Bach, Cantata 15. For Editor-at-Large ANDREW SCHAEFFER information: www.holytrinitynyc.org. [email protected]

Sales Director JEROME BUTERA Grace Church, New York, New [email protected] York, Patrick Allen, organist and 608/634-6253 choirmaster, continues its 2018–2019 Circulation/ Subscriptions ROSE GERITANO season of special music events, Sun- [email protected] days at 4:00 p.m., unless otherwise Grace Church, New York, New York, 847/391-1030 noted: December 2, Advent Lessons & Taylor & Boody organ Designer KIMBERLY PELLIKAN Carols; 12/5, 12:15 p.m., Community [email protected] Methuen Memorial Music Hall Carol Sing; 12/9, Britten, A Ceremony Jesu, meine Freude; 4/16, 7:00 p.m., 847/391-1024 of Carols; 12/24, 8:00 p.m., Christmas Leçons de Ténèbres pour le Mercredi Methuen Memorial Music Hall, Lessons & Carols. Saint; 4/19, 7:00 p.m., Maunder, Olivet Contributing Editors LARRY PALMER Harpsichord Methuen, Massachusetts, continues January 6, Menotti, Amahl and the to Calvary; 4/26, spring choir concert. organ events: December 1 & 2, A Merry Night Visitors; February 10, concert For further information: BRIAN SWAGER Music Hall Christmas programs. For of music for treble voices; March 3, www.gracechurchnyc.org. Carillon information: www.mmmh.org. Honegger, King David; April 14, Bach, ³ page 4 JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of GAVIN BLACK Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. On Teaching Subscriptions: 1 yr. $42; 2 yr. $75; 3 yr. $100 (United States and U.S. Possessions). Copyright ©2018. Printed in the U.S.A. Canada and Mexico: 1 yr. $42 + $10 shipping; 2 yr. $75 + $15 shipping; 3 yr. $100 + $18 No portion of the contents of this issue may be reproduced in any form without the Reviewers Derek E. Nickels shipping. Other foreign subscriptions: 1 yr. $42 + $30 shipping; 2 yr. $75 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Stephen Schnurr 3 yr. $100 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading John Collins only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. John L. Speller POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the Simon Thomas Jacobs 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, Leon Nelson This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 3 Here & There

³ page 3 Second Presbyterian Church, St. Louis, Missouri, continues its 2018– 2019 Couts Music Series, Sundays at 4:00 p.m.: December 2, Advent Vespers with the Second Church Chorale and Orchestra, directed by Andrew Peters; January 20, Music for horn, alphorn, and organ with horn players Tricia and Thomas Jostlein and organist Andrew Peters; February 17, Brian Owens Jazz concert; March 10, Greenville Univer- sity Choir; April 28, young artists of the Bach Society of St. Louis. For informa- tion: www.secondchurch.net.

Advent Lutheran Church, Mel- Madison Avenue Presbyterian Church, bourne, Florida, announces its 2018 The candidates after the semi-fi nal round at Saint-Omer (photo credit: Bernard Hédin) New York, New York (photo credit: Lee Ryder) Advent recital series, Wednesdays at noon: December 5, Neal Campbell; The Seventh Pierre de Manchicourt International Organ Competition took Madison Avenue Presbyterian 12/12, Anita Juilianna, oboe, Beth place in the Pas-de-Calais region in northern France at the end of September. Given Church, New York, New York, con- Green, soprano, Rebecca Simons, violin; in memory of Michel Chapuis (1930–2017), it was organized by one of his former tinues its Saint Andrew Music Society 12/19, Betty Jo Couch. In addition, the students, Bernard Hédin, who founded the competition. This year, candidates were events for 2018–2019: December 2, church offers concerts Sundays at 3:00 allowed to freely choose their 25-minute programs on one, two, or three different Christmas on Madison Avenue; 12/16, p.m.: February 3, From Bach to Gospel, organs: in the French Classical style (1988/2016 Garnier/Requier organ in Lens); in 14th annual carol sing; with Mark Miller; May 5, Amanda Mole. the polyphonic Northern German style (2001 Freytag/Tricoteaux in Béthune); and in February 10, duoSeraphim, with For information: the Romantic style (1855 Cavaillé-Coll in Saint-Omer). Sarah Hawkey, soprano, and Niccolo www.adventbrevard.org. The jury, Olivier Latry (France), president, comprised fourteen members. At Seligmann, viola da gamba; 2/24, Tchai- Lens: Bernard Coudurier (France), president, Alain Alabau (France), Sylvain Heili kovsky and His Contemporaries, with the (France), Olivier Houette (France), and Shin-Young Lee (Korea); at Béthune: Ber- Russian Chamber Chorus of New York; nard Foccroulle (Belgium, president), Léon Berben (Netherlands), Anne-Gaëlle March 3, Peter Vinograde and friends; Chanon (France), Bernard Coudurier, and Ami Hoyano (Japan); and in Saint-Omer: 3/10, Neave Piano Trio; 3/24, Tami Petty, Louis Robilliard (France, president), François Bocquelet (France), Anne-Gaëlle soprano, with Michael Scheetz, piano; Chanon, Jürgen Essl (Germany), Ami Hoyano, Olivier Latry, Shin-Young Lee, and 3/29, students of the organ department Ghislain Leroy (France). of Manhattan School of Music; April 7, The following prizes were awarded: First Prize at Saint-Omer to Mitchell Miller Vaughan Williams, Sancta Civitas, Brit- (U.S.A., a double-degree student in organ performance and German studies at the ten, The World of the Spirit, with the Oberlin Conservatory of Music who was awarded a Fulbright research grant to study Saint Andrew Chorale & Orchestra; 4/28, organ in Germany), and First Prize at Lens to Quentin du Verdier (France); Sec- Margaret Mills, piano; May 5, New York ond Prize at Saint-Omer and at Béthune to Liubov Nosova (Russia), ex aequo at City Children’s Chorus. For information: Béthune to Peter van der Zwaag (Netherlands) and at Lens to Emmanuel Ara- www.mapc.com/music/sams. kélian (France). Olivier Latry concluded the competition by presenting a concert on September 30 at the Saint-Omer Cathedral. —Carolyn Shuster Fournier

St. Luke’s Episcopal Church, Evanston, Christ Episcopal Church, Easton, Illinois, Skinner organ Maryland Opus 327 NFP, the not-for-profi t Christ Episcopal Church, Easton, foundation founded by St. Luke’s Epis- Maryland, continues its 2018–2019 copal Church, Evanston, Illinois, for season of musical events: December 2, the benefi t of the church’s 1922 Skinner The Capital Ringers; January 18, Chris- Organ Company instrument, announces topher Jacobson; February 3, Netanel its 2018–2019 series: December 5, 12, Draiblate, violin; March 10, The District and 19, Advent recitals by Christine Eight (Renaissance polyphony); April Kraemer; January 13, Karel Paukert; 7, Ensemble Galilei; May 19, Peter February 10, Brian Schoettler; March 13, Osmo Vanska, John Harbison, and Paul Jacobs (photo credit: Tim Rummelhoff) DuBois. For information: 20, 27, and April 3, 10, Lenten recitals www.christchurcheaston.org. by Christine Kraemer; March 16, Bach On October 12 and 13, Paul Jacobs, as soloist with the Minnesota Orchestra, gave cantatas and organ works; May 11, St. the world premiere performances of Pulitzer Prize-winning composer John Harbi- Luke’s Choir concert with organ prelude son’s work for organ and orchestra, What Do We Make of Bach?, a co-commission of by Christine Kraemer. For information: the Minnesota Orchestra, Seattle Symphony, and the University of Minnesota. The www.opus327.org. concerts occurred at Northrop Memorial Auditorium at the University of Minnesota, with music director Osmo Vänskä conducting. (See also pp. 24–25.) The Church of St. Luke in the Fields, New York, New York, continues its 2018–2019 season, with performances Sonas, Celtic ensemble; April 5, Kevin by the choir of the church on Thursdays, Cole, piano; 4/26 and May 3, Nicholas 8:00 p.m.: December 6, a Baroque Schmelter; 5/19, Nicholas Schmelter Christmas in Rome, with the ensemble with Tyler Kivel, piano. For information: Baroque in the Fields; January 24, The www.carofi rst.org. Three B’s of the North German Baroque, with soloists, Baroque in the Fields, and St. John’s Episcopal Church, West David Shuler, organist; February 28, The Hartford, Connecticut, continues its Splendor of the Spanish Renaissance; 2018–2019 Music at the Red Door April 4, Haydn, Stabat Mater. For infor- events: December 9, Candlelight Fes- mation: https://stlukeinthefi elds.org. tival of Lessons and Carols; February St. John’s Episcopal Church, West Hart- Cathedral Church of St. Paul, Detroit, 9, Handel, Messiah, with the American ford, Connecticut Michigan, Pilzecker organ (photo credit: First Presbyterian Church, Caro, Baroque Orchestra and Chorus; March Christian Hooker) Michigan, continues its 2018–2019 9, Celtic Fire, with CitySingers of Hart- Pipes Alive! organ recitals are pre- Friends of Music Series: December ford; 3/24, Durufl é, Requiem; April 27, sented on Sundays at 12:30 p.m.: January The Cathedral Church of St. Paul, 7, Nicholas Schmelter; 12/14, choir of Suzanne Bona, fl ute. 6, Diana Chou; February 3, Kyle Swann; Detroit, Michigan, continues music Caro High School; January 11, Nicholas Choral Evensong is offered Sundays at March 3, Nathan Lively; April 7, Scott events: December 2, Advent Proces- Schmelter with Townes Miller, fl ute; 5:00 p.m.: January 27, February 24, and Lamlein; May 5, Jackson Merrill; June 2, sion; 12/22, Lessons & Carols. For January 25 and February 8, Nicholas April 28. The New World Trio, ensemble Christa Rakich. For information: information: Schmelter; 2/15, Tyler Kivel, piano; in residence, presents concerts: January www.reddoormusic.org. www.detroitcathedral.org. March 1, Nicholas Schmelter; 3/10, 13, March 31. ³ page 6

4 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM Colin Andrews R. Monty Bennett Elisa Bickers Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Charlotte, North Carolina Prairie Village, Kansas Ann Arbor, Michigan Austin, Texas Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Justin Hartz Sarah Hawbecker Organist Organ/Carillon Professor of Organ Organist/Recording Artist Pipe/Reed Organist Organist/Presenter Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Philadelphia, PA Atlanta, GA

James D. Hicks Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Organist Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Lecturer Califon, NJ Brooklyn, New York San Francisco, CA Clarksville, Indiana Wilkes-Barre, Pennsylvania Dallas/Fort Worth, TX

Wynford S. Lyddane Colin Lynch Philip Manwell Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Pianist/Instructor Organist/Conductor Organist Organist/Faculty Organist/Presenter Organist/Pianist Washington, D.C. Boston, Massachusetts University of Nevada, Reno Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Jason A. Wright Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Conductor/Clinician Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK Hilton Head, South Carolina

Beth Zucchino Clarion Duo Rodland Duo Christine Westhoff Organist/Harpsichordist/Pianist Keith Benjamin, trumpet Viola and Organ & Timothy Allen Sebastopol, California University of Missouri-Kansas City The Juilliard School/ Soprano and Organ Melody Steed, Elementary Music St. Olaf College Little Rock, Arkansas Specialist, Waterloo, Iowa www.ConcertArtist Cooperative.com

R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 31st- year of operation Here & There

³ page 4 19–20, Handel, Messiah, St. Vincent Musica Sacra, San Antonio, Texas, Ferrer Catholic Church; January 3, 6, Appointments announces its 2018–2019 season, the Monteverdi, Vespers of 1610, Church of Steve McBride had been appointed organization’s ninth: December 9, Advent St. Jean Baptiste; 1/4, Behind Convent sales and marketing manager for Solid State Lessons & Carols, Our Lady of the Lake Walls, Fifth Avenue Presbyterian Church; Organ Systems, Alexandria, Virginia. He University; March 24, Choral Evensong 1/5, Spanish Music in the Golden Age, will focus on sharing the company vision, for Lent, Our Lady of the Atonement with Blue Heron and Dark Horse Con- listening to clients’ needs, and strengthening Catholic Church; April 14, Easter season sort, Fifth Avenue Presbyterian Church; customer relations. McBride holds a Bach- concert, Temple Beth-El. For informa- February 7, Oh Death, Rock Me Asleep, elor of Music degree in music education tion: www.musicasacrasa.org. House of the Redeemer; March 28–29, from West Chester University, West Chester, Bach, St. Matthew Passion, location to Pennsylvania, and has worked in the church St. Margaret’s Episcopal Church, be announced. For further information: organ industry since 2002. He was founder Palm Desert, California, announces https://tenet.nyc. of the Valley Forge Chorale, King of Prussia, music events for 2018–2019: December Pennsylvania, director of music at St. Mary 9, Frederick Swann, organ, followed by Anne’s Episcopal Church, North East, Mary- Lessons & Carols; 12/12, Southern Cali- Steve McBride land, and has taught music in public schools fornia Brass Consortium; 12/24, Freder- for several years. ick Swann; January 15, Duo Musagète; Solid State has installed control systems in the largest and smallest pipe February 12, Benjamin Straley; 2/17, organs around the world for over fi fty years. MultiSystem II is the centerpiece Nicholas Schmelter; 2/20, The Queen’s of Solid State Organ Systems product line. A complete relay and switching Six; March 26, Clare College Choir. For system, MSII also provides the opportunity for their Capture for MultiSys- information: www.stmargarets.org. tem, Organist Palette, Record for MultiSystem, Tuning for MultiSystem, and the newly released Voicing for MultiSystem. The company has drawings, GMChorale of Middletown, Con- spares, upgrades, manuals, and backup for every system they have made. For necticut, continues its 2018–2019 con- information: 703/933-0024, [email protected]. Q cert season: May 5, Bruckner, Mass in E Minor. The Chorale joins the choir of First Congregational Church, Cheshire, Center for Historical Keyboard for a Festival of Carols, December Studies. Presenters and recitalists 15, and joins the music ensembles of include Kola Owolabi, Katharine Pardee, Middletown High School, April 9. Grenzing organ, Radio France, Paris, William Porter, and Cherry Rhodes. For The organization’s Alchemy Chamber France (photo credit: Christophe Abramowitz) information: cc.syr.edu/organ. Ensemble has performances: March 3, June 1; 6/2, with the Chancel Choir of Radio France, Paris, continues United Congregational Church, Tolland. 2018–2019 organ events. Tours of the People For information: www.gmchorale.org. concert hall and organ occur January 28, February 7, May 9, and June 3. Pro- grams featuring the Gerhard Grenzing organ: December 19, Christmas concert, Shin-Young Lee, organ; January 30, Hommage à André Isoir, with François Espinasse and Michel Bouvard; February 27, Mussorgsky, Pictures at an Exhibition, with Vincent Paulette Fry Genvrin; March 27, Yves Lafargue, organ, with Léa Desandre, mezzo- the Spirit, an arrangement by Fry of four soprano, and Lise Berthaud, alto; April African-American spirituals, performing 10, Thomas Ospital, organ, with Jean- from three separate balconies in the Claude Gengembre, percussion; May sanctuary. Fry also serves as church trea- 15, Nathan Laube. For information: surer and chair of United Church’s arts www.maisondelaradio.fr. series, Sanctuary Seasonings. Philip Crozier at St-Bavokerk, Haarlem, The Church of St. Agnes, St. Paul, the Netherlands Minnesota, offers Sunday 10:00 a.m. High Mass with music by the Twin Cit- Philip Crozier of Montreal, Canada, ies Catholic Chorale, directed by Rob- performed nine recitals in Europe this ert L. Peterson. The Chorale performs past summer. The tour included per- a different Mass setting weekly, reper- formances in France (Saint-Augustin, St. Giles Episcopal Church, Northbrook, toire drawn from the 18th to 20th cen- Paris), Germany (St. Marien-Dom, Illinois, Wolff organ turies, with accompaniment by orchestra Hamburg; St. Laurentius Kirche, Tön- and organ. The choir of approximately ning; Christuskirche, Husum; St. Lau- St. Giles Episcopal Church, North- 65 volunteer singers performs Masses rentius Kirche, Langenhorn; St. Marien brook, Illinois, announces special music by composers such as Haydn, Mozart, Kirche, Flensburg, St. Heinrich Kirche, events for 2018–2019: December 16, Schubert, Beethoven, Dvo̗ak, Gounod, Kiel), and the Netherlands (Brigidakerk, Advent Lessons & Carols; 12/24, Saint- Cherubini, Rheinberger, and Herzogen- Geldrop; and St.-Bavokerk, Haarlem). Saëns, Christmas Oratorio; January 13, berg with professional instrumentalists, Upon his return he played concerts in James Russell Brown, recital celebrating each Sunday to early June, except in Notre-Dame Basilica, Montreal, and 25th anniversary of the church’s Helmuth Advent and Lent. For information and Prince Edward Island (Church of St. Wolff organ; March 3, Choral Evensong. schedule of Mass settings: Simon and St. Jude, Tignish; St. Dun- For information: www.saint-giles.org. www.catholicchorale.org or stan’s Basilica, Charlottetown). Pascal Copeaux and Stephen Hamilton www.churchofsaintagnes.org. Musica Sacra, Kent Tritle, conduc- Paulette Fry was honored for her Stephen Hamilton presented a tor, continues its 2018–2019 season in 40th anniversary of service as organist recital October 11 at Eglise St. Vincent New York, New York: December 19, Conferences for the United Presbyterian Church, Merignac in Bordeaux, France, spon- Handel, Messiah, Carnegie Hall; March The Setnor School of Music, Syra- Cortland, New York, on September 25 sored by the Bordeaux Conservatoire and 5, Byrd, Whitacre, Tavener, Paulus, and cuse University, Syracuse, New York, during the morning worship service and the City of Merignac. The 34-stop instru- Gregorian Chant, Cathedral of St. John announces its Syracuse Legacies Organ a reception following. In the afternoon, ment was built by Guillemin in 1994. The the Divine. For information: Festival, March 29–31, featuring per- Fry led an organ and brass concert fea- program included works by Albert and http://musicasacrany.com. formances, lectures, and masterclasses turing Ralph Dudgeon performing on Jehan Alain, Bach, Clérambault, Gin- celebrating the contributions of Arthur trumpet, piccolo trumpet, and corno da astera, Lidon, and Walther. The recital TENET continues its 2018–2019 sea- Poister, Calvin Hampton, and Walter caccia. In the fi nal piece on the program, series is organized by Pascal Copeaux, son of events, in New York, New York, Holtkamp, Sr. The conference is pre- the ten-member Church Street Brass professor of organ at the conservatory. the organization’s tenth year: December sented in partnership with the Westfi eld group joined Dudgeon and Fry in Feel ³ page 8 Visser Pipe Organ Co. Quality Craftsmanship, Creativity & Integrity New Organs–Restorations–Additions–Relocation All Actions & Tonal Styles • 713-503-6487 • [email protected]

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³ page 6 and Ph.D. degrees from the University by Dagmar Wilgo and Nico Oberban- of California, Berkeley, having earlier scheidt, with selections for one or two received the B.A. and B.M. degrees from low instruments in C, piano or guitar, Oberlin College and Conservatory. At and voice ad lib.; Nine Christmas Songs Oberlin he studied organ with David Boe from Provence (FEM309, €14.80), by and harpsichord with Fenner Douglass. Hermann-Josef Wilbert, contains works At Pomona College he taught organ and arranged for recorder quartet; and courses in music history, and he served as Weihnachtsfreude (FEA161, €9.80), chair of the department of music. by Johann Eccard, arranged for eight As a performer, he has played recit- recorders by Christian Fischer. For als in recent years in many parts of the Piedmont College president James F. information: www.edition-walhall.de. United States, including all-Bach pro- Mellichamp; Jeri-Mae Astolfi , piano art- ist-in-residence; and Chris Syllaba, of grams featuring complete performances Steinway Galleries, Atlanta, Georgia Michael’s Music Service announces of Clavierübung III. As a scholar he has new sheet music restorations: Advent, focused on French organ music of the by Pietro Yon, from the composer’s First nineteenth and early twentieth centu- renovated with student practice rooms, Religious Suite for Organ, actually, his ries. He was co-editor with Lawrence music library, and technology lab. only suite of that title; Aubade, by Edwin James Kibbie Archbold of French Organ Music from Anticipated completion of the project H. Lemare, one of few organ works with the Revolution to Franck and Widor is fall 2019. this title; Finale on a Noël, by Harry James Kibbie continues his annual (University of Rochester Press, 1995). In addition, the college is the recipient Banks, based on Noël Nouvelet; and tradition of offering free downloads of a Peterson is author of Lemmens, His of a gift by an anonymous donor to pur- “Pilgrims’ Chorus” from Tannhäuser, by recording on his house organ, a seven- Ecole d’orgue, and Nineteenth-Century chase 22 new Steinway pianos, joining Richard Wagner, a transcription by Clar- stop Létourneau tracker, as an “audio Organ Methods. His article, “Storm the complement of existing Steinways. ence Eddy. For information: holiday card.” This year’s recording, the Fantasies for the Nineteenth-Century The gift was made by a friend who www.michaelsmusicservice.com. 17th in the series, is Carson Cooman’s Organ in France,” appeared in Keyboard believes in the importance of establish- Variations on a Basque Noël, available in Perspectives (2009). A translation of ing an all-Steinway school at the college. The Organ Historical Society MP3 format with a complimentary copy this article was published in 2010 in the announces publication of its 2019 pipe of the score at www.umich.edu/~jkibbie. Belgian periodical, Orgelkunst. With organ calendar, including photographs his brother, the political scientist James Publishers of organs to be featured at the society’s Peterson (Valdosta State University), he Augsburg Fortress announces new 2019 convention in Dallas, Texas. Organs has given eight papers in recent years on organ publications: Pastoral Psalms for featured include the work of C. B. Fisk, Czech music and politics in the period Organ: Eleven Settings of Psalm 23, by Inc., Noack Organ Company, Bedient 1848 to 1924; they also published an Franklin Ashdown (9781506448008, Pipe Organ Company, Redman Organ article in Kosmas (March 2018). $20); Awake My Heart: Organ Suites, by Company, and others. For information: Research projects have been supported Wayne H. Wold (9781506447964, $21); www.organhistoricalsociety.org. by a Fulbright grant (1985–1986, in Bel- Shine Like the Sun: Hymn Introductions, gium), by the Mellon Foundation, and by by Karen L. Black (9781506448015, the Pomona College Research Commit- $20); and Summer Solstice: Settings for tee. A CD, Recital at Bridges Hall, Pomona Organ, by Roberta Rowland-Raybold College, was released by Loft Recordings (9781506448022, $20). For information: in 2018. The recording project was made www.augsburgfortress.org. possible by a Sontag Fellowship, given by the dean of Pomona College.

Arthur Saunier performed the French William Peterson (photo credit: Elizabeth premiere of Godwin Sadoh’s Five African Champion) Marches for Solo Organ at Saint Pothin, Lyon, France, on November 16. The William Peterson retired from recital program was entitled “Les Con- the department of music at Pomona teurs Aux Mille Langues/Myrelingues.” College, Claremont, California, at the end of the spring semester 2018 and Nicholas Schmelter completed an was named Harry S. and Madge Rice Upper Midwest organ recital tour of six Thatcher Emeritus Professor of Music performances in eight days in October. He and College Organist. He performed in performed at the Cathedral of Saint John Música Regional Oaxaqueña de ayer two events in his fi nal semester at the the Evangelist, Milwaukee, Wisconsin; y hoy college on the Hill Memorial Organ by First Congregational Church, Oshkosh, C. B. Fisk, Inc. (Op. 117, 2002) in Wisconsin; Sacred Heart Music Center, Cicely Winter, director of Instituto Bridges Hall of Music. In February he Duluth, Minnesota; Basilica of Saint Mary, de Órganos Históricos de Oaxaca, Mex- presented a recital that included music Minneapolis, Minnesota; Church of St. ico, announces publication of her book, by Bach, Guilmant, Defossé, Ibert, Louis, King of France, St. Paul, Minne- Música Regional Oaxaqueña de ayer y Kohn, and Flaherty. Peterson was one sota; and St. Clement’s Episcopal Church, hoy, containing transcriptions of music of seven organists who participated in St. Paul, Minnesota. For information: for organ and piano. The book includes the 11th Annual Presidents’ Day Organ www.schmeltermusic.com. Organs of Scotland: A Revised List 24 scores of songs and dances, mainly Festival sponsored by the Los Ange- from the Guelaguetza, Oaxaca’s annual les Chapter of the American Guild of The Edinburgh Society of Organ- folk dance festival, as well as information Organists in Claremont on February 19. Educational institutions ists, affi liated with the Scottish Federa- about each piece, photographs by the Peterson joined the faculty at Pomona Piedmont College, Demorest, tion of Organists, announces publication publisher Claudio Sánchez of the dances College in 1979. He earned the M.A. Georgia, announces that construction of a new book, Organs in Scotland: or the corresponding regions, lyrics of has begun on a new Conservatory of A Revised List, by David A. Stewart, the songs, and biographies of the com- Music facility. Beck Design of Tulsa, revised by Alan Buchan. The paper- posers. For information: A. E. Schlueter Pipe Organ Co. Oklahoma, is working with Atlanta- bound book provides a short history of [email protected]. based Juneau Construction to build organbuilding in Scotland and a list of more than 20,000 square feet of space organs extant and gone, in churches, for the music program. Plans for the $9 universities, residences, etc. The book is million facility call for two new state-of- available for £15, postpaid. For informa- the-art classrooms, a 2,400-square-foot tion: [email protected]. concert hall with adjustable acoustics, (Read a review of this book on p. 16.) eight acoustically isolated teaching studios, and offi ce space. A foyer will Edition Walhall announces new connect the conservatory to the col- Christmas music publications: Europe lege chapel, Piedmont’s main perfor- for Beginners: 15 Great Christmas Songs mance venue that will be completely (EW1006, €14.80), arranged and edited Romanza  New Instruments  Tonal Additions  Rebuilding  Maintenance Artis Wodehouse and Sheet Music  New Consoles  Tuning BACH AT NOON Plus announce a new publication, Romanza for the Mason & Hamlin How can we help you? Grace Church in New York JL Weiler , Inc. Liszt Reed Organ, by Eugène Gigout (item number S0.399681, $3.99). The 800-836-2726 Museum-Quality Restoration item includes scans of the original 1890 www.pipe-organ.com www.gracechurchnyc.org of Historic Pipe Organs jlweiler.com ³ page 10

8 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM A LOST BING CROSBY CHRISTMAS RECORDING! CHRISTMASTh e Bible Story of

with traditional carols in Gospel sequence sung by THE BONAVENTURE CHOIR

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of The Bible Story CHRISTMAS with traditional carols in Gospel sequence sung by THE BONAVENTURE CHOIR

Narrated by BING CROSBY American icon Bing Crosby appears in one of his rare spoken-word performances! Bing Crosby narrates the Christmas story from the Gospel of Luke to the carols in story order sung by the St. Bonaventure Choir under the direction of Omer Westendorf. Th is recording was “lost” in our archive for 60 years. With the assistance of Bing Crosby Enter- prises, it is now available as an offi cial Bing Crosby Archive release. While Bing Crosby does not sing on this album, his spoken word performance is one for the ages. Bing Crosby’s reading of the Christmas Gospel has not been released on any of his other albums and is exclusively on this release. Th is album, originally published in 1957, is a re-release of one of the lost treasures of the World Library Publications archive and is an offi cial Bing Crosby Archive release. 007403 Th e Bible Story of Christmas narrated by Bing Crosby CD ...... $10.00 007405 Th e Bible Story of Christmas narrated by Bing Crosby Limited Edition Vinyl LP .....$25.00 Order today at Amazon, wlpmusic.com or call 1-800-566-6150 and ask for the We do ship outside the USA! Bing Crosby album.

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Nunc Dimittis Austria, Italy, England, Germany, France, and Spain. Myrtle Groom, 86, died September 8 in Bel- Luther taught at Carleton College, the University of levue, Washington. She was organist and music Evansville, Drake University, and Grand View Col- director at First Congregational Church in Bellevue lege. He was a music theory teaching assistant at the from 1978 until retiring in 1997. Previously, she held University of Michigan. organist and choir director positions in Mississippi, Active with the Twin Cities Chapter of the Ameri- Kansas, Bellevue, and Seattle. can Guild of Organists, he was also a life member Born Myrtle Jacobson on October 14, 1931, in of Phi Mu Alpha Sinfonia and an honorary member Racine, Wisconsin, she began piano lessons at an of Pi Kappa Lambda. He is listed in Outstanding early age. She played in church and at age thirteen Educators of America, Dictionary of International won a contest sponsored by the Racine Symphony Biography, Who’s Who in the Midwest, and other Orchestra, resulting in a concerto performance. As bibliographic publications. a junior at Wheaton College Conservatory of Music, Robert A. “Bob” Luther Robert A. Luther is survived by a brother, LaRoy Wheaton, Illinois, she was the guest soloist at a con- (Lila) and sister-in-law, Gretchen, nieces, and neph- cert of the S. C. Johnson & Son, Inc. Band and Mixed ews. A celebration of Luther’s life occurred October 11 at Zion Lutheran Church, Myrtle Groom Chorus in Racine, performing works of Brahms and Anoka. Memorial gifts may be made to the church, 1601 4th Avenue, Anoka, Min- Liszt. She received the Bachelor of Music degree nesota 55331. from Wheaton College, with a major in piano performance and a minor in voice. Further studies were at the American Conservatory of Music in Chicago. John Weissrock died September 9 in Milwau- Myrtle Jacobson met fellow music student Lester H. Groom at Wheaton Col- kee, Wisconsin. He was born and raised in Ohio, lege. They married in 1955 and lived in Chicago, Illinois; Decatur, Georgia; Blue earning a master’s degree in organ performance Mountain, Mississippi; Baldwin City, Kansas; and from 1967 in Bellevue. She sup- from the University of Cincinnati College-Con- ported her husband’s career in church music and university teaching, performing servatory of Music, where he studied with Wayne with him on occasion. After the birth of their fi rst child, she took up organ study Fisher. He won the national organ playing compe- with her husband. tition at First Presbyterian Church, Fort Wayne, In addition to employment in churches, Groom taught piano and voice at Moody Indiana, at 21 years of age in 1960. Bible Institute in Chicago and taught piano and organ privately. She played for Shortly thereafter, he was selected to be organist many weddings and memorials and remained active in retirement as a substitute and choirmaster for St. Paul’s Episcopal Church, organist and recitalist. Milwaukee, where he remained for 12 years. He Myrtle Groom is survived by children Rebecca (John) te Velde, Vera (Mike) made recordings at St. Paul’s of both organ and Liles, and Lester W. Groom, and grandchildren Vera te Velde, Brent te Velde choral works with a group he founded called Out- (Jennifer Clamon), and Mary Liles. Memorials may be sent to the American Guild John Weissrock reach: Music of the Church. of Organists, Seattle Chapter, or Wheaton College organ students’ scholarships. A Following that, for two years, Weissrock was memorial service was held October 19 at Hope Presbyterian Church in Bellevue. organist at the Cathedral of St. John the Evangelist, Milwaukee. His last posi- tion was organist and director of music for 32 years at the Church of the Gesu Robert A. “Bob” Luther, 75, of Coon Rapids, Minnesota, died September on the Marquette University campus in Milwaukee. There he collaborated with 21. He was born on September 22, 1942, in Sibley, Iowa, and earned a Bachelor members of the St. Louis Jesuit musicians to effect organ/guitar accompani- of Music degree in organ performance and church music and a Master of Music ments for a number of their compositions. He gave monthly recitals as a way of degree in organ performance and music theory from Drake University, Des Moines. raising money for the church’s organ fund, and he designed the rebuild project Luther also conducted study at the University of Michigan and the Eastman School of the Gesu organ, originally built by W. W. Kimball, carried out by the Schantz of Music. His organ teachers included Marilyn Mason and Russell Saunders. Organ Company that ranks as one of the largest organs in the state. As a recitalist Luther served as principal organist from 1984 to 2004 at Zion Lutheran Church, beyond the Milwaukee area, he performed at Notre Dame Cathedral in Paris Anoka, Minnesota, and continued as principal organist emeritus after his retire- and at St. Pierre Cathedral in Angouleme, France. ment. As a recitalist, he performed in the United States and in Europe, including John Weissrock is survived by his sister, Rose Ellen Hehr, and her children. Q

³ page 8 anniversary recording of the Porthan manuscript, the commercially published organ, built in 1993. For information: score from 1892, and a key to the stoplist www.alba.fi /en. specifi cations of the Liszt Organ, devel- oped by Mason & Hamlin in the 1860s. Ars Organi announces release of its For information: fi rst organ CD, The Gates of Vienna: www.sheetmusicplus.com. Baroque Organ Music from the Hapsburg Empire (AOR001). The disc features Robert James Stove playing the organ Recordings of St. Patrick’s Catholic Church, Men- tone, Australia. Included are works by Johann Jakob Froberger, Georg Muffat, Gérard Scronx, Jan Zach, and other com- posers of the 17th and 18th centuries. For information: www.arsorgani.com. George Whitfi eld Chadwick: Organ The organ case at Notre-Dame Church Music in Auteuil, Paris, France (photo credit: Fré- déric Blanc) Raven announces a new CD record- ing, George Whitfi eld Chadwick: Organ restoration, under the guidance of Éric Music (OAR-154). The disc features Brottier, engineer and technical advisor Parker Ramsey, the fi rst American to for the cultural minister. serve as organ scholar for King’s College, On September 21, Frédéric Blanc, Cambridge, UK, performing works of titular organist, performed the inaugural Chadwick (1854–1931) on the organ concert with narrator Brigitte Fossey and of Byrnes Auditorium, Winthrop Uni- the choirs Sprezza and Sul’Fiato, directed Bach on Porthan Organ versity, Rock Hill, South Carolina. The by Sébastien Fournier. The program D. B. Johnson Memorial Organ was opened with Widor’s “Allegro” from the Alba announces a new CD, Bach on built as Opus 1257 by Aeolian-Skinner in Sixth Symphony, included Louis Vierne’s Porthan Organ (ABCD 424). Susan 1957 and was restored in 2009 by Orgues Solemn Mass for two organs, with Jorris Kujala performs works of Bach on the Létourneau without tonal alteration. Sauquet on the Gonzalez choir organ, Martti Porthan organ at St. Lawrence The Grand Organ of Temple Church (See The Diapason, July 2009, pages 1, and ended with an improvisation. Church, Janakkala, Finland. The instru- 24–25.) For information: On September 22, ten organists per- ment is modeled on the Huß Schnitger Orchid Classics announces a new www.ravencd.com. formed short concerts: François-Henri organ of Ss. Cosmae et Damiani in CD, The Grand Organ of Temple Church. Houbart, Vincent Crosnier, Julien Stade, Germany. This CD is the 25th Roger Sayer performs on the Harrison Lucquiaud, Jorris Sauquet, Jean-Marc & Harrison organ of the Temple Church, Organbuilders Leblanc, Eric Leroy, Michelle Guyard, 0LOQDU2UJDQ London, UK, where he is director of Denis Lacorre’s restoration (2015– Raphaël Tambyeff, Jean-Claude Guida- &RPSDQ\ music. Works include Reubke Sonata on 2018) of the symphonic/neo-classic rini, and Frédéric Blanc. The Most the 94th Psalm, Mendelssohn Sonata I in Cavaillé-Coll (1885)/Gloton-Debierre Reverend Antoine de Romanet, Bishop

/DUJHVWVHOHFWLRQRIH[FHOOHQWXVHGSLSHV /LNHQHZ$XVWLQDFWLRQV F Minor, Reger Hallelujah! Gott zu loben, (1938) organ at Notre-Dame Church of the French Armed Forces, blessed 6ROLG-VWDWHV\VWHPV and Karg-Elert Symphonic Chorale in Auteuil, Paris, France, was inaugu- this organ during the morning Mass on

+LOO5RDG(DJOHYLOOH71 --GHQQLV#PLOQDURUJDQFRP “Jesu Meine Freude.” For information: rated September 21–23. The city of Paris September 23. ZZZPLOQDURUJDQFRP www.orchidclassics.com. owns the instrument and sponsored its —Carolyn Shuster Fournier Q

10 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM Harpsichord Notes By Larry Palmer

Christmas gifts: the second edition is in a slightly smaller death. The “mother of us all,” this a few suggestions book format that requires 128 pages— pioneering harpsichordist still resonates Writing this column in mid-October more elegant and better, perhaps, for through her recordings and through the means that I have not given much stocking stuffi ng. ’Tis a gentle tale, still memoirs contributed by her devoted thought to Christmas shopping. Instead fi lled with hilarious episodes, musical friends (and occasional detractors). I I have spent most working hours plan- references, and sly liturgical guffaws: was incredibly fortunate to have known ning programs (and then practicing) for available from St. James Music Press Mrs. Putnam Aldrich, known univer- the second in our annual schedule of (SJMP Books). You may wish to include a sally as “Momo,” Landowska’s fi rst three house concerts, enjoyed the open- special handkerchief in that stocking, for private secretary during the years they ing nights of Dallas Opera’s fall season the denouement is beautifully touching spent together at Wanda’s “Temple of by attending Wagner’s Flying Dutchman and may bring tears to the eyes. Also, a Music” in Saint-Leu-la-Forêt, France. and Bizet’s Carmen, and preparing for warning: this author’s mysteries are habit I became acquainted with Momo the fi rst-ever wedding to take place in forming; I sincerely doubt that anyone through our mutual friend Richard our spacious music room. (After all, with can read just one! In a surprise email, Kurth, a fellow Ohioan who has spent a pipe organ and seating for forty guests, received as I write this essay, Schweizer most of his career teaching French and why not?) announced the fi fteenth, and fi nal, St. Spanish at the Kamehameha School in However, now as you read these Germaine mystery: The Choirmaster Honolulu. Richard, who drove Momo December Harpsichord Notes, I hope Wore Out. Defi nitely a brand-new entry to the local Alliance Française meet- they may contain some suggestions that for acquiring and giving away! ings, actually accomplished our mutual could be of help for all who have yet • Thanks to my mother I began listen- introductions, and thus resulted my Unsigned Wanda Landowska caricature to make gift selections. So, tally-ho and ing to operas at a tender age. Each Sat- invitation for Momo to tell her account (Larry Palmer collection, gift of Momo Aldrich) read on! urday afternoon in fall and winter, begin- of those years for The Diapason. For • Eagle-eyed subscribers to The ning when I was nine years old, my ears many subsequent winters I spent my Diapason will have seen the notice would be focused on our radio speaker Christmas holidays visiting Richard and Irma Rogell: “Walks with Wanda,” on of J. William Greene’s new compact as Mom and I listened to the New York Momo in Hawaii (a tough choice, but pages 146–150. Even if one is not fl uent disc Christmas Ayres and Dances in Metropolitan Opera broadcasts in our someone needed to do it), interviewing in German the comprehensive range of the Here & There section (page 12) of small town of Corsica, Pennsylvania. I Mrs. Aldrich year after year and tak- Elste’s illustrations (many of which are our October magazine. The disc (Pro am grateful for this background as well ing notes that eventually found their photographs that he travelled far and Organo CD 7281) comprises Greene’s as for my grade- and high-school experi- way into Harpsichord in America: a wide to make) places this deluxe 240- performances of his genial composi- ences as a wind player, especially the ones Twentieth-Century Revival. page volume at the top of the list as the tions played on a Gerrit Klop continuo after I began to play oboe. That, plus the It was during one of these remarkable most comprehensive pictorial history of organ and a single-manual harpsichord choral directing experiences that were meetings that I, quite brazenly, asked our beloved “Mamusia.” by Peter Fisk. The clever Baroque- part and parcel of my graduate work and Momo who might inherit a caricature • I was tremendously moved by style arrangements of familiar carols early professional engagements taught of Wanda that was prominently dis- Martin Pearlman’s generosity with his and secular songs of the season are me a great deal about phrasing and mak- played in each of Momo’s dwellings (she Armand-Louis Couperin Edition, made sure to delight the ears of music-loving ing the music “breathe” in natural ways. changed addresses several times during available for all of us to download and friends. Among my personal favorites I fi rmly believe that every keyboardist these years). That query remained unan- print, free of any copyright restrictions. is Greene’s Bell Fugue (based on Jingle needs this type of training to become a swered until the last day of that year’s In a recent email Martin included a Bells), sure to be a hit. For colleagues better musician. Later these experiences Honolulu sojourn when Momo handed shorter URL for accessing his gift: http:// who are fellow keyboardists, why not engendered many a humorous moment me a wrapped package, approximately tinyurl.com/ALCouperin. I pass it on to purchase not only the compact disc, but in organ or harpsichord lessons when I eight and a half inches by six and a half our readers as per Martin’s suggestion, also the printed scores for these capti- would stop a student to suggest some inches. I knew without looking what and wish you, once again, a happy down- vating arrangements? All three volumes necessary phrasing here or there, and was enclosed in that brown paper, and I loading experience. are available from Concordia Publish- often end with the comment, “I still can’t said, “You must keep this! I know what it It is with a small, Pearlman-inspired ing House. Bell Fugue is the fi nal piece believe that you pay all this tuition for means to you.” But Momo insisted, and, gesture that I offer my Christmas gift to in Volume II. me to remind you to breathe and count!” I confess, I did not argue with her for our readers: free use of my Landowska • An earlier publication by Edwin As an aid to the development of vocally very long. The caricature, an unsigned caricature. Like Martin, I urge you to McLean (born 1951) bears the title A informed musicality I would suggest as a watercolor, is widely considered to be use it wherever and whenever you wish, Baroque Christmas—Carols and Coun- Christmas gift, both to “self” and “oth- the fi nest of all such drawings, especially copyright free. And, I would ask only terpoint for Keyboard (New Interpreta- ers”—and a most unusual one, at that: in its perfect details. that you use the credit “Larry Palmer tions of traditional seasonal pieces for ARC, which is the title of the Decca When I arrived home in Dallas I imme- collection, gift of Momo Aldrich.” piano, organ, or harpsichord), issued Records debut CD performed by coun- diately had some photographs made, and • As my fi nal Christmas suggestion: if in 2003 by Frank J. Hackinson (FJH tertenor Anthony Roth Costanzo. This sent them to Momo so she would not be you have a friend or acquaintance who Publishing Company), Fort Lauderdale, artist (who has been selected as “Vocalist without that beautiful image. Eventually does not subscribe to The Diapason, Florida. With works somewhat easier of the Year” by Musical America) has put I loaned a professional high-decibel print why not present that lucky person with than Greene’s compositions, McLean together a program that demonstrates of “my” Wanda portrait to Martin Elste a year’s subscription to this journal? It offers a single forty-page volume of his self-admitted 50% love of Baroque for his 2009 Berlin Landowska Sympo- would benefi t your friends and help to charming and useful pieces equally music and 50% devotion to contem- sium and Exhibition, and it served as ensure that the magazine continues in suited for all the instruments mentioned porary works. On this magnifi cent disc the signature work of that event. It also its beautiful, full-color format for many in his introduction, including digital Costanzo performs works by Philip is published in Dr. Elste’s magnifi cent years to come. What could be nicer? keyboards. Eleven tunes are set: Noël Glass and George Frideric Handel. book Die Dame mit dem Cembalo [The And twelve times a year you make your Nouvelet, God Rest You Merry, This modern mastersinger of both styles Lady with the Harpsichord] (Schott friend(s) happy—and perhaps more Greensleeves, Coventry Carol, convinced me of the beauty to be found Music, 2010, Order Number ED 20853; involved in your musical world. Q Kings of Orient, Pat-A-Pan, In in each, and I have listened repeatedly, ISBN 978-3-7957-0710-1). The full-color dulci jubilo, Veni Emmanuel, Tem- enraptured by his musicality. Costanzo print of the caricature may be found on Comments and questions are wel- pus Adest Floridum, Stille Nacht, made his Dallas Opera debut on October page 98. The book’s text is entirely in come. Address them to lpalmer@smu. and Adeste Fideles. I have used most 30, 2015, in the world premiere of Jake German except for the four pages from edu or 10125 Cromwell Drive, Dallas, of these for church and concerts and Heggie and Terrence McNally’s opera the memoirs of American harpsichordist Texas 75229. continue to enjoy them very much. Great Scott. Since that magical evening I • Now for something completely have been following Costanzo’s brilliant different: author Mark Schweizer has career. His artistry, both as singer and made a slight deviation from the fourteen actor, earns him my highest recommen- MANDER ORGANS murder mysteries that began with The dation and admiration. Alto Wore Tweed and progressed through • Another Handelian who could bring New Mechanical the various vocal ranges (The Tenor Wore tears to the eyes with her exquisite vocal- Action Organs Tapshoes, The Diva Wore Diamonds, The ism was the mezzo-soprano Lorraine Organist Wore Pumps, etc.), a series of Hunt Lieberson, who began a musical novels that has captivated so many of us. career as violist, but soon was discovered A fi fteenth story, also set in St. Germaine to have one of the great female voices of (Schweizer’s fi ctitious small town in North the twentieth century. Sample her exqui- Carolina), is replete with the familiar cast site singing on the Avie CD 30, released in of characters headed by Hayden Konig, 2002—only four years before her untimely police chief and organist/choirmaster death at age 52. Lieberson is ably abetted extraordinaire of St. Barnabas Episco- by the Baroque specialist, conductor, and pal Church. But in the shorter novella harpsichordist Harry Bicket, playing an ³ St. Peter’s Square - London E 2 7AF - England titled simply The Christmas Cantata the Italianate single-manual harpsichord by Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 author deviates slightly from the others Douglas Maple (after Zenti). This record- Continuo Organs [e] [email protected] in his series. It is available in the origi- ing is another musical experience that just www.mander-organs.com nal paperback format (95 pages) or as a might be life changing. more recent hardback edition, both of • August 16, 2019, will be the sixti- which present exactly the same text, but eth anniversary of Wanda Landowska’s Imaginative Reconstructions

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 11 On Teaching

Further thoughts on I have purposely created an example counterpoint II: a miscellany that is not divided into measures. But it I mentioned at the end of last month’s could be, like Example 4, which then column that I have been rethinking some allows for the regular (“one-and-two- Example 1 of my ideas and practices about teaching and”) approach to counting. rhythm and counting. This is the result I believe that it is a good idea for this of recent experiences teaching students sort of counting to be secondary. To the contrapuntal voices. I have noticed— extent that working out the rhythm of more than I previously observed—that each voice separately is something that moving from an understanding of the must be approached consciously and rhythm of individual voices to an under- deliberately, I think that my per-note standing of the way the rhythms of those way of counting is useful. In addition to Example 2 voices fi ts together is not always easy being sensible and effective in itself, it can or natural for everyone. It is helpful to promote an awareness of the importance address it directly, and I developed some of the middle and ends of notes, whereas new ideas about how to do so. “one-and-two-and” counting, especially As outlined in my April 2012 column, with counterpoint, can focus attention my approach to teaching rhythm and disproportionately on the beginnings of counting involves ignoring time signa- notes. As soon as the measure-based num- tures, bar lines, and the “one-and-two- ber for a note has been spoken or thought, and” structure that we often employ. the next step is to see what notes in other Rhythm is about ratios, and my experi- voices correspond to the next counting ence has suggested that grappling with numbers. This can shift a player’s overall Example 3 ratios directly—understanding that a focus toward a more homophonic feeling. dotted quarter note lasts as long as three Thinking about applying the normal eighth notes, that a half note lasts twice measure-based templates to counting as long as a quarter note, and so on—is multi-voiced pieces has made me more the best way for a student to become open to other ways of keeping track of comfortable with rhythm. This is true for the rhythm of pieces that are not derived a beginner learning to understand rhyth- from a strict awareness of the voice mic notation for the fi rst time and also structure. For example, there is net or for a more experienced student who is overall rhythm. Sometimes, while the Example 4 having trouble with a particular rhythm rhythm of each voice in a contrapuntal or needs a refresher course. This has passage is different from all the others, For this discussion, I have invented an What does that comment tell us the advantage of being simple and com- the surface rhythm is quite simple. That exercise. Try playing a piece of contra- about counterpoint? I have never pletely accurate. I have seen much more rhythm might be thought of as a new puntal music with all but one of the voices thought that it was an apt description trouble arise when students worry about note every eighth note. transposed, and not each transposed by the of anything I heard in Walcha’s playing. whether a particular note is “on the ‘and’ Here are a few examples of writing in same amount. The simplest case would be That may be in part because I grew up of two” than I have seen clarity arising which this concept might make things something like Example 8, from the open- listening to him, and, at that time, his out of this way of describing rhythm. easier. Example 5 is from Bach, Art of ing of the fi rst Bach Two-Part Invention. approach was my own default. But it This is an over-simplifi ed summary the Fugue, Contrapunctus 8. Example This is going to sound discordant, to has made me sensitive to the question of an approach that differs from other 6 is from Mendelssohn, Prelude and put it mildly. But that reaction or judg- of what it would mean to pay too much approaches in emphasis, since the learn- Fugue, op. 37, no. 1 (fugue). Example ment is not necessary. The point is that it attention to counterpoint and too little ing of note ratios is always fundamental. 7 is taken from Bach, Well-Tempered sounds radically different from the “real” to other things. This is not the place for a complete Clavier, Book II, Fugue #2. version, although, analytically, a good My guess is that this commentator was restatement of what I wrote six years In the last of these, the net rhythm is deal of the counterpoint itself remains probably referring to Walcha’s relatively ago, or to explain why I believe that it is more complicated, but still simpler than unchanged. A little bit of this exercise, steady approach to rhythm, and also, a good approach. You can fi nd it in the each individual rhythm. It is interesting possibly even just the amount that I have just as importantly, to his focus on con- above-mentioned issue of The Dia- that the fi rst three measures of each written out here can be eye-opening for sistently phrasing subjects. (For what it pason, which I have posted at http:// piece have the same overall surface a student. (It is not bad as an odd sort is worth, he was also reacting to hearing gavinblack-baroque.com/Diapason col- rhythm, which in turn is the rhythm of of sight-reading exercise either, and it is recordings, not to any conversations with umn April 2012.pdf. the fugue subject. In the opening mea- much harder with more than two voices.) Walcha or to any direct knowledge of the When a student needs to work out the sure, the fugue subject is alone, in the A bit of exposure to this oddity can roots of his approach.) rhythm of a passage, I suggest counting second it is combined with a counter- also make the ears more sensitive to the This leads to a host of questions: individual notes in relation to a suitable subject that does not change the surface ebb and fl ow of harmony-based motion Is it correct that relatively steady met- short note value. For example, if that rhythm, and in the third measure only or pressure in contrapuntal works. Even ronomic playing is associated with bring- short unit is the eighth note, then each the surface rhythm alludes to or quotes though the interaction of voices is always ing out counterpoint clearly, whereas eighth note is counted as “one,” each that subject. shaped in some way by the separate playing that is rhythmically free is associ- quarter note is counted “one-two,” each If the printing is neatly aligned, it is voices’ harmonic direction, the evident ated with harmonically derived music, or half note “one-two-three-four,” and so possible to derive all of the rhythm from force of that phenomenon is stronger in with an approach to playing music that is on. This does not involve denying that the surface rhythm by how things line up. some places, yet weaker in others. It is more focused on harmony? those beats also relate to positions in a Sometimes it is useful to picture a cursor also more divergent in some places and What about the business of “subject measure, but it just deemphasizes that at line going steadily from left to right and more in sync in others. The places where phrasing?” If a phrase, theme, or motif fi rst. In learning the rhythm of a single to identify whatever it touches as what the force of the harmonic direction of dif- happens more than once in a piece, is it line or passage, the texture of which is to be played at that moment. But this ferent voices is most in sync are cadences important to articulate and phrase it con- involves all of the notes, voices, chords, should all be secondary, understood to and moments that feel cadential. sistently? Does doing that enhance the etc., being in the same rhythm as one be forms of assistance, not a primary way Many years ago, probably when I was extent to which the counterpoint seems another (say in the manner of many of understanding rhythm. still in high school, an older friend of mine like counterpoint? hymns), this approach is very successful. recounted something that a friend of Is it important, or is it good or bad, Therefore, it is also successful when Some observations hers had said. This friend once removed for the notes of different voices that are learning individual voices of what will Here are a few more observations was an extremely erudite and thoughtful written ostensibly at the same time to be a contrapuntal texture, regardless of about counterpoint, some of which may music listener, thinker about music, and happen at exactly the same time? Could its eventual level of complexity. So the be a bit abstract: keyboard player. The comment that was there be something good or necessary following two “voices” (the pitches are It is natural to think of counterpoint relayed to me was: “Helmut Walcha’s about notes being somewhat staggered not important) could each be counted as as being something that is easily dif- problem is that he is too focused on the at times? The reason that I associate indicated in Examples 1 and 2. As with ferentiable from harmony. After all, counterpoint.” I immediately felt that I this question with the Walcha-related any rhythmic counting, the numbers there is counterpoint that exists outside was learning something—not so much anecdote is that in his playing, notes do have to come at an even pace. the norms and expectations of tonality about music or playing or performance, line up rhythmically to a great extent. Each of these examples contains nine- or functional harmony. But for most but about attitudes toward musical work. Furthermore, the above-mentioned teen eighth notes, and the two of them fi t of the music that we play on the organ The fi rst thought that occurred to me commenter believed that Walcha was together. But the sort of counting that I and other keyboard instruments, pieces was that Helmut Walcha was not the one too focused on counterpoint. But there have suggested would be extraordinarily that are rigorously contrapuntal are also with the “problem!” The phrase “Helmut are many players and theorists who hard, if not impossible, to follow in completely embedded in harmony. This Walcha’s problem is . . .” really meant, believe that counterpoint is enhanced Example 3. is something essential about the meaning “The reason that I do not like Walcha’s by staggering: it is diffi cult for the ears The fi rst-order solution is that the of the counterpoint itself: that is, the way playing is . . . .” That comment and my to follow separate lines if the notes of rhythm of each voice should be internal- that the fl ow of contrapuntal voices/melo- reaction to it at the time taught me that those lines coincide with one another ized before the voices are put together. dies comes across to us, and therefore the many people take their own reactions exactly. Which of these is true? Does it This is a goal worth striving for in the way that the directionality of the different for objective truth, and that it made me depend in part on habits of listening? practicing process. However it seems voices interact with one another function, uncomfortable. That in turn has shaped Is it really about clarity of counter- sensible to readmit traditional measure- is determined crucially by where the a great deal of my own approach to my point, or is it about some other aspect based counting at this point. voices are moving harmonically. development as a player and teacher. of style?

12 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM By Gavin Black

Example 5, Bach, Art of the Fugue, Contrapunctus 8 Example 6, Mendelssohn, Fugue, from Prelude and Fugue, op. 37, no. 1 of those are the inherent overtones of How does this relate to thoughts about the pipes, while some are the higher basic counting in counterpoint expressed stops added for a particular purpose. above? I suppose that I feel most interested Especially in the former category, there in the notion that any melody including a are often overtones that, while they contrapuntal voice has some logic by which blend in enough to make the sound it might be stretched out or otherwise coherent, can also be heard as faint Example 7, Bach, Well-Tempered Clavier, Book 2, Fugue in C Minor infl ected rhythmically. Also, two voices separate notes. And the rather cool that occur at the same time might have dif- thing is this: different overtones are ferent logic. They might not line up all the relatively audible on different notes. So time, but not because the phenomenon of in playing a theme you might hear the their not lining up should be sought out, twelfth over the fi rst note, the fi fteenth rather, because the internal logic of each over the second note, the twelfth again, has them manifesting slightly different then the seventeenth, and so on. In timing. This may be why I am more inter- Example 9, in this melody, you might ested in counting individual voices that are happen to hear the higher (gray) notes somewhat removed from each other and as very faint, audible accompaniment Example 8 from the template of measures. But then to the “offi cial” theme. all voices have to be together enough in the This is a kind of shadow overtone end so that the piece is coherent. counterpoint that is always present, at a I present all of this as questions or greater or lesser degree of audibility, and ideas that are interesting to think about is present separately in multiple contra- or, more to the point, to engage with in puntal voices when they combine. Q conjunction with students. None of it is hard and fast; none of it represents Gavin Black is director of the Princ- answers or conclusions. eton Early Keyboard Center, Princeton, One last topic: notes that we play New Jersey. He can be reached by email Example 9 have overtones. On the organ some at [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 13 In the wind...

O praise ye the Lord! All things that give sound; lines sung by the sopranos and later by each jubilant chord re-echo around; the organ—vivid pictures of the freeing loud organs, his glory forth tell in deep of a human soul to rest and life eternal. tone, It is hard work to devote one’s self to and sweet harp, the story of what he hath done. artistic expression. As you walk through —William Henry Baker a grand museum, you see countless examples of physical labor. I am not sure So goes the third verse of hymn 432 I have read anything about Renaissance in The Hymnal 1982 of the Episcopal painters suffering from carpal tunnel Church. It is set to a soaring tune by C. syndrome, but consider this: Peter Paul Hubert H. Parry that is supported with Rubens lived sixty-three years between rich and compelling, even dramatic 1577 and 1640. According to the catalog harmonies. The tessitura is high, which compiled by Michael Jaffé in 1989, there allows space for broad chords —it is a are 1,403 works attributed to Rubens. doozey of a hymn that is a blast to sing. Rubens fi nished his apprenticeship and And of course, anyone who has devoted entered an artists’ guild in 1598, so let’s a big part of life to playing, building, and assume his fi rst documented paintings working on pipe organs will be a sucker were completed around the time he for this one. It does not take a rocket sci- was twenty years old. That means he entist to think of punching General 12 to produced an average of more than thirty start that third line, and do not forget to paintings a year. And that was before play the comma after “organs” for all it is the Utrecht chain of art-supply stores worth. It was Claude Debussy who said, was founded. Rubens had to spend a “Music is the silence between the notes.” lot of time “hunting and gathering” the On Saturday morning, October 6, materials and supplies needed to make several hundred gathered at New York his paints. City’s Church of the Heavenly Rest, A gallon of today’s latex paint weighs proudly placed on Fifth Avenue between a little over eight pounds, and I assume the Cooper Hewitt Smithsonian Design that Rubens’s paints were heavier than Museum (the former home of Andrew that. At those rates, I suppose he shov- Carnegie) and Frank Lloyd Wright’s eled a couple tons of paint onto canvas iconic masterpiece, the Solomon R. over his career, a dab at a time. Based Guggenheim Museum, for the memorial on my experience of painting rooms in service of Steven Earl Lawson. Steve our house, I know that there were thou- was the assisting organist at Heavenly sands of days when Rubens went home Rest for twenty-one years, and a tire- with aching arms and wrists. I read that less active member of the New York he died of “complications from gout.” City Chapter of the American Guild of I share the diagnosis of the “disease of Organists. You can read his obituary in kings” and can add that along with his the October 2018 issue of The Diapa- aching carpal tunnel, Rubens suffered a son, but it bears repeating that he has lot of serious pain in his life. made contributions of inestimable value And I have to ask, just how did he do to the organ world through his creation it? How can it be that a 375-year-old Church of the Heavenly Rest, New York City, New York (photo credit: Steve Lawson) of the New York City Organ Project, painting shimmers with life? Can you buy which chronicles hundreds (thousands?) a tube of “Rubens’s Sunset” or “Rubens’s by the FBI through the offi ce of New of pipe organs in New York City, includ- Nacreous” at a Utrecht store? No? I York District Attorney, Peet Bharara. ing specifi cations, photographs, and guess that is the defi nition of genius. Nina Totenberg’s stories about her histories accompanied by histories of § father’s violin have been broadcast and the buildings and parishes. For example, published by National Public Radio take a look at http://www.nycago.org/ Antonio Stradivari lived from 1644 where her voice is well known as NPR’s Organs/NYC/html/HeavenlyRest.html until 1737. He built around 1,100 legal affairs correspondent. Her most and see what Steve had to say about the instruments including 960 violins, of recent story was published on October organs at his church. which something like 500 are extant. As 9. You can read it at https://www.npr. In addition to the New York City a young teenager, he apprenticed with org/2018/10/09/654490918/the-tale-of- Organ Project, Steve contributed might- Nicolai Amati and started making instru- the-stolen-totenberg-stradivarius-ends- ily to the Organ Historical Society Pipe ments under his own name around 1666. with-a-new-legacy. Organ Database, where you can type He was 93 years old when he died—let’s In that story, Ms. Totenberg continues Console, Church of the Heavenly Rest, keywords into a simple form and fi nd assume he stopped making violins at age by telling of how she and her sisters have New York City, New York (photo credit: Steve documentation of thousands of pipe ninety. That works out to about sixteen chosen to dispose of the instrument. She Lawson) organs nationwide. Hundreds of us who instruments per year across a sixty-nine wrote that they “could sell it for oodles work daily with pipe organs routinely year career, or an average of more than in Asia but would likely never hear it means violins can cost as much as $15 reap the benefi ts of Steve’s dedication. one each month. His work must have again.” They had placed the instrument million a pound! In comparison, a three- § included traveling from Cremona, the in the hands of Rare Violins in New York manual pipe organ with sixty or seventy city where he lived and worked, into the City, where Ziv Arazi and Bruno Price stops, a solid wood case, and steel frame Standing in that church last Saturday, forested mountains to acquire materials. were restoring it when “an angel” came weighs around 65,000 pounds and costs surrounded by valued colleagues, I was Along with his legendary professional forward, offering to buy it and place it $1.5 to $2 million which is around $30 moved to be reminded of the purpose career, he had an active personal life on loan to deserving students. Eighteen- per pound. That’s quite a bargain! of our work as organists and organbuild- with ten children, three of whom worked year-old Nathan Meltzer, a student of § ers. A tag-team procession of organists in his shop. Itzhak Perlman and Li Lin at the Juil- shared the bench, including Steve’s pro- Like Rubens’s paintings, Stradivari’s liard School, is the fi rst to receive use of Last Saturday at the Church of the lifi c and beloved octogenarian teacher, violins have stood the test of time, the instrument on a long-term loan. Nina Heavenly Rest, sitting among a throng of Wilma Jensen, each offering their talents shimmering with life after 300 years. Totenberg reports that he “already has colleague organbuilders, listening to the in his memory. The large and talented In recent days, we have heard the new- enough of a career to pay the consider- beautiful music and singing those rousing choir, including many volunteers, gave est chapter in the dramatic story of a able insurance and maintenance costs.” hymns, I was refl ecting on the nature of freely of their autumn Saturday, singing Stradivari violin. The “Ames” Strad was According to The New York Times, the organbuilding. I thought of the math and a variety of beautifully chosen music built in 1734, when Stradivari was ninety “angel” paid between fi ve and ten mil- physics involved in the production and including the sublime “Sanctus” from years old. It was owned by the virtuoso lion dollars to purchase the instrument, projection of acoustic tone. I thought of Gabriel Fauré’s Requiem. Fauré’s genius Roman Totenberg who taught at the which sounds like oodles to me but is the myriad skills required, like woodwork- was evident in the shimmering ascending Longy School of Music in Cambridge, a fraction of the record sixteen million ing, metalworking, engineering, logistics, Massachusetts. After a concert there in paid for a Stradivari violin. An even rigging, and hoisting. A good organ- The Diapason and Raven CDs 1980, the instrument was stolen from more rare Strad viola was sold at auction builder is well schooled in the history of Totenberg’s offi ce by Phillips Johnson, in 2014 for $45,000,000. The Totenbergs the instrument including geographical make the perfect holiday gift! an aspiring young violinist. Following chose this path in honor of their father’s infl uences, in the fl ow and volume of air, Johnson’s death in 2015, his ex-wife and devotion to teaching, and in the interest and the physics of musical tone. her present boyfriend were cleaning out that his beloved instrument would be There is a huge amount of pure heavy closets and found the violin. She took heard on the world’s stages “long after physical labor involved. That 65,000- it to an appraiser who gave the classic we’re gone.” pound organ I mentioned includes response, “I have good news, and I have Some people think pipe organs are 65,000 pounds of parts that have to be bad news.” expensive but consider this: violins built, painted, soldered, joined, and www.thediapason.com/subscribe The violin was returned to Toten- weigh between 400 and 500 grams, or carried around the workshop countless berg’s daughters Amy, Jill, and Nina something close to one pound which times. That is 65,000 pounds of stuff that

14 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM By John Bishop has to be sorted, wrapped, packaged, If that repair involved making a new for Steve’s service. So many of Steve’s and loaded onto trucks, then taken out solder joint, there was nothing quite friends were there to play it. So many of of the trucks and carried up the steps like that drip of solder on your cheek. I Steve’s friends were there to listen and into the church. Sometimes when relo- drew laughter from a co-worker when to participate. cating a vintage organ, we take it apart, I dubbed a certain move the “Skinner We do this work because the results pack it and load it into trucks, unload it Jerk.” That is when you kneel on a loose move people. I was surely moved last Sat- into storage, take it from storage to an screw on a concrete fl oor, jump up, and urday. It was a special thrill to sing with organbuilder’s workshop, and then move hit your head on the torn slot of a bottom- other organ tuners. It occurred to me it from the workshop to its fi nal destina- board screw, and pull away leaving a tuft that hardly any choir can tune accidentals tion. That means lifting, carrying, sorting, of hair caught in the compression spring. and leading tones as well as a choir of and stacking 65,000 pounds of gear three I can hear colleagues chuckling over this tuners, there was just something about it. times. That is a lot of cardio training. because I know we have all done it. The memories of a lifetime of hard Building a twenty-fi ve-foot-tall organ § work have been in mind all week. I know case involves deriving a cutting list from I have shared the story of façade pipes drawings and running thousands of feet Why do we go to all that trouble? Why in Cleveland in these pages before. It of rough lumber through jointer, thick- do we go to all that expense, $30 per was the summer of 1977, between my ness planer, table saw, and cut-off saw. It pound at 65,000 pounds? Why do we tax junior and senior years at Oberlin, and a fl agpole in a parade. The toes of those means cutting joints, gluing up panels and our bodies and our brains? That ques- my mentor Jan Leek and I joined a crew huge pipes sat in the cradle, and as a frames, cutting and mitering moldings, tion was answered eloquently for me of Hollanders from Flentrop to install team we climbed ladders and hoisted making everything fi t together, and hoist- at Steve’s memorial service. There is a the marvelous three-manual organ at from above, guiding the precious and ing it all into place. Making wood trackers mighty organ at Church of the Heavenly Trinity Cathedral in Cleveland, Ohio. massive pipes into place. for a big organ is another long shift at the Rest, with plenty of power to support Jan is a fi rst generation Dutchman and When the day was over and Jan and table saw, ripping carefully planed boards lusty singing, and ethereal affects for was a great friend of the Flentrop fi rm. I were walking down the nave to leave into hundreds of two-millimeter strips. the most-tender moments. That organ is The mahogany case was erect, and we the church, we turned to look at the Casting the metal for organ pipes means maintained by Jim Konzelman, a famil- were installing the façade pipes. It is a organ and saw those spangly new pipes lifting sixty-pound ingots of metal into a iar fi gure in the New York metropolitan sixteen-foot façade of polished tin, and refl ecting a brilliant blue and red wash melting pot. Be careful not to splash. area. He was present for the service, the pipes are very heavy and require of afternoon light coming through the In March of 1982, my former wife and I know he had spent many hours careful handling. I was wearing a har- stained-glass windows. I burst into tears. and I were expecting our fi rst child. In the previous week preparing the organ ness that could have been used to carry That’s why we do this. Q the days leading up to the “due date,” I was drilling holes in the rackboards of an organ. It was not a large organ, fewer than 1,000 pipes, but that was several days of work, changing the bit to a larger size every couple of holes. (Always start with the smallest holes, because if you make a mistake it is easier to make a hole bigger than to make it smaller!) I do not remember if I was making mistakes with A UTHENTIC SOUND drill sizes because I was preoccupied with the idea of becoming a father. Michael was born on a Thursday night, so I had to FROM REAL PIPES: cancel choir rehearsal. We shipped that organ to Annandale, Virginia, that June, and Michael is now six foot, four inches and a magician with tools and sailboats. If you are drilling 1,000 rackboard THE ORIGINAL TECHNOLOGY. holes in a fi fteen-stop organ, you are also drilling 1,000 holes in sliders and 1,000 holes in windchest tables. A big part of the art of organbuilding is knowing where to put the holes. Many organ companies, including the Organ Clearing House, have heavy INVEST ONCE... schedules of seasonal organ mainte- nance. We are in the north where the climate changes twice a year. While some organists like to have the organ THINK APOBA. tuned for Christmas and Easter, because organ tuning is affected by temperature, we like to think of the schedule as winter and summer. It is defi ned specifi cally by when the church’s heating system comes into use. If we tune in mid-to- late November, the organ will be ready NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING, REBUILDING AND SERVICE FIRMS for the winter season, and around here, BUILDER MEMBERS Easter is still typically a winter holiday. A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. We tune again in May, and the organ is Andover Organ Company Holtkamp Organ Company Schoenstein & Co. ready for summer weddings. Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders I go to about forty organs each sea- Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs Bond Organ Builders, Inc. Muller Pipe Organ Company son. We arrange the schedule to group Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS neighboring churches. Some organs can C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. be serviced in a couple hours, so we can Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems do three in a day. Most are half-day tun- Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources ings. This adds up to about three weeks Garland Pipe Organs, Inc. Quimby Pipe Organs, Inc. Peterson Electro-Musical Products of driving from one church to another, carrying toolboxes into organ lofts, and climbing ladders. Today we have snazzy battery-powered work lights with bril- liant LEDs. They are light and compact and have hooks and magnets on them Call today for APOBA’s Please watch and share so you get them to stay just where you Pipe Organ Resource Guide our short video at: need the light. But “back in the day,” we and Member Prospectus www.apoba.com/video had “trouble lights,” incandescent bulbs with metals cages around them powered by heavy yellow cords. It was a trick to keep the cord out of the mixture, and when you were making a diffi cult repair in a tiny space, there was nothing like Apoba.com 1-800-473-5270 the feeling of that hot light scorching the sweaty skin on the inside of the arm.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 15 Reviews

Choral Music Lift Up Your Heads, by Richard A. The well-known and award-winning for a drive around the Scottish country- The following anthems offer a variety Williamson. SATB, piano or organ, Australian organist/choirmaster June side, enjoying the topography and visit- of textures—from unaccompanied four- Oxford University Press, ISBN #978- Nixon (b. 1942) has set the gentle Sarum ing churches and their organs. part choirs to full congregation with 0-19-352262-6, $2.90 (E). Primer text of “God Be in My Head” for The book opens with a twenty-one- organ accompaniment. These works also Richard A. Williamson (b. 1962) has unaccompanied SATB choir (some divisi page essay, “An Introduction to the draw from a variety of texts, including a taken portions of Psalm 24:7–10 and for soprano) and treble soloist. With Organ in Scotland,” by Buchan. This well-known traditional hymn, a traditional Psalm 118:26 for this jubilant anthem for many parallel moving triads, the work has brief history is fascinating, as it tells of gospel tune, a psalm setting, the Lord’s SATB choir and piano accompaniment some of the harmonic language of Ralph various builders from outside Scotland Prayer, a classic Eucharistic hymn, and that doubles the choral parts. The simple Vaughan Williams, but sumptuously who installed organs there, and informs two different settings of the Preces and harmonies are enhanced with periodic decorated with a few sevenths and ninths. the reader of organbuilding fi rms in Responses for an Anglican Evensong. seventh and ninth chords and balanced Scotland. It is concise, yet very informa- by the use of frequent octaves, both in “Gladden” Preces and Responses, tive. The ravages of time have destroyed All My Hope on God Is Founded, the choral part and accompaniment. by Kevin Jones. SATB unaccompa- many of the historic organs of Scotland; arranged by John Rutter. SATB, Beginning in F major and modulating to nied, Paraclete Press, PPM01819, however, as this volume notes, there are congregation, and organ, Oxford G major and later A major, Williamson $2.90 (M). still many historic instruments that can University Press, ISBN #978-0-19- illuminates the text by playfully changing Kevin Jones (b. 1965) has composed be heard, played, and appreciated. 341594-2, $2.25 (E). keys: minor for the question “Who is the a very succinct and effective setting of The list of organs follows, organized English composer John Rutter (b. King of glory?,” and major for “The Lord the Preces and Responses that honors by city or village, then by location. The 1945) has provided an affective and strong and mighty.” the legacy of Washington Gladden history of organs essay mentions that useful alternate harmonization and (1836–1918), the prolifi c author and there are more than 1,000 extant organs descant for the fourth and fi fth verses of The Lord’s Prayer, by Ashley Ball. early leader of the Social Gospel move- in Scotland—this book notes many more Robert Bridges’ “All My Hope on God SATB unaccompanied, Paraclete ment, a movement in North American as it traces the known instruments of any is Founded,” matched with Herbert Press, PPM01801, $1.70 (E). Protestantism that addressed issues given venue, past and present. For each Howells’s tune Michael. Found with Irish-born Ashley Ball has created a such as social injustice and economic venue, an address is provided, along fi ve verses in The Cambridge Singers very solid unaccompanied SATB motet inequality. Gladden served for thirty-six with a list of organs, dates of installation, Hymn Series of Oxford University Press, on the Lord’s Prayer in 33 measures. years as one of the early pastors of First builder, dates of signifi cant alteration/ the fourth verse is scored for women’s While clearly in C major, Ball accentuates Congregational Church, United Church rebuilding/restoration, size (manuals voices with a new harmonization. The the text with slow-moving harmonies that of Christ, in Columbus, Ohio, where and ranks), and if an organ has been descant for the fi fth and fi nal verse subtly change through chromatic altera- Jones is currently director of music. relocated. No organ specifi cations are complements the hymntune beautifully tions creating a very serene effect. This An expert choral director and organist, provided. If an extant organ qualifi es for without altering too many of Howells’s modern setting (“sins” instead of “tres- Jones masterfully balances consonant the Scottish Federation of Organists A, rich and unique harmonies. While high passes”) of the Lord’s Prayer will be a very and mildly dissonant harmonies in this B, or C List (based on the instrument’s A in the descant might be high for some welcome addition to any choir’s library. very accessible setting for precentor and history and integrity), this is indicated. choirs, the effect is thrilling and makes SATB choir with a few divisi portions for The quality of photographs illustrating a very welcome addition to this vener- Ave verum corpus, by Bill Heigen. the bass. the book, most in color, is extremely well able hymn. SATB unaccompanied, Paraclete reproduced for a paperback book. Amer- Press, PPM01818, $1.70 (M/D). Preces and Responses, by Stephan ican publishing projects would do well to How Can I Keep From Singing?, by Bill Heigen (b. 1980) has set this Casurella. Precentor and SATB note how good quality paper and produc- Robert Lowry, arranged by Sarah classic Eucharistic hymn attributed to unaccompanied, Paraclete Press, tion standards can make for a paperback Quartel. SSAA unaccompanied with Pope Innocent VI (d. 1342) for unac- PPM01802, $1.70 (M). book that, for its interior pages, has just as some divisi, Oxford University Press, companied SATB choir with several English organist, conductor, and com- much appeal as a hardbound book. A list ISBN #978-0-19-352208-4, $3.25 (M). striking text-painting modulations. poser Stephan Casurella (b. 1973) wrote of photographs at the front of the book The young Canadian composer Sarah Although there are no divisi sections, this charming setting of the Preces and helps the reader fi nd the illustrations. Quartel (b. 1982) has taken a traditional this anthem might be a bit challeng- Responses for Roger Fischer and the A list of “Sources Used in Researching gospel tune by Baptist minister and ing for a small ensemble with its long Choir of Chester Cathedral as a young the History of the Pipe Organs” and a gospel hymn composer Robert Lowry phrases, but the fi nal result is very fourteen-year-old composer. Casurella’s bibliography direct the reader for more (1826–1899) and has added a rhythmic rewarding. Beginning quietly, Heigen setting alternates between A minor and thorough documentation. ostinato vocal accompaniment (“How makes great use of 4-3 suspensions A major very effectively with a few divisi This is the perfect book for the trav- can I keep from singing”) to create before the work culminates in an unex- passages for the soprano. eler who passes a church, cathedral, or some very effective word painting pected modulation on the text “fl uxit —Derek E. Nickels university, as we all have done, and asks, below the soaring and legato melody aqua et sanguine.” This is a fresh alter- Kenilworth, Illinois “I wonder what instrument is in there?” (“My life fl ows on in endless song”). native to the classic settings of this text Obtain this book and buy your airplane The vocal range from tenor F to high C by Byrd, Mozart, and Elgar. ticket to Edinburgh or Glasgow. Rent provides plenty of range for this SSAA Book Reviews that car, and be fascinated by the organs (with some divisi for the fi rst soprano God Be in My Head, by June Nixon. Organs in Scotland: A Revised List, of Scotland! part) anthem. The simple harmonies Soprano solo and SATB unaccompa- by David A. Stewart, revised by —Stephen Schnurr throughout make this anthem very nied, Paraclete Press, PPM01821, Alan Buchan; foreword by David Gary, Indiana accessible and very powerful. $1.20 (E/M). Stewart. The Edinburgh Society of Organists, affi liated with the Scottish Federation of Organists, Edinburgh, New Organ Music Scotland, UK, 2018. Paperback, Compositori Bolognese: Sonate 362 pages, 119 photographs, most e Pezzi per Organo, edited by in color. Price, £15, postpaid, from: Jolando Scarpa. Edition Walhall [email protected]. 1033, €22.50. Available from: As a middle school student, I was fas- www.edition-walhall.de. cinated with Antonia Fraser’s biography, The manuscript CC.232 in the Museo Mary Queen of Scots. From that time, I internazionale e biblioteca della musica, have wanted to travel through Scotland. Bologna, Italy, contains important organ (A fortieth anniversary edition of the works by seventeenth-century Italian book was published nearly a decade composers, now edited by the inde- ago.) Two decades ago, I traveled for the fatigable Jolando Scarpo, many of which second time to England. With a friend, are published here for the fi rst time. I rented a car, and we spent two weeks The volume contains twenty-fi ve pieces, visiting cathedral cities, staying in bed seven of which are entitled Suonata or and breakfast locations. When we went Sonata, three [Per] l’Elevazione, and to the North, I wanted to drive across the rest are untitled. Fourteen pieces the border into Scotland, just to say I had are ascribed to Bartolomeo Monari (ca. stepped foot in Scotland. I would have 1633–1697), two to Giovanni Aldrovan- been satisfi ed with getting out of the dini (1672–1707), and one Elevazione car on the side of the road, just across to Giovan Battista Bassani (1647–1716). the border. Unfortunately, at that time, The remaining pieces are without com- there was a serious outbreak of foot-and- poser attribution. Keys used include mouth disease among farm animals. The nine works in G, fi ve in A, three in D, idea of getting out of the automobile three in F, two in C, and one each in and stepping on farm soil was seriously A minor, G minor, and E minor. Key frowned upon by regional offi cials. Thus, signatures for major keys are frequently “superb musicianship, masterly technique and savvy programming … Archer’s I still desire to see Scotland. one sharp less than in modern usage. sweeping assurance and stamina enable you to hear the music behind the virtuosity.” That desire has rekindled even more Length varies between 30 to 96 mea- — GRAMOPHONE (JAN 2018) — now, having read this book. Organs of sures, the latter being an extended Pas- Scotland: A Revised List would be the torale in 12/8, with most pieces closer to MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com perfect volume to take with a rental car 30–40 measures.

16 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM Reviews

Only two pieces require pedal, one Most of the pieces are either pre- New Recordings overseeing the installation of the organ. being an untitled piece by Monari that ludial/homphonic or fugal, with lively Elgar Organ Works. Benjamin He is well known as a scholar for his is clearly a toccata, and closer in style subjects in eighth and sixteenth notes, Nicholas plays the Dobson Organ research into contemporary choral music. to the pedal toccatas by Frescobaldi in usually rather loosely worked. They are of Merton College, Oxford, UK. One of Elgar’s closest friends was his second book than to those by the similar to the sonatas in MS DD53 also Delphian compact disc, DCD34162, Hugh Blair, who was the organist of the contemporary Bernardo Pasquini. The in Bologna, a selection from which has www.delphianrecords.co.uk. Anglican cathedral in Elgar’s home city other piece, a Suonata del 5 Tuono, is in been edited by Scarpa for Doblinger Sonata for Organ in G Major, op. 28; of Worcester. Elgar heard that a party of two sections, consisting of a short intro- as anonymous works for keyboard in “Nimrod” from Enigma Variations, op. American organists was coming to visit duction and a “Fuga.” This is the only DM1304, and, as would be expected, 36; Prelude to “The Kingdom,” op. 51; Worcester Cathedral in the summer of piece that includes a key designation in to the pieces by Italian composers in Gavotte; Vesper Voluntaries, op. 14. 1895 and wrote the Sonata for Organ the title. Two of the sonatas by Monari Arresti’s print of 1687. One of the oldest colleges, established in G Major, opus 28, to show off the in this collection were also included The edition contains a preface with in 1260, Merton College owes its founda- cathedral’s magnifi cent four-manual Hill in the 1687 print Sonate da Organo di information about the composers and tion to Walter de Merton, chancellor to organ. Unfortunately the manuscript Varii Autori, compiled by Guilio Cesare the pieces, and includes specifi cations of King Henry III. The chapel, dedicated arrived from Elgar at the last minute, Arresti (edited by Scarpa for Walhall, two organs, although both are of a much to St. John the Baptist, was rebuilt in the and since Blair had insuffi cient time EW650), as was the only other piece earlier date than the music. Fifty-eight fi fteenth century, but owing to exiguous to practice it the recital was far from a known by Bassani. pages of music are presented in a fairly fi nances only the choir and transepts complete success. The aftermath was The great majority of pieces are single large font, which allows six systems to the were ever built, and there was never any even more tragic. It is something of an movements in common time, exceptions page, although each contains only two to nave. Curiously enough this set a fashion, understatement to say that Hugh Blair being single movements in G minor in four measures in places. It is a great pity and nearly all college chapels in England had a problem with alcohol, and shortly 3/4, in G major in 6/4, and in G major that page turning is required in every have been built without naves ever since. afterward he was summarily dismissed in 12/8, this piece being marked “Alle- piece, even in those covering just two There were a number of organs in the when the dean came in and famously 2 gro—col Flauti” (i.e., at 4′, 2 ⁄3′, and 2′ pages; this could have been avoided to chapel over the centuries, culminating found him in a drunken stupor sitting pitch, plus Principali). Pieces in two sec- a large extent if the music had started on in an instrument from 1924 that was on the keyboards and trying to play the tions include the Sonata in A by Monari the left-hand page. A few missing acci- an assemblage of pipework from many organ bench. Furthermore, in 1894 the on page 15, the second section being a dentals can be supplied by the player. previous organs. This was replaced in cathedral had signed with Robert Hope- fugue after a preludial introduction, and In a few pieces the writing does not lie 1972 by a new tracker organ to which Jones for a new orchestral organ totally the anonymous piece in G on page 47. neatly under the hands, so care will be a trumpet on electric action was subse- devoid of upperwork, and the lovely Hill Elevazione in E Minor opens in common needed; there are a few sixteenth-note quently added, but the instrument suf- organ was thrown out. It is only very time and continues in 3/2, and the one in runs in thirds, but generally the pieces fered from warpage and other problems recently that Worcester Cathedral has A minor is in 3/2 throughout. The only are not too diffi cult. Very few ornaments and was never satisfactory. Dobson Pipe once again obtained an organ worthy of other pieces with registrations are the (tr) are indicated, but the knowledgeable Organ Builders of Lake City, Iowa, built the building. two by Monari included in the Arresti player will be able to embellish stylishly. the latest organ, their Opus 91 of 2013, The Dobson organ in Merton College, print, the fi rst one marked “Con Flauti” Using a fl ue chorus plus the non-8′ fl utes a three-manual and pedal mechanical- which is not too far removed from the and the other marked “Ripieno,” and the and playing with a well articulated sense action instrument of forty-three speak- Hill sound for which the Elgar sonata Elevazione in A Minor, which is marked of phrasing will bring these pieces to life ing stops, the fi rst Dobson organ in the was intended, makes a perfect medium “Voce Humana.” Tempo indications are for today’s audiences and congregations. United Kingdom. Its striking and colorful for this piece. Nicholas is spot on in every absent from most pieces, apart from the This volume contains much bright and neo-Gothic casework fi ts well with the way in his performance of this work with 12/8 sonata mentioned above, the open- tuneful music and is a very welcome architecture of the chapel, and it benefi ts his perfect phrasing and his excellent use ing sonata is marked “Vivace,” Sonata in addition in modern notation to the rela- from the warm acoustics of the building. of rubato. The organ also gives a very D by Monari is marked “Allegro e spiri- tively scarce material from the contem- The performer on this disc is Benjamin good showing of itself with its crystal toso,” and Elevazione by Aldrovandini is poraries of Bernardo Pasquini. Nicholas, who as director of music and clear choruses, its lovely strings, Vox marked “Grave.” The remaining pieces —John Collins tutorial fellow of Merton College since Humana, Harmonic Flute, and Corno are clearly allegro in character. Sussex, England 2008 was responsible for obtaining and ³ page 18

Johann Sebastian Bach Organ Works Completed

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 17 Reviews

³ page 17 Volume 26, and for it Elgar was given accompany the recording, points out that compositions alongside works of greater di Bassetto. The organ is unusual for the rather miserable fee of fi ve guineas. this work was written at a period when magnitude. Not only does it demonstrate England in having an enclosed Choir The Vesper Voluntaries remained in Howells was discovering his own “voice” Howells’s versatility as a composer, but division, but the lovely effects Nicholas total obscurity for nearly a century until and in the same year as his Requiem. will hopefully inspire musicians of all obtains in the second movement would a modern edition of them appeared in While unmistakably Howells, the outer interests and abilities to explore the be quite impossible without one. The 1987, since when they have become movements show the composer at his music of this great man in more depth. fi nal movement ends with considerable quite popular, especially in such circles most wild—a far cry from the mellifl u- In any case, they have a fi ne and worthy excitement in which the magnifi cent as the Organ Historical Society. The ous strains of his most popular choral exponent in Andrew Senn, and I look for- pedal reeds bring the work to a dramatic leafl et with the Merton College CD does works—and present the performer sev- ward to the continuation of the project. close. I think this performance may even not list the individual titles, but they eral challenges in terms of sheer quantity —Simon Thomas Jacobs have replaced Herbert Sumsion’s 1965 are in fact “Introduction,” “Andante,” of notes, complex rhythms, and organ Seattle, Washington record on the old Gloucester Cathedral “Allegro,” “Andantino,” “Allegretto management. Senn takes them all in his organ as my all-time favorite recording Piacevole,” “Poco Lento,” “Moderato,” stride with the organ at First Presbyte- of the Elgar sonata. “Allegretto Sensoso,” “Poco Allegro,” rian Church, Philadelphia, Pennsylvania, New Handbell Music Next we hear William Harris’s and “Coda.” Unlike Elgar’s Sonata in G which provides a superb vehicle for the On Jordan’s Stormy Banks, arranged arrangement for organ of “Nimrod” from Major these works are quite accessible variety of color, but also power, required for 3–5 octaves of handbells, by Elgar’s Variations on an Original Theme, to the average organist. They are nev- to effectively communicate this music. Linda R. Lamb. Agape (a division of popularly known as the Enigma Varia- ertheless very well crafted pieces typi- (The sizeable four-manual instrument Hope Publishing Company), Code tions. The solemn beauty of this work is cal of Elgar’s compositional style. They is located in the chancel and gallery of No. 2833, $4.95, Level 2+ (M). enhanced by some very fi ne legato play- contain some common motifs and fi t well the nave. The chancel section was built Two hymntunes are incorporated ing in which we hear the amazing range together as a suite rather than just a col- by M. P. Möller in the 1950s and rebuilt into this lovely setting of the title: of timbres available on the Dobson organ lection of individual pieces. in 2011–2012 by Emery Bros. The gal- Promised Land and Hanson Place as it builds up from strings to full organ Judging by this compact disc Merton lery organ was rebuilt by Reuter in (Shall We Gather at the River?). The and down again to a pianissimo. College now has both the best organ and 2001.) The exquisite middle movement arrangement is given a gentle, fl owing The oratorio, The Kingdom, has long one of the best organists in Oxford. The culminates in an extraordinary “fade out” feeling at the beginning that then takes been my favorite Elgar work. This is instrument is a credit to Dobson Pipe masterfully handled by Senn. on a more deliberate and rhythmic not least because, unlike The Dream Organ Builders, and the compact disc is an The Six Pieces contain some of How- buildup, which returns to a tranquil of Gerontius, where the rather fanciful excellent sampling of the works of Elgar ells’s better-known compositions for close, just like it began. libretto was written by Elgar’s fellow very sensitively played. I thoroughly rec- organ, but it is always a joy to hear these Catholic, the Blessed John Henry New- ommend it to readers of The Diapason. works performed so well and with such Ringing True: Creating and Maintain- man, Elgar wrote the libretto to The —John L. Speller integrity. Howells leaves a great many ing a Dynamic Handbell Ministry, by Kingdom himself. It is a remarkable Port Huron, Michigan decisions to the performer, particularly Phillip L. Roberts. GIA Publications, creation from the pen of a Catholic in the case of registration, and it is hard Inc., G-9490, $10.95. layman, and shows a deep theological Herbert Howells: The Complete to disagree with any of Senn’s choices. This item was included in this column understanding that is at times daringly Organ Works, Volume 1. Andrew There is also incredible attention to because I found it to be a new, innovative radical, as in his use of passages from Senn, organist. $30, postpaid, avail- detail in the adherence to Howells’s approach to handbells, from the origin the then recently rediscovered Didache able from www.andrewsenn.com. very specifi c phrasing markings. One and history of bells, to how to create or Teaching of the Twelve Apostles in his Almost anyone who has sung in a choir particularly nice touch is the observance and instill the pursuit of excellence in reenactment of an early church Mass. or even attended a church service has of the crescendo indicated during the recruiting and retaining a viable hand- This libretto seems to have inspired been exposed to the music of Herbert fi nal chords of a number of works, often bell program. This eighty-page resource Elgar to write some of his fi nest music. Howells. Although Howells has enjoyed diffi cult to achieve effectively. When includes a forward by Stephanie Rhoades On the compact disc we hear Herbert considerable exposure as a composer of speed and dexterity are required, such of Dallas, Texas, and gives a good sum- Brewer’s organ transcription of “Pre- organ and choral music, his widespread as in the Peaen, the listener is not disap- mary of the contents. She calls this book lude” to The Kingdom. I had not heard popularity is based primarily on a fairly pointed, while works that call for careful a “Dear Abby” for handbell musicians. this organ version before and do not limited number of oft performed works pacing to allow the harmonies to speak, The table of contents includes know of any other recordings of it. The from both genres. Of these compositions, such as the Saraband in Modo Elegiaco, topics such as “Ringing Through piece is ideally suited to the organ, and those written for choir perhaps enjoy are given just that—and a glorious cre- the Ages;” “Handbells in the Wor- I think Brewer’s transcription deserves greater popularity and renown, with those scendo on the fi nal chord. Rhapsody ship Space;” “Techniques: Musical to be heard more frequently. It is a work for organ appearing most commonly as a No. 4 concludes the fi rst CD. A musical or Monstrous?;” “The Visual Art of of several contrasting moods, and Nicho- prelude or postlude at a liturgical service illustration of the second half of Psalm Ringing;” “A Meditation on Minimiz- las’s performance combines both majesty and usually as a footnote to one of his 33:3, “Sing unto the Lord a new song; ing Mess-ups;” “Miscues, Malfunc- and excitement in the louder passages larger-scale choral masterpieces. play skillfully with a loud noise,” this tions, Mishaps, and Mayhem;” “Ring- with beauty in the softer ones. Andrew Senn’s ambitious project to superb work does indeed display the ing the Psalms;” “Basic Training;” This is followed by Edwin H. Lemare’s record the complete works—he is the performer’s skill as well as the wonderful “Voices and Handbells;” “R & R: transcription of Gavotte (1885) originally fi rst single performer to do so—will tuba stop (which makes several appear- Recruiting and Retaining Handbell written for piano and violin in a late hopefully go some way to promoting ances throughout the disc) and deserves Musicians;” and more. These articles eighteenth- or early nineteenth-century the fi ne organ music of a composer for to be heard more widely in performance, represent the culmination of over English style. Less serious than the other whom the organ held an elevated posi- both concert and liturgical. thirty-fi ve years of struggles and tri- works on this compact disc, it provides a tion. In this, the fi rst volume (a two The second disc provides a refresh- umphs the author has witnessed in his welcome interlude of playful charm. CD set), Senn brings to light a number ing contrast to the fi rst, opening with own music ministry. His hope is that The fi nal portion of the compact disc of lesser-known works alongside more the familiar Psalm Preludes, Set 1, but you will discover a few things that will is taken up with Elgar’s Vesper Voluntar- familiar pieces in a triumph of musicality then moving on to a number of smaller, enable you to create and maintain your ies for Organ, opus 14 (1890). These and virtuosity. more modest compositions. Of particu- own dynamic handbell music ministry. were part of a long-running series of The fi rst CD opens with Sonata No. lar interest are the Six Short Pieces and Vesper Voluntaries published in London 2, Howells’s largest work for the organ, Two Slow Airs compiled from detailed A Festival Chime, arranged for 3–5 by Osborn & Tuckwood and written by dedicated to the great English organist, manuscripts in Howells’s hand, but octaves of handbells, by Lee G. Bar- numerous mostly nondescript compos- George Thalben-Ball. Bruce Neswick, only recently edited and published by row. MorningStar Music Publishers, ers. Elgar’s contribution is found in in his eloquent program notes that Robin Wells. The haunting Chorale is a MSM-30-707, Level 2 (M), $4.50. particular highlight as is Senn’s judicious Using the tune St. Denio by Gus- use of the harp stop in the second of the tav Holst, Lee Barrow has given this Two Slow Airs—not a common feature arrangement an energetic and festive on English organs, but I have no doubt feeling throughout using various hand- it would have brought a smile to the bell techniques and rich textural variety, composer’s face. bringing the piece to a grand climax. It is refreshing to hear these —Leon Nelson more accessible and less ambitious Vernon Hills, Illinois

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18 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM Interview

An interview with John Rutter

By Lorraine S. Brugh

The interview took place January 31, David was a renowned choir director 2018, in Girton, Cambridge, and pre- and a member of the university music ceded a luncheon Mr. Rutter attended, faculty. I thought at King’s I might just given by Lady Rachel Willcocks, the get swallowed up, because it is a college widow of Sir David Willcocks, at her with such a strong musical reputation. home in Cambridge. Mr. Rutter also had What I did, which I never regretted, is a publishing deadline that day and had I applied at Clare College, which is their already been at work several hours when next-door neighbor right along the banks he arrived at 10:30 a.m. Mr. Rutter began of the Cam. Of course, that didn’t prevent the interview by explaining the luncheon me from going to choral Evensong at King’s he would later attend. College, which I did, and at St. John’s. Back in those days, the two choirs that John Rutter (copyright Collegium Records) John Rutter: This is one of the things counted were King’s and St. John’s, the two that Rachel Willcocks does, bless her that have boy sopranos. That all changed thing I knew he took the manuscripts which was pretty fast work really. Later heart, since Sir David’s death three years later when the fi rst men’s colleges became down to Oxford University Press where they refused to believe it at Oxford ago. She’s really been born again, as she mixed, but that’s ahead in the story. he was for many years the editorial advi- University Press (OUP) because they say was his principal caretaker. Did you ever I really met and got to know David sor for their choral music. Their sacred they never move that quickly. We have meet him? Willcocks in my second year as an under- choral music was really chosen by David the dates to prove it, so they actually did. Lorraine Brugh: No, I never did. graduate when he took what they used Willcocks. It was quite an honor that he More than that they said, “Would you to rather quaintly call “Harmony and was taking my work down to discuss it be interested in an annual retainer?” JR: Oh, what a shame! Many Ameri- Counterpoint” class, all rather academic with the senior editor there. which gave them fi rst refusal of anything cans did, as you know, as he loved his trips and old-fashioned in its way. I was one That was the pattern of his Mondays. I might write. The sum was £25 per year, to America working at summer schools, of a class of seven or eight that he took He spent the morning doing correspon- which, even then, would not fry many colleges, universities, and churches. He every week. At the end of one of these dence and administration at King’s, then eggs. It was a gesture. From that day to made quite an impression over the years. classes, he took me aside and said, “Mr. he would take the train down to London this, OUP has been my main publisher. It was inspiring that he was active in Rutter, I understand that you’ve been to spend the afternoon at the editorial So it is thanks to David Willcocks that music until his ninetieth year. composing. I hear that you have written offi ces of Oxford University Press. Then I made the massive leap from being an He died peacefully in his sleep and some Christmas carols.” I thought “Oh in the evening he would take his weekly aspiring composer to a published com- was greatly celebrated by his college, by my goodness, me, I’m in trouble.” rehearsal of the Bach Choir, which was his poser. That mattered a lot more then his many former students, protégés, and He was known really as Mr. Christmas. London choir, a large amateur chorus over than it does now. admirers. After that she started a new He transformed our musical celebration 200 voices that was and is of great renown. Now with website, internet, and life. She would now be 91 or 92. She is of Christmas with the Festival of Nine Amazingly, I received an offer of pub- sound bites, composers have lots more an active member of her garden club, Lessons and Carols as he ran it at King’s lication in the mail the next Wednesday, ways of reaching their audience than her book club, and is out there. Every so College, with his own wonderful des- often she hosts luncheons for various of cants of some of the standard Christmas her old friends. hymns, and his radiant arrangements of She brings together people who per- some of the traditional carols. He was haps don’t all know each other, but they very strongly associated with the celebra- A Precious Gift all know her. My wife Joanne and I were tion of Christmas in peoples’ minds. invited but she can’t do it. She’s ringing a I think he might have been a bit from the Past quarter peal. She’s a bell ringer, a change annoyed that here was this young upstart ringer. They’re counting on her; it’s been who was also presuming to write and booked for a while, but I will be meeting arrange Christmas carols himself. That for the Present Rachel. We do that every few months. was the exact opposite. What he actually wanted to do was to see what I was up to, and the Future LB: There will be others who join you? and to give me encouragement, which was JR: There will. But who they’ll be I’ll incredibly generous of him. What he said Supremely beautiful and blendable fi nd out when I get there. It’s usually about was, “Look, would you bring a selection of tonal color – a Gift from the Venetian four or fi ve others. It’s nice that she’s still your compositions to my rooms at King’s School of organbuilding, a monumental part of our having an active social life. Her daughter, College at 9 o’clock on Monday morning, JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH Sarah, who lives in London, comes up to and I’d like to look through them?” assist her. That’s what’s on the agenda for So, very nervously, with a sheaf of SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN lunch. She is a dear lady, and, of course, I music under my arm, I went to his owe a huge debt to David Willcocks. elegant rooms at the top of the Gibbs Intriguing? Let us build your dream. building in King’s College, and without a LB: That’s actually my fi rst question. I word he looked through the pile, and at know he gave you the opportunity to the end of it, said, “Would you be inter- edit 100 Carols for Choirs together. ested in these being published?” Now JR: That came later, of course. Our that’s an offer you don’t refuse when you fi rst collaboration was on Carols for are a young student. Choirs 2, the orange book, that volume 2 of the series that throughout the English- LB: So, there was more than The speaking world became pretty standard. Shepherd’s Pipe Carol in there? Builders of Fine Pipe Organs to the World That all came about because I had JR: Yes, there was. There was my very decided I wanted to study music at Cam- fi rst Christmas carol, The Nativity Carol, www.ruffatti.com bridge while I was still in high school. and various arrangements of traditional I applied, not to King’s College, where carols of one sort and another. The next Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 19 Interview

John Rutter at Cadogan Hall John Rutter in December 2014

Lorraine Brugh and John Rutter (photo credit: Gary Brugh) becoming diffi cult to recruit. Adult mixed will continue to be an important part of choirs are becoming pretty standard. My what King’s College does. they had then. Music notation software LB: I imagine they were pretty gra- own choir, Clare College, Trinity College allows one to put music on paper so it cious about that. Choir, Gonville and Caius, Christ Col- LB: Some colleges struggle to get looks like a printed copy. That also wasn’t JR: I think they were. lege, Jesus College (they actually have enough resources in the budget to possible then. We still worked like medi- two choirs, as they have both a boys and a be able to tour. eval monks with pen and ink. Of course, (I mention my interview with Stephen girls choir), St. Catherine’s, a lot of choirs JR: In the end you may fi nd that you the whole revolution didn’t come until Cleobury for The Diapason, June 2018, are vying for excellence. attract more funding than you spend. really twenty-fi ve years after that. So I pages 20–23.) What has to continue to happen at It’s necessary to spend money in order was very fortunate to have a publisher Kings, as has already begun successfully, to recoup the costs. The great thing working on my behalf. That’s the story JR: Stephen’s reign at King’s has been is to accommodate to the thought that about a choir is that it is transportable. of how my work as a composer began, even longer than David Willcocks’s. David they don’t have the fi eld to themselves, You can’t send the Clare College cricket and how it started to spread worldwide was the organist/director of music at King’s and they must remain distinctive. For the team on a United States tour. What through OUP. for seventeen years, I believe. He took foreseeable future I think they will retain would they do when they get there? David Willcocks, really having put my offi ce late in 1957 when Boris Ord, his a boy’s and men’s choir. They do have a Whom would they play? leg on the fi rst rung of the ladder, then predecessor, became ill and needed help. mixed choir that sings on Mondays. They That’s something the new director continued to encourage and support me He had something like a motor-neuron need to maintain their tradition. of King’s College will have to be aware through the rest of his life. This is mir- disease. It was a degenerative condition, They have spread themselves quite of. You always have to fi ght your corner rored in similar generosity to quite a lot and fi rst his foot began to slip off the pedal widely in the scope of their activities, in a college that isn’t just about music. of others who passed through his hands, notes. David, who had been organ scholar and that will have to continue. They now There are people who are highly expert or came to his notice in one way or at King’s, was summoned to assist. When have their own record label and web- in many fi elds of academic endeavor and another: performers, conductors, other it was clear Ord wasn’t going to recover, casts that bring their work day by day to question music’s place in the academy. composers, organists, singers. There Willcocks was given the title director a wide audience. We have to persuade others over and were many who would say that one of of music and Ord had an emeritus role. They give a lot more concerts, recitals, over again that music is important, and the great infl uences, mentors, and sup- David continued until 1974 when he went and do a lot more tours than they used why liturgical music that forms part of porters they had was David Willcocks. to the Royal College of Music. Philip Led- to. Whoever runs it will have to have a the music in the chapel is important. This He was a great man. ger followed for a period of seven years clear sense of the identity of the choir is not so hard to explain to atheists, but and did a fi ne job. Stephen Cleobury took and its tradition, while being able to suc- it is to people from a different religious LB: Did he consciously see it as his over in 1982 and will retire in 2019. cessfully swim in a much more crowded tradition. What’s the point of all this role to nurture and generate new We have had two long reigns with pool. In some ways it’s a harder job than elaborate worship in a university setting? generations of students and other a shorter one in the middle. Now his it was back in the days of David Will- I heard a senior tutor say, “We’re a young musicians? retirement has been announced, and the cocks at King’s and George Guest at St. degree factory.” The response to that JR: Yes, I’m sure that he did. He saw advertisement has been placed for the John’s, because it was kind of lonesome is to ask why we should be the same as his role as a leader, an exemplar. King’s job, which will generate hot competi- up there, and now it isn’t. every other university. If the college or College Cambridge was a role model tion. A lot of interest will attach to it, and When they look back and write the university has a unique tradition, if the for choirs around the world. They set many will apply, I imagine.1 history of what’s happening in choral choir is built into the fabric and statutes standards, higher than had been general music in Britain, it will be seen that there of the institution that go back centuries, in the years before that, which everyone LB: What kind of direction do you was something of a golden age at Oxford then we should be cherishing and nur- was expected to match if they could, or believe King’s will go, or would you and Cambridge, and other universities, turing that. aspire to. like to see the direction be? where many have seen the value of the That’s a point, oddly, that is better It wasn’t so much for himself as it JR: What has changed is that King’s fi ne choir tradition and want to copy it. understood in the United States than was what he wanted to do for his col- is no longer in the fi eld by themselves. So Royal Holloway College, London here. I’ve talked to people who are lege, for its choir, and for musicians the When David Willcocks took over in 1957 University, and King’s College, London, attracting tourists to this country and world over. That’s really what I mean by there were only two choirs that the world all now have fi ne choirs. some British planners have said, “We’re generosity: his gifts were always put to had heard of in the city of Cambridge. One thing about a choir is that it’s not a museum. We’re a vibrant country the service of others. You can’t really say King’s was one of them, St. John’s was useful for drawing attention to the col- that’s doing all sorts of new things, anything better of someone than that. the other. They were twin peaks; I would lege, because the students tapping away pushing back new frontiers in science never hold up one over the other. King’s at their laptops doing their degree work and technology.” An American in the LB: Your work does a lot of the has possibly enjoyed the greater renown isn’t very newsworthy. On the other hand, meeting said, “What people want is your same thing. (Next I showed him the because it is traditionally broadcast from a choir that gives a recital and wows the history.” In a sense it is part of what we December 2017 issue of The Diapa- the BBC at Christmas time that has gone audience spreads the awareness of the should be nurturing. son. The issue contained the article around the world. college, helps with recruitment. There’s The atom was split here in Cambridge, on Francis Jackson’s centenary.) Do St. John’s does not sing during the no question of that. That’s something new bits of the universe have been dis- you know the journal? immediate period around Christmas, so that’s been understood for a long time in covered. Yet, when we have something JR: Yes, I do, although I think when I King’s has slightly had the edge. What the United States, where, for example, rather special and lovely that goes back last saw it wasn’t in such lovely full color. a new director now has to accept is that the St. Olaf Choir has always had a big for centuries, we shouldn’t apologize for It was a little more austere-looking. King’s is not alone. There are other peaks annual tour. This is something we’re what went on, we should celebrate it. There’s Francis Jackson! He contin- in the Cambridge choral world. This is a rapidly getting used to here in the UK. ues to play at a small local church. His city of choirs. Cambridge has always been an interna- LB: For American choral music, the dean at York Minster, Viv Faull (the Once the men’s colleges began to tional university, and now it has to com- British choral music tradition is still Very Reverend Vivienne Faull, cur- admit women, and, in the case of Girton, pete on a global stage with others. There of great interest and curiosity. Are rent dean of York Minster), was at one the women’s college began to admit are Asian students who are so committed there other mentors than David time chaplain of Clare College, and men, the choirs became mixed, made up and dedicated and they have a choice. Willcocks who infl uenced you? so I remember her from those years. of very gifted and eager undergraduates They could go to a university in this JR: I have to go back further than Jackson was very loyal to York Minster. who wanted to sing at a high level, and country or they could go to an American my university days. I was fortunate to Interestingly, he and David Willcocks have had the example of King’s and St. university or Australian one, or wherever attend a boys school where music was a were often mistaken for each other John’s to inspire them. they feel there is a center of excellence in very important part of the curriculum. It because they looked rather alike. Some- Of course, those mixed choirs are more their chosen fi eld. Choirs will continue to was in north London, Highgate School, times they were congratulated for the in line with what is happening in the real have an important role in waving the fl ag which had a Christian foundation, dating other’s work. world, as men and boys choirs are often for their colleges and universities. That from 1565. It has a plain red brick chapel

20 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM up Highgate Hill. At the highest point in and more intricate. I managed to put London, there it is. myself through grade 8 on the organ and That is where I spent my early years afterwards, when I got my certifi cate I under the really inspirational guidance of thought, “Right, I’m giving up,” because Edward Chapman. He had been an organ I knew my musical gift, if I had one, was scholar at Pembroke College, Cambridge, for composing and conducting, not for in the 1920s, and was a student of Charles playing. I can rehearse and accompany Wood. If you’ve ever sung “Ding Dong music, but I never want to play in public. Merrily on High,” the chances are you’ve Yet, well, oddly, a page of orchestral probably sung his harmonization. He was score paper always felt like home terri- a choral and liturgical musician. He was tory to me. I always felt very comfort- director of music here at Gonville and able with what amounts to the cookery Caius College. He was a conservative of orchestral writing. The recipe is put craftsman of great skill who was rather together from different ingredients. You strict and stern with his students, of whom have to know what goes with what. If you Edward Chapman was one. put too much spice in it masks the fl avor I am the grandson of Charles Wood of something else. through music because a lot of his ideas When writing for orchestra, if one and teachings were passed down to me puts too much brass in, it will cover through Chapman. Oddly, of course, up what is going on in the woodwinds Wood wrote and arranged Christmas car- and strings, etc. That was something I ols and compiled collections of them, and learned from the great masters as, in the I’ve done the same. I can’t explain that end, every musician does. I was encour- connection really. The great thing was aged to write for all sorts of resources that I was encouraged to think that com- back in high school. position was normal, which for a teenage We had an annual musical competition boy is quite unusual. In our school it was with an instrumental ensemble class. OK to write music. We were encouraged The more instruments you included, the to write music for our school orchestra more points you got. So if we had within or other instrumental ensembles or the our house, which was a sub-group of the chapel choir occasionally. school, a tuba player who could only play One of my slightly older classmates about four notes, you would put him in. was John Tavener, later Sir John Tavener. So that gave me a taste of instrumental He was clearly destined for fame and writing, where one had to adapt to the fortune. We still miss him. He died in resources you have. None of that music 2013, just short of his seventieth birth- survives, fortunately. day, which was very sad. LB: What an environment to live in! LB: Did he die rather suddenly? JR: Yes, it really was. Our headmaster Didn’t he compose until the end? always thought I should be an academic. JR: He had an unusual condition He knew enough of the musical profes- called Marfan syndrome, a congenital sion to know it was full of pitfalls, disap- malfunction of the body’s connective pointments, setbacks, heartbreak, and he tissues. Marfan’s people generally grow was not sure that I would have whatever John Rutter (copyright Nick Rutter) rather tall and can be double-jointed, it took to succeed. Nor was I sure, but I which can help if you are a keyboard boldly applied to Cambridge, slightly player, I suppose. Indeed John was a fi ne under false pretenses, because I said pianist and organist. It tends to go with I wanted to study modern languages, a general malformation of the heart and French and German. As soon as I came Unprecedented Natural requires heart surgery, which now has an up for the interviews, I confessed to the established technique and outcome. At senior tutor of Clare, “Well, look, I really the time when John and his brother, who want to do music.” And he said, “All right.” Pipe Organ Sound also had the disease, had the operation So I was allowed to follow my true the surgery was pioneering. It did give vocation. Nobody stopped me, and no ,QWURGXFLQJGLJLWDOO\VDPSOHGSHGDOVSHGDO them thirty years of life they wouldn’t one has stopped me ever since. I’m still have had. Nevertheless, his health was doing today what I was doing as that little H[WHQVLRQVDQGWXQHGSHUFXVVLRQVIURP,27, always precarious. child in my parent’s apartment when I fi rst I remember him mostly as a high discovered the out-of-tune upright piano. school friend. We would show each There’s a story I’ve told many times, other our newly written compositions, but it’s true. At the age of fi ve or six, as an and I was recruited, among his other col- only child, I spent a lot of time by myself, leagues and friends, to take part in what- and I would doodle away in a world of ever was his latest compositional epic. I my own, singing along in my little treble generally worked on a smaller scale than voice, and just making up music. In a way, he did and was rather in awe of him. that’s what I’m still doing, all these years There were other musicians there later, except, with a bit of luck I get paid among my contemporaries. I remember for it. And I can write it down, which I in a very different fi eld young David couldn’t do then. I only learned to read Cullen, who became Andrew Lloyd and write music once I got to school. Webber’s orchestrator and assistant, who worked in the shadows, but whose skill LB: Do you think that being able to and musicianship were relied on by this compose a tune is a gift? renowned musical theater composer. He JR: I would always describe myself was at Highgate at the same time, as well as 50% composer and 50% songwriter. as Howard Shelley, the pianist, who has Really they’re not the same skill. I’ve had a fi ne international career. always been drawn to melody among There was a whole bunch of us who those twentieth-century composers where knew that music was important in our I found it. That often meant songwriters. lives. I was not the most obvious among I owe a huge debt to the classic Ameri- them, really, because I had no outstand- can songwriters, which I would call the ing performing talent. I’m afraid your golden age of American musical theater, readers wouldn’t enjoy my organ playing. roughly stretching from Jerome Kern to Stephen Sondheim. The thing I learned LB: So I shouldn’t ask about it? from them, which I also learned from the No, well, it ceased at age 18. I felt I song writing of Schubert, Schumann, and owed it to myself to study an instrument others, is that a tune is a great carrier for to a reasonable standard, and I studied the sense of a text. It’s like a vector for the organ up through the standard exams. conveying the text, like shooting an arrow Integrated Organ Technologies As I worked through the eight levels into the heart of the listener. ƹƸƸƵƷƳƵƷƹƵ_LQWHJUDWHGRUJDQWHFKFRP we have here in the UK, the music I would never renounce melody. Of gets harder and the scales get faster course in twentieth-century concert

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 21 Interview

JR: Of course, exactly. Sometimes peo- ple have to discover, or rediscover that for themselves. These Singing Days form an enjoyable part of my life, and I hope that they spread a love of singing, or reinforce it among those that have dropped out of choral singing, or put new heart into those who struggle with their little church choir week by week, and need something to power them up a bit. I have to say that my days of travel- ing abroad to various universities and churches have come to an end, volun- tarily. I decided I had to prioritize my time. I like to be in other places, but I John Rutter (copyright Collegium Records) resent the time I spend traveling to and from them. I know it’s quick and easy in JR: That Singing Day was one of about comparison to the days before jet travel, twelve to twenty I do every year. Its pur- but it’s still quite tiring. I value increas- pose is to bring people together to enjoy ingly the time I spend at home recording John Rutter in December 2014 singing for a day without the pressure of and composing. a concert or worship service at the end. I music and opera, one doesn’t normally go to set, I fi nd there is more resonance in really got the idea from the reading ses- LB: I’d like to hear a bit about out humming the tunes. The composers the historic English of the King James sions that I was asked to be a part of in the what you are thinking about for the of that sort of music are developing music Bible or the old Prayer Book. Somehow United States, often put on by publishers future. I saw the recent piece Visions in other ways, discovering new sound it seems to invite music in a way I don’t or universities, denominational summer you wrote as a violin concerto with worlds, new structures, new interrelation- fi nd in contemporary religious writ- retreats, where people are handed a pile boys choir for the Yehudi Menuhin ships between music and other worlds ing. This is not to say that we shouldn’t of music at the door and they sing through competition. It seemed like a new of the arts. A lot of contemporary music persevere with it. I remember the dean it. Generally, the purpose is to acquaint area for you. is inspired by dance, visual arts, poetry, of St. Paul’s (London) once said to me, those people with the publishers’ music JR: Yes, I never thought I’d end up etc. One doesn’t go to it expecting the “Yes, the contemporary translations of that they might want to use in their own writing so much choral music, because same thing as attending West Side Story. the Bible are not all that fantastic. The situation. I couldn’t help realizing that they I simply compose music. I think we Although my training is 100% classical, only way they’ll get better, though, is if were getting pleasure out of just being delude ourselves if we imagine we are in I’ve been infl uenced by music theater and we keep persevering with them.” together, singing, and not having to worry control of our lives. I don’t think I ever perhaps, to a smaller extent, pop music. about polishing the music to perfection. did, or do, have a grand master plan for I have this problem that probably goes LB: There are good reasons for chang- So I wondered if that idea could my life in music. If I ever had it, it hasn’t with age, but pop music stopped for me ing and updating English language. be brought into Britain, where it’s not turned out the way I thought it would. So somewhere after the Beatles, which is a JR: Oh, yes. With inclusiveness, and necessarily all about promoting music as many of the paths we take are the result long time ago. “Here, There, and Every- those things, which they weren’t worrying such, but just giving people a chance to of chance meetings or events we hadn’t where” is a lovely song. about in the 1600s. At the same time, it’s sing together. It’s aimed at anybody who predicted. If I hadn’t met David Will- I’m not sure that any one pop musi- good to have a sense of historical imagina- wants to come. I accept these engage- cocks, and if he hadn’t been interested cian today has any standing like they did. tion, so that when we hear William Byrd ments if I am free, and if the hosts agree in my work, I might never have shown The world of pop music and media was setting the words, “Prevent us, O Lord,” to my simple condition that all are wel- my music to a publisher, and perhaps not so fragmented as today. There were we know that he didn’t mean “stop us, come. I have ample opportunity to work I might have thought I should teach at not so many radio and television stations, O Lord,” but “go before us, O Lord.” If with professionals. It’s nice to embrace a university. If people out there in the not as many record labels. If you did we just eradicate that from our religious the whole domain of people who sing world of choral music hadn’t gotten hold attain prominence, it is probably greater language, we lose a sense of how fl exible for fun. A lot of the people who come do of some of my early music and requested than anything you could attain now. and ever-changing language can be. belong to civic or church choirs. It might more of it, there wouldn’t be as much as The Beatles were so multi-talented. Or again, “when man goeth forth to his be a small choir, though, without a suf- there is. More than three-quarters of my They were very good: great melodists, labor,” it refers to the German “Mensch.” fi cient balance of parts. So to be part of total output is choral. I don’t fi ght that inventive poets. Their music retains great “Mann” in German means a human a choir of 450, which was the maximum too hard, because, when all is said and freshness. I think that’s where melody fi ts being, where man in English means a we could fi t into Bath Abbey, was rather done, I love choirs. I grew up singing in in to what I do. I’ve allowed myself to be male. In English the same word, unfor- inspiring because it’s different. I do get them. I feel some sense of coming home infl uenced by the fi elds outside of classical tunately, serves for both. We need to be people who say they are too shy to audi- to my roots when I write choral music. I music, but it’s contained within the frame- aware that a little mental switch goes on tion for a choir. I like it if people bring love poetry; I love words. Music allied to work of my classical training, I think. and we say, “ah, this is Mensch, this refers along youngsters to be introduced, pain- words is rather special to me. to the whole human race.” It would be a lessly I hope, to all sorts of choral music. Sometimes, though, it is nice to go LB: The Beatles created a new shame if we lost that completely, though Of course there are those who sight read beyond words. That is one of the reasons sound world as well. When we stud- I do see where it is important the people but are a bit rusty, and it improves their I thought it would be an interesting ied classical music in the 1970s we understand the words as they are meant skills just like a muscle that needs exer- challenge to write a work that centers came home to our dorm and listened today. However, young people also cise. So there are a number of functions. on virtuosic violin writing. It is a twenty- to the Beatles. We didn’t see it as a need to read old poetry and experience I try to throw in tips for vocal tech- minute work for the winner of the Yehudi problem or incongruity to put those old literature. Otherwise they won’t be nique. Particularly the men who come to Menuhin competition in 2016 and was musics next to each other. enriched by this changing landscape of these events may not have sung recently, requested to have a part written for the JR: I don’t think it need be a prob- the English language, which has been or even at all since being a child. They boys choir of the Temple Church (Lon- lem. I must say I’m not too enamored such a wonderfully fl exible instrument come back to it not knowing how to use don), where the concert would be held. with rock music in church. I think it’s through the changes of many centuries, their voice properly. A few simple things Visions is either the only violin con- too one-dimensional. I think there is and continues to evolve. will often put them back on the track, to certo with a part for sopranos or it is the a subtlety about the great tradition of be able to control their breath, and make only work for soprano voices that has church music, and a depth that is more LB: I recently heard a Mass by Jona- a reasonable sound. So there is some a violin part quite this elaborate. It’s a nourishing. I think so much rock music than Dove sung at the Bath Abbey. teaching purpose, but really the idea is hybrid piece, but one which sprang out is loud, and all in 4/4, and thus there isn’t Do you know it? to spend time singing through a bunch of the circumstances. I receive many the same potential for responding sen- JR: Yes, I do, and I know Jonathan of music. I choose about a 50/50 mix of invitations to write things, but the reason sitively to what is probably the greatest Dove quite well, a fi ne composer. Their classical or contemporary composers, I said yes to this one was that it was dif- body of texts we have. Anybody who is director of music Huw Williams has perhaps not known to them, and my ferent and drew inspiration from the his- going to set words to music is sooner or not been there very long. He had been own works. If I didn’t include some of tory of the Temple Church itself, which, later going to come upon religious texts. at St. Paul’s Cathedral, as one of the my own work, people would think it’s a as Dan Brown’s readers will know, has They have the great quality of vision and three organists there. He then moved to bit strange. So, more than anything else, links with the Crusades. poetry. We have the great fortune in this be the director of music at the Chapel what I fi nd striking about these events is The Knights Templars came back with country, and I’m fortunate to be a mem- Royal at St. James’s Palace in London, how people feel they must tell me what their plunder from the Holy Land, and ber of the last generation to experience and then moved within the last year to pleasure it’s given them at the end of the given that they thought they had been the King James Bible and the Prayer Bath Abbey, where they have a glorious day. It’s almost a physical thing, really, to rather naughty, they should spend it on Book of 1662 on a daily basis. These acoustic—a stone fan-vaulted roof very just say, “I feel so good.” Of course you something worthy. So they founded hos- words are majestic English, written by much modeled on King’s College. The might get something similar with a good pitals, churches, and schools. The round Shakespeare’s contemporaries, when sound fl oats around in a particularly yoga class or Pilates, but singing can have part of the Temple Church was built they knew how to turn a good phrase. beautiful way, I think. the same benefi cial effect on us—body with money they probably supplied, and It was ousted about the time I went to and soul. it’s modeled on the Church of the Holy university, fi rst the New English Bible, LB: I saw you had done a Singing Sepulchre in Jerusalem. So it was the then other translations. We absolutely Day the previous weekend at Bath LB: And now, as we know more London base for one of the Crusades. It’s need the new translations, and I use Abbey. Can you say a bit about what scientifi cally about brain theory, we a little hard to speak of this now in a time them, but when I’m looking for words those Singing Days are all about? can show that it’s true. when the Crusades have become quite

22 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM politically incorrect. Nonetheless, there me is that some pieces I’ve written like are things I’ve never done before, so if be sensitive about that. I have been told is something inspiring about seeing the All Things Bright and Beautiful and For they came my way, I would love them. that one of the most common problems by tombs of the knights, especially when the Beauty of the Earth, the little ditties, But, I should be very grateful for the far is professional-personal relationships it’s dark in the round part of the church. which were crafted with the needs and opportunities that have come my way, the between clergy and musicians. It always The rest of the church was bombed fl at tradition of the American choirs who com- people I’ve met, the kind musicians I’ve needs patience and tact and understanding in World War II, but the round part was missioned them, have begun to fi lter back worked with, the fi ne texts I’ve been priv- on both sides. When it is achieved, then sturdy and withstood; the nave did not. over here. I remember thinking, I will ileged to set to music. It’s been a rich and something rather beautiful can happen. never hear For the Beauty of the Earth varied career so far. I’ll be honest with The problems can be in both direc- LB: I’ve visited the Round Church sung by an English cathedral choir. Just you: I don’t usually plan much beyond a tions. Sometimes it’s the musician who in Cambridge, built in a similar yesterday I looked at the YouTube video week, because you never know what may wants to introduce change, and it’s the way and time, and fi nd the acous- of it being sung by Winchester Cathedral happen that may change all your plans. clergy or the congregation who resist. tics are splendid. choristers, and indeed the Queen Mother It’s always a challenge to keep up with the Sometimes it’s the reverse, and it’s the JR: The Round Church is very similar. wanted it sung at her 100th birthday cele- commitments that I have undertaken, clergy or congregation who want music In Cambridge it is sadly no longer used bration service, which it was. I could have which sometimes take longer than I’d that’s more pop oriented, and it’s the as a church. It is sort of a visitor’s center. never predicted that. What’s happened is planned, or those additional ones that musician who digs in his/her heels and Of course Cambridge is ludicrously over- that the Church of England has moved its come along that I can’t anticipate. says, “I don’t want to do that.” How do churched, and always was. I don’t think own goalposts a bit, and there has been I was amused last year when Helmut you meet in the middle? I don’t know. that all of those church buildings that a loosening up and embracing of a more Kohl, the former German chancellor, It can make things diffi cult. One crowd around here were ever full, even relaxed, informal kind of church music. died. He was very much the architect of must be a fi rst-class musician and a when everybody went to church. It was I’ve been generally aiming at a choir in the European Union, and my Requiem fi rst-class diplomat, and to be aware of like a style accessory; we’ve got to have a specifi c location. It’s always a surprise was to be used in part at his funeral ser- the winds of change that blow, being one. There’s been quite a lot of imagina- when a piece gets performed somewhere vice in the cathedral in Münster. There able to distinguish between temporary tion applied to fi nd a role for them all in quite different. I wrote my Requiem was an orchestra already booked when fads that everyone will soon forget, and the twenty-fi rst century. within the Anglican Catholic tradition, they discovered that his vast bulk and the the changes now that are here for good. and it gets done a lot in Japan, where coffi n were so huge, and the pallbearers It’s impossible really to be a successful LB: The fi rst time I walked into there really isn’t a strong Christian tra- so many, they weren’t going to be able prophet 100% of the time, but a sense Michaelhouse, a coffee house in a dition. One never knows where music to squeeze past the orchestra, which of discrimination, in an altogether good church with choir stalls, an altar, and will reach, and that’s one of the amazing was off to one side of the chancel steps. sense, is probably useful. For example, stained glass windows, I was quite things about it. I always try to write for They needed to cut the orchestra right if there is pressure to scratch singing the startled. For an American, it felt the performers who will be involved in down—twelve players had to go. psalms in the way you are used to, and strange to me. the fi rst performance. I feel a strong They asked if I could rescore the the new idea is to do them with three JR: Michaelhouse Centre is owned by obligation to whoever is doing the piece Requiem movement for the reduced chords to a guitar, one must say, “Hold Great St. Mary’s, our university church, fi rst. I don’t usually think long past that. forces that would be at their disposal. on one minute. This seems to be catch- which has a thriving congregation. They’ve I think I got the email on Friday, and ing on and isn’t going to last.” always had Michaelhouse there, and they LB: Isn’t it interesting that when they needed the parts on Tuesday. So I On the other hand, when there has scratched their heads a bit to decide what you write for a particular context, dropped what I was doing. It was a fl ag- been a general move to make church to do with it. I don’t think it’s been used for it often fi nds a new home in a quite ship event, televised all around Europe, music more this or more that, then you worship for many years now. It’s not really unrelated place? and I couldn’t let them down. I hadn’t must consider whether to go with it or needed for that purpose, as the university JR: I almost never write for a general anticipated that, nor had they. risk being written off as someone who is church is just a one-minute walk away. It’s purpose, and I don’t accept commissions irrelevant. You should always have as your a little bit of a shock, I’m sure. anymore, as I want to use my time for LB: Did you conduct it? guiding light the music that is in your my own projects at my own pace. Things JR: No, I watched it on television. heart of hearts. Always be true to that. Q LB: Do you have the amateur musi- like Visions could have never happened They did get the coffi n past, but only just. cian in mind when you compose? if I had been overwhelmed with com- Lorraine Brugh is currently resident JR: If you write for an opera company missions. This was what I thought was a LB: You were holding your breath? director of Valparaiso University’s Study or orchestra, you’re writing for profes- brilliant idea that was presented to me, JR: We all were. They were big Centre in Cambridge, England. She is sionals. If you write for choirs, you are and I was glad I had the time to do it. strong pallbearers. professor of music and the Frederick J. generally writing for amateurs or stu- I still seem to be as busy as ever. The Kruse Organ Fellow at Valparaiso Uni- dents. That’s who make up the majority nice thing about being a composer is that LB: Do you have guidance or versity, Valparaiso, Indiana. of the world’s choirs. There are a small no one forces you to retire. You carry on encouragement to American number of professional European and until there is no longer any demand for church musicians? British choirs, sometimes associated your services, and of course, composers JR: Well, you know, hang in there. I Notes 1. On May 23, 2018, the Provost and with broadcasting, and certainly univer- sometimes carry on even when there is think it’s always the fi rst thing to notice Fellows of King’s College, Cambridge, an- sity and cathedral choirs that attain a no demand. I hope that day won’t come. that church music has the complication nounced the appointment of Daniel Hyde professional level. It’s nice to be wanted. of not just writing for a concert hall where as director of music at King’s, to take offi ce The term “professional singer” means you’re pretty much in charge. You’re part on October 1, 2019. Hyde currently serves as organist and director of music at St. Thomas something different in the UK than in LB: What do you still want to do and of a team, which is not primarily about Episcopal Church, Fifth Avenue, New York, the United States. Those singers called write? music, but is about worship. One must New York. professional here earn their living solely JR: Oh, everything I haven’t ever by singing in professional choirs or vocal done. I don’t want to repeat myself. ensembles like Tenebrae, Ora, The That’s why I’m a bit shy of doing more Sixteen, to name a few. The same pool choral pieces, particularly if they are of singers will populate those groups. attached to a particular celebration, a There are something like 200 profes- centenary or a conductor’s anniversary. sional small group singers in London. I’ve done all that. I look for the things ranks II — 19 They accept invitations to be in a tour or I’ve never done before, and I must be recording for a group. There is a lot of realistic. John Williams isn’t going to fruitful interchange. phone me and say, “I really don’t want to

opus 133 Many of those singers are from the write the next Star Wars score, will you carolina north valdese, Oxbridge (Oxford and Cambridge) chapel do it for me?” That’s not going to happen. choirs, and they want to earn their living as singers but they don’t necessarily want to LB: Would you like that kind of be soloists. They are really on a level that invitation? is unrealistic for other choirs to match. JR: Oh, yes, I’d love it. Nor is the The best of our collegiate choirs are on Metropolitan Opera going to say, “How a similar level. They can perform music about a big new opera for 2020?” It’s of similar challenge and complexity, not happened to my young composer Presbyterian Church Waldensian available to your average parish choir or friend, Nico Muhly. His new opera, rneauor local choral society. As a choral composer Marnie, has been premiered in Lon- ou ga et n .l s .c you have to know for whom you are writ- don. It has also been performed by w follow o w us on m ing. I’ve just been writing the liner notes the Met who actually commissioned w facebook! for Trinity College Choir’s CD of Owain it. That happens to someone of his Park’s music, which is terrifi c—it creates a generation, but not to somebody of sound world opening up before your ears, my generation whose track record is in but don’t expect it to be replicated by your another fi eld altogether. local church choir anytime soon. Then again, if Cameron Mackintosh, I don’t write primarily for the apex of the great theatrical man who backed the choral spectrum. Rather, I’ve been many a musical, were to say “How about 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA t writing mostly for choirs somewhere in a big Broadway musical?” I wouldn’t say 800 625-7473 [email protected] the middle. One has to be mindful of no if I had the right idea and the right col- the liturgical context. The surprise to laborator to do the book and lyrics. Those

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 23 Pipe organ restoration

Minnesota’s Northrop organ lives again!

Console, Aeolian-Skinner Opus 892, Northrop Auditorium, University of Minnesota, Aeolian-Skinner Opus 892 restored Minneapolis, Minnesota (photo credit: Patrick O’Leary) by Foley-Baker

By Michael Barone

hen the University of Minnesota Twin Cities organists and organ lovers Winstalled a pipe organ in Northrop banded together to ensure that the resto- Auditorium, its 4,800-seat convocation ration of the organ was on the to-do list. In hall, a wise choice was made; they got 2011, university funds paid for the careful the best, an Aeolian-Skinner instrument removal and packing of the entire instru- (Opus 892) of four manuals, 6,982 pipes, ment by the Foley-Baker company, and and 108 ranks. Built in sections between F-B personnel also worked with the reno- 1932 and 1935, this was one of the larg- vation architect and acoustician to ensure est instruments the company had built to that the best possible situation would exist that time, and it remains a remarkable at such time as the pipe organ was rein- document of a transitional period in the stalled. Unfortunately, the overall project Aeolian-Skinner fi rm’s evolution. The budget did not include any funds for the organ retains much of the Ernest M. actual organ restoration, and when the Skinner aesthetic, but some scaling and renewed Northrop reopened in 2014 as voicing details show the new infl uence of a multi-use entertainment and academic G. Donald Harrison. venue, Opus 892 remained in storage. Left to right: William Chouinard, Helen Jensen, Melanie Ohnstad, Michael Barone, Charles Courboin played the organ Fortuitously, a specifi c $2.5-million Dean Billmeyer, Laura Edman (absent: Jacob Benda) in Mahler’s Resurrection Symphony bequest from the estate of university for Eugene Ormandy’s landmark 1932 alumnus Dr. Roger E. Anderson pro- had been only vague references now are the Aeolian-Skinner through its paces. recording with the Minneapolis Sym- vided the major funding for the $3.2-mil- heard with clarity and precision, allowing A two-hour afternoon “open console” phony, and the instrument made later lion reclamation project that took place the delicacy or incisiveness of the sound made it possible for curious and brave cameo appearances with the orchestra over the past three years. All original chest to be fully appreciated, a very different organ fanciers to test play Opus 892. under the baton of Antal Dorati in components and pipes were shipped to experience. Anyone who remembers On December 4 at 7:30 p.m., Nathan Respighi’s Church Windows and Roman the Foley-Baker workshop in Tolland, Northrop’s organ from before will be sur- Laube plays the fi rst solo concert on Festivals, plus a few other selections. Connecticut, to be cleaned, repaired, prised and delighted by the impression the organ. The program includes works By the 1970s, changes in fashion and releathered, refi nished, and ultimately made now, because you surely can hear it by Liszt, Wagner, and Reubke, along lack of regular maintenance had left the reinstalled. Though the original wooden from a much better perspective than was with the premiere of two Preludes and organ unloved and in general disrepair. A console shell remains, all keyboards and ever before possible. True, the organist Fugues by Henry Martin, commis- comment onstage from Virgil Fox, present- controls are new, with stops confi gured still has the least satisfactory seat, but sioned by Pipedreams. For informa- ing a Northrop concert with his electronic in a manner identical to the originals. even that situation is much improved. tion: www.northrop.umn.edu/events/ touring organ, spurred on a university Installation in sections, according to The offi cial re-inauguration of Opus nathan-laube-concert. music student, Gordon Schultz, to attempt the building’s schedule, took nearly two 892 took place over the weekend of Octo- Thanks and congratulations are due to some rehabilitative work. Schultz, who was years. The process was completed in the ber 12–13 with two evening concerts by Robert Bruininks, former University of apprenticed to the local M. P. Möller rep- late spring of 2018, which allowed ample the Minnesota Orchestra, who called the Minnesota president who spearheaded resentative (and later took over that busi- time for troubleshooting. old Northrop Auditorium home between the search for organ project funding, and ness), continued to minister to Opus 892 Formerly the organ sound wafted 1929 and 1974. Osmo Vänskä conducted to Michael Foley, Philip Carpenter, over the ensuing years, allowing the organ down from the overhead chamber the world-premiere of a new score by Michael McKeever, and Milovan to be heard in regular and memorable, if through an ornate plaster grill in the John Harbison, What Do We Make of Popovic of the Foley-Baker fi rm for not frequent, concerts during the next sev- auditorium ceiling. Depending on the Bach?, with Paul Jacobs as soloist, along attention to detail through the entire eral decades. Some artists who performed stops used, the effect could be either a with the seemingly obligatory Organ prolonged process. With their help, and at Northrop included Christoph Albrecht, delicate wisp of tone or like thunder and Symphony (Opus 78) by Saint-Saëns, that of many others, Opus 892 has suc- Douglas Butler, Thomas Murray, Keith lightning from above. Now, the effect for which the organ part was played by cessfully reinstated itself as one of three Chapman, and former University organist is comparable to the restorations of university professor Dean Billmeyer. 108-rank instruments that share the title Edward Berryman. the Sistine Chapel ceiling or Chartres Harbison’s brainy and intriguing new of second-largest-Minnesota-pipe organ. When the university decided to give Cathedral; the transformation is consid- piece provided ample display of instru- Welcome home! Q Northrop a major $88.2-million overhaul, erable. Suddenly details that previously ment and soloist, with plentiful dialogue and a well-integrated organ part within Aeolian-Skinner Opus 892 Confident pedal work the orchestral texture. It met with a very 1932–1935 friendly response, but Jacob’s solo encore, comes with practice and a dynamic and expressive interpretation GREAT 16′ Diapason the right shoes of Bach’s A-Minor Fugue (BWV 543ii), 8′ First Diapason brought the crowd to its feet. 8′ Second Diapason To further explore the newly available 8′ Third Diapason ′ on the tonal riches of Opus 892, a program enti- 8Flute Harmonique 8′ Gedeckt * tled “An Intimate Introduction to the 8′ Viola * pedals Northrop Organ” was arranged for Satur- 8′ Gemshorn 1 day morning. Introduced by Pipedreams 5⁄3′ Quint ′ host Michael Barone, several members 4Octave x Men’s & Women’s Organ Shoes 4′ Second Octave of the Twin Cities Chapter of the Ameri- 4′ Flute * with suede soles and heels 1 can Guild of Organists presented varied 3⁄5′ Tenth 2 and colorful repertoire by John Cook, 2⁄3′ Twelfth x Whole & Half ′ Harold Darke, Edvard Grieg, Clar- 2Fifteenth Sizes in 3 Widths VII Plein Jeu * ence Mader, Robert Prizeman, Edward IV Harmonics x Quick & Easy Elgar, Henri Dallier, George Fairclough, 16′ Contra Tromba * Camille Saint-Saëns, and Leo Sowerby. 8′ Tromba * Returns ′ Between 400 and 500 people came out 4Octave Tromba * Chimes (Solo) OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET to hear Laura Edman, Jacob Benda, Harp (Ch) 44 Montague City Rd Email: [email protected] Helen Jensen, Bill Chouinard, Mela- Celesta (Ch) Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes nie Ohnstad, and Dean Billmeyer put * Enclosed

24 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM An Intimate Introduction to the Northrop Organ, October 13 Fanfare John Cook (1918–1984) Laura Edman, organist Michael Barone chats with Dean Billmeyer and explores the organ’s resources Fantasy in E, op. 39 Harold Darke (1888–1976) Dean Billmeyer, organist Morgenstimmung, fr. Peer Gynt Edvard Grieg (1843–1907) Laura Edman, organist Bell Serenade Clarence Mader (1919–1971) Aft ernoon of a Toad Clarence Mader A portion of the reconditioned Swell with fl ue pipes installed (photo credit: Patrick O’Leary) Jacob Benda, organist Solo to Choir 18 General pistons Solo to Swell 10 Great pistons Chanson de nuit Edward Elgar (1857–1934) Great to Solo 10 Swell pistons Song of Praise Robert Prizeman (b. 1952) Swell 16 10 Choir pistons Swell 4 8 Solo pistons Helen Jensen, organist Swell to Great 16 6 Pedal pistons Swell to Great 4 Eventide George Fairclough(1869–1948) Swell to Choir 16 300 memory levels per user; multiple users Electa ut sol, fr. Cinq Invocations Henri Dallier (1849–1934) Swell to Choir 4 possible Choir 16 Sequencer Bill Chouinard, organist Choir 4 Transposer Choir to Great 16 Fantasy in D-fl at, op. 101 Camille Saint-Saëns (1835–1921) Choir to Great 4 Michael Barone has worked at Minne- Melanie Ohnstad, organist Solo 16 sota Public Radio since 1968, for the fi rst Solo 4 Solo to Great 16 twenty-fi ve years as music director and Comes Autumn Time Leo Sowerby (1895–1968) Solo to Great 4 subsequently as host-producer of several Dean Billmeyer, organist nationally distributed programs includ- Manual Transfer *** ing The Saint Paul Chamber Orchestra, Pedal Divide *** A Festival of Nine Lessons and Carols, All Pistons Next *** ′ and Pipedreams. He has received signifi - SWELL (enclosed) 4Octave Gamba All Swells to Swell cant awards from the American Guild of 16′ Bourdon III Cornet de Viole 16′ Gemshorn 16′ Corno di Bassetto *** Additions by Foley-Baker 2016 Organists, Organ Historical Society, and 8′ Geigen Diapason 8′ English Horn ASCAP, and has been inducted into the 8′ Hohlfl ute 8′ French Horn Solid State Combinations by Classic Organ Minnesota Music Hall of Fame. Learn 8′ Rohrfl ute 8′ Tuba Mirabilis Works more at www.pipedreams.org. 8′ Flauto Dolce 4′ Tuba Clarion 8′ Flute Celeste Tremolo 8′ Salicional Harp (Ch) 8′ Voix Celeste Celesta (Ch) 8′ Echo Gamba Chimes 8′ Echo Celeste 4′ Octave Geigen PEDAL 4′ Flute 32′ Double Open Diapason 4′ Violina 32′ Sub Bourdon ** 2 ′ 2⁄3′ Twelfth 16 Diapason 2′ Fifteenth 16′ Metal Diapason V Dolce Cornet 16′ Diapason (Gt) V Chorus Mixture 16′ Contra Basse 16′ Posaune 16′ Contra Gamba (Solo) 8′ French Trumpet 16′ Contra Viole (Ch) 8′ Cornopean 16′ Bourdon 8′ Oboe 16′ Gemshorn (Sw) 8′ Vox Humana 16′ Echo Lieblich (Sw) 4′ Clarion 8′ Octave Tremolo 8′ Cello Harp (Ch) 8′ Viole (Ch) Celesta (Ch) 8′ Gedeckt 8′ Still Gedeckt (Sw) 1 CHOIR (enclosed) 5⁄3′ Twelfth 16′ Contra Viole 4′ Super Octave 8′ Diapason 4′ Flute 8′ Concert Flute V Harmonics 8′ Cor de Nuit 32′ Bombarde 8′ Dulcet II 32′ Contra Fagotto (Ch) 8′ Dulciana 16′ Trombone 8′ Unda Maris 16′ Posaune (Sw) 4′ Flute 16′ Fagotto (Ch) 4′ Gemshorn 8′ Tromba 2 2⁄3′ Nazard 4′ Clarion 2′ Piccolo Chimes (Solo) 3 1⁄5′ Tierce 1 1⁄3′ Larigot ** Originally a resultant below GGGG; 7 new III Dulciana Mixture pipes added 2016 by Foley-Baker to complete 16′ Fagotto the register. 8′ Trumpet 8′ Orchestral Oboe Couplers 8′ Clarinet Swell to Pedal Tremolo Great to Pedal Harp Choir to Pedal Celesta Solo to Pedal Swell to Pedal 4 SOLO (enclosed) Choir to Pedal 4 16′ Contra Gamba Solo to Pedal 4 8′ Flauto Mirabilis Pedal to Great 8 *** 8′ Gamba Swell to Great 8′ Gamba Celeste Choir to Great 8′ Aetherial Celeste II Solo to Great 4′ Orchestral Flute Swell to Choir

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 25 Cover feature

Emery Brothers, Installation Allentown, Pennsylvania Electricity accounted for many Stoneleigh, changes in traditional organbuilding, Villanova, Pennsylvania from pipe chests and action, to stop In the Fall of 2017, the Organ unifi cation and borrowing, console Historical Society moved into its new design, and stop management. With headquarters, Stoneleigh, in Villanova, electricity, the organ could be placed in Pennsylvania, the former home of the multiple chambers in the front and sides John and Chara Haas family. At the time, of churches, moved to the opposite end an Aeolian-Skinner residence organ of the building as an Antiphonal division, became available and plans were made and put in a remote location as an Echo. to install it in the former living room Electricity benefi ted the installation of of Stoneleigh. The organ dates from a organs in private homes in the same way, crucial period in American organbuild- allowing divisions to be placed at consid- ing when, following the Great Depres- erable distance from one another—the sion, organ business declined more than main organ in the basement, a second sixty percent, and it was imperative for division over the entrance hall, the two of the country’s prestigious organ Chimes in a second-fl oor closet, and an companies, Aeolian and Skinner, to Echo in the attic. The “tone chute” was join forces and form a new company, devised so that the pipe chambers could Aeolian-Skinner. be located at a distance and the tone This instrument, which began as channeled through the house, some- Aeolian Opus 1790 (the company’s last times up a shaft, through a wall, across residence organ), was assigned a Skinner the ceiling, and down into a room. opus number—878—and has an Aeo- With the private home came a new set lian-Skinner nameplate. It is not only a of organ design requirements and chal- remarkable example of a residence organ lenges, and the Nichols organ embodied but has survived in as perfect condition as those features for which the Aeolian when it left the factory three-quarters of Company was preeminent in the resi- a century ago. It is now in an ideal setting dence organ fi eld:1 The living room at Stoneleigh, Villanova, Pennsylvania in which to introduce new generations to • it can be adapted to any house, large the organ as well as to hear the hundreds or small; of recordings made by the world’s great • it is unobtrusive, often occupying organists in the early twentieth century. space not otherwise of use; The installation was accomplished by • it is built especially for the place it is Emery Brothers of Allentown, Pennsyl- to occupy; vania, under the supervision of Adam F. • it may easily be made an architec- Dieffenbach, a descendent of four gen- tural feature, or on the other hand may erations of Dieffenbach organbuilders, be entirely concealed from view; active in Berks County, Pennsylvania. • it is refi ned in quality of tone and of § superior workmanship. The organ at Pleasantdale Farm was In October 1931, Aeolian sold its installed in the basement with no egress last residence organ. The “patron,” as whatsoever into the room in which it the company referred to its clients, was was to be heard. There were two organ Charles Walter Nichols (1875–1963), an chambers separated by a two-story shaft, American chemical engineer who, with roughly eight-feet square. The 26-foot his father, William H. Nichols, organized high tone shaft ran to the ceiling of the company mergers that eventually formed vestibule, and at its right side was a Allied Chemical & Dye Corporation, a 5½-foot hole in the living room wall cov- precursor of Allied Signal. Charles Nich- ered by an elaborately carved wooden ols, a vice president and general manager, grille work through which the sound of acquired forty acres in West Orange, New the organ entered the room. The Great The basement organ chamber, prior to excavation Jersey, that he called Pleasantdale Farm, and Solo chambers were in a basement and built a twelve-bedroom Norman- room to the right of the tone chute, and possible for the laymen who would be distinctive feature: horizontally arranged style summer house there. the Swell in a room at the left. The sound operating the player mechanism, identi- domino-shaped rocking tablets set in As his house was under construction, of the organ then rose to the house above fi cation was reduced to tone quality. The oblique vertical rows on either side of Nichols signed a contract on October 13, and fi ltered into the living room. Frank pitch was eliminated and replaced with the keyboards. Aeolian changed their 1931, for a 32-rank Aeolian organ, Opus Taft was aware of the potential problem an adjective: a 16′ Bourdon became a consoles in early 1924 to vertical tilt- 1790. According to the cost sheet, the with hearing the organ when he tele- Deep Flute; if it was loud, Deep Flute ing tablets set in vertical jambs at a actual price was $25,474, but Aeolian sold grammed the Aeolian-Skinner offi ce that F; if soft, Deep Flute P. A 4′ Flute was 45-degree angle.3 it for $24,775—a $700 discount—“to close “Great must be voiced louder than Swell a High Flute, a 2′ Fifteenth, an Acute Since the Nichols organ was equipped the deal.” Frank Taft, Aeolian’s art direc- due to its location.”2 Diapason. Assuming a violinist’s vibrato with an Aeolian Duo-Art player, the tor and general manager who had been would be more familiar than the church stoplist contained most of the ranks with the company since 1901, handled the The organ organist’s Vox Celeste, Aeolian called its necessary for the playing of automatic negotiations. Taft held a seat on Aeolian’s The stoplist of this, and most other celeste rank a Vibrato String F or P. rolls that reproduced the playing of live board of directors, would have known of Aeolian organs, was written in the Aeolian’s fi rst organ consoles had tra- organists and controlled the registration the impending merger of his company “simplifi ed” nomenclature adopted in ditional drawknobs arranged in horizon- and expression as well as all the notes. with the Boston fi rm, and would have 1907 when the company began printing tal jambs at either side of the keyboards. Thus, the Trumpet and Clarinet were on advised Charles Nichols that his organ registration on its player rolls. To make In 1905, stop control was changed to the Great, while the Swell had a second would be installed by the new company. the names of stops as straightforward as what has become the company’s most Trumpet (Cornopean), Oboe, and Vox

Aeolian-Skinner Opus 878/Emery Brothers (2017)

GREAT (II, enclosed) SWELL (III, enclosed) CHOIR (I, duplexed from Gt) SOLO (fl oating, enclosed) 8′ First Diapason 73 16′ Flute (ext 8′) 12 8′ Diapason (Second) 8′ Flute F 73 8′ Second Diapason 73 8′ Diapason 73 8′ Flute F 8′ String F 73 8′ Flute F 73 8′ Spanish Flute 73 8′ Flute P 8′ String F Vibrato 73 8′ Flute P 73 8′ String F 73 8′ String F 8′ French Horn 73 8′ String F 73 8′ String F Vibrato 73 8′ String P 8′ Tuba 73 8′ String P 73 8′ String P 73 4′ Flute Solo to Choir 4′ Octave 73 8′ String P Vibrato (TC) 61 2′ Piccolo Solo to Great 4′ Flute 73 4′ Flute 73 8′ Trumpet Tremolo 2′ Piccolo 61 2′ Flageolet (fr. 4′) 8′ Clarinet 8′ Trumpet 73 Mixture V 305 Chimes ECHO (III, enclosed) 8′ Clarinet 73 8′ Cornopean 73 8′ Harp (TC) 8′ Diapason 73 Chimes 8′ Oboe 73 4′ Celesta 8′ String 73 8′ Harp (TC, 61 bars) 8′ Vox Humana 73 Choir Unison Release 8′ Flute 73 4′ Celesta (ext Harp) Swell Unison Release Choir 4 8′ Vox Humana 73 Great Unison Release Swell 4 Choir 16 Tremolo Great 4 Swell 16 Tremolo Chimes (20 tubes) Great 16 Tremolo Tremolo

26 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM Great/Choir division pipework, seen through windows built into the organ enclosure

Steve Emery tuning in the Swell at Stoneleigh

fi rst two octaves of the wooden Pedal 16′ The organ received regular main- Bourdon were Aeolian and notes 25 to tenance six times a year, every other 44 were Skinner.7 Not unusual, two ranks month, until July 30, 1960, when Charles of pipes intended for other organs ended Nichols received a letter giving him up in the Nichols instrument, in particu- thirty days’ notice that Aeolian-Skinner’s lar the Solo Gamba Celeste and Pedal New York offi ce was discontinuing ser- 16′ Violone, both of which came from vice. “Mr. Martin Eisel of our New York Opus 1649, owned by George Douglas staff has retired, and suffi ciently-trained Clews of South Orange, New Jersey.8 personnel simply is not available to Surprisingly, the Clarinet is not the usual handle this work.”10 free reed, as specifi ed in the contract, After Charles W. Nichols’s death but a regular beating-reed rank, and the on April 26, 1963, Pleasantdale Farm 1 customary ⁄4-length Aeolian Oboe is, became the property of Allied Signal, Swell division pipework, including full-length Skinner Oboe instead, a full-length Skinner Oboe. which used it as a corporate train- The organ was installed in the house ing retreat. In 1994, it was no longer Humana. The rolls did not specify either been changed to a Flauto Dolce and a at Pleasantdale Farm in late summer of required, and the company wanted to a 2′ or a mixture on the Swell (stops pres- tenor C Flute Celeste—the only celeste 1932. It immediately became apparent sell it to a developer. It being the last ent on this organ), but they did call for a rank that does not extend full compass. that the Great division was too soft and gentleman’s farm in Essex County, the three-rank Echo division, and a 16′ Bas- This change is not refl ected in the stop “ineffective.” In January 1933, G. Don- newly formed West Orange Historic soon in the Pedal (the Echo was added tablets, which still read Vibrato String P ald Harrison ordered the wind pressure Preservation Commission tried to fi ve years later, and a 32′ Resultant was and String PP. raised one inch to seven inches, four have the property designated a historic specifi ed in place of a Bassoon).4 A The fi ve-rank Swell mixture is based ranks replaced, and the Great Trumpet landmark, but Allied Signal assembled luxurious fi ve-rank Solo division was also on 4′ pitch, and the pipes are string scale and Clarinet revoiced on the new wind enough “authorities” to testify to the provided. Aeolian economized only with with narrow mouths. This differs from pressure and made “as loud as possible.”9 estate’s historic insignifi cance. At a town the 97-pipe unit fl ute on the Swell, the Aeolian’s standard soft string mixture, The First Diapason was made the Sec- council hearing, Newark architect Harry 8′ extension of which, the Spanish Flute, originally called a Serafi no, which was a ond, with a new Diapason from tenor C B. Mahler described the house as “neo- 2 was more frequently encountered as a Dolce Cornet with an 8′ (that began at (scale 40, ⁄9 mouth), and the 4′ Octave historical eclectic with Norman over- Flute Español.5 By July 1932, when the tenor C) and 4′ added, and except for was replaced with a new one (scale 56, tones,” that the architect was infl uenced 2 chests were laid out, the two soft Swell the Quintadena basses, were composed ⁄9 mouth). It was planned to change the by the owner’s wishes, and that the main strings, Salicional and Vox Celeste, had of Aeoline or Viol d’Orchestre pipes.6 Its stop wires of the Flute F and String F to house lacked an overall harmony of de- composition is: make them the Flute and String P and sign. “It’s a mishmash or conglomeration C–A 8-15-19-22-24 replace them with a new Flute Harmo- of styles, forms, and materials which A#–c3 8-12-15-17-19 nique and string rank, but these changes include Roman, Norman and Gothic, Stoneleigh, Villanova, Pennsylvania c#3–c4 8-10-12-15-15 were never made. which are put together like pieces of a After the 1932 volume increase, noth- fruit salad and which the architect lost PEDAL 11 32′ Resultant From the beginning, Charles Nich- ing further was done until fi ve years later control of.” Failing landmark status, 16′ Diapason (ext Gt) 12 ols’s organ was something of a hybrid, when, on July 7, 1937, probably at the the property was sold to a restaurateur, 16′ Flute F 44 apparently assembled from whatever suggestion of organist Archer Gibson who opened it as Pleasantdale Château 16′ Flute P (Sw) was available as Aeolian-Skinner com- who played frequently for the family, and Conference Resort. 16′ Violone 32 8′ Flute F (fr. 16′) pleted the unfi nished installations of Nichols signed a contract for a four-rank In the thirty-fi ve years since Aeolian- 8′ Flute P (Sw) the two companies. The console and Echo division: Diapason, Flute, String, Skinner discontinued maintenance ser- bench, “of Aeolian standard design,” and Vox Humana, plus a Tremolo. This vice of the organ, the chambers had not Aeolian-Skinner Organ Co., Inc. Opus may have already been built. The chests was installed in a hall closet next to been touched and everything remained 878 (1931). 3 manuals, 49 stops, 37 ranks. Originally built for the C. W. Nichols resi- are Skinner, but the reservoirs are Aeo- the tone chute. The three chests were in immaculate condition. Residence dence in West Orange, New Jersey. lian. The swell shades are Skinner, but stacked in order for the four ranks to fi t organs never had much success after their motors are Aeolian. The Harp and in the cramped space, and the sound was the original owner died or the house Chimes are both Aeolian. Most of the conveyed through a two-foot by two-foot was sold—if not demolished. Not only pipework is Skinner, but we know from tone chute that extended some thirty were residence organs not maintained shop notes that the 97-pipe Swell 16′ feet inside the wall before exiting in the after the house changed hands, but unit fl ute was all Aeolian and that the middle of the living room. the console was often removed and

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 27 Cover feature Organ Projects

Echo chamber interior The staircase at Stoneleigh, under which is the tonal egress for the Echo destroyed, and the pipe chambers division used as storage space, subject to water Gregory Gyllsdorff residence, Rockford, Illinois damage, and derelict. The only change is currently being restored by Kegg Pipe at Pleasantdale was that console had Organ Builders of Hartville, Ohio. the next several years been removed from the living room but The organ is heard in the 24-foot by Fabry, Inc., added stored in the basement. 36-foot living room through 4-foot by a swell box and fi ve Curt Mangel, the man responsible for 6-foot bronze grilles in the fl oor at either additional ranks, the restoration of the great Wanamaker side of the fi replace, devised by Curt bringing this instru- organ in Philadelphia, bought the Mangel. The console sits in a bay window ment to a total of 7½ Pleasantdale organ in 1995, removed at the right of the fi replace. Mangel also ranks, a set of chimes, it, and restored the console. He later arranged for the clever installation of the and a Zimbelstern sold it to Fred Cramer of Pittsburgh, Echo organ under the grand staircase in handbell unit. Fabry, who partially restored the organ. When the hallways adjacent to the living room, Inc., also converted Cramer decided to retire, he offered to which speaks through a grille in the side the DC relay system sell it back to Mangel, at which point, of the stairs. to a Peterson diode negotiations were underway for the matrix system and OHS to occupy Stoneleigh, and Fred Learn more about the installation added a Peterson Hass seized the opportunity to have of Aeolian-Skinner Opus 878 at www. Single Board Duo-Set Aeolian-Skinner Opus 878 installed in emerybrothers.com. combination action. the family’s former residence. In 2017, Fabry, The author wishes to thank those who Inc., re-engineered Stoneleigh assisted in the preparation of this article: the instrument to fi t The premise of Stephen King’s novel Christopher Kehoe, project and site man- into Gregory Gylls- Pet Sematary is “they never come back ager for the Stoneleigh organ installation; dorff’s music room, the same” and this applies to Opus 878, Curt Mangel, designer of the installation; and to save space, but in a positive way. In its original place- and Bynum Petty, OHS archivist. installed the blower, ment, it is doubtful if twenty percent of Console wind supply reservoir, the organ could be heard—and that at Rollin Smith is the Organ Historical and the chamber’s the remove of an entire fl oor level and Society’s director of publications and Fabry Inc. Pipe Organ Builders, solid state relay on the front wall of the a room—the tone had to make two right editor of The Tracker. He was awarded Antioch, Illinois garage. This isolated the equipment and angles and rise 26 feet before exiting a the Nicholas Bessaraboff Prize by the Gregory Gyllsdorff residence, allowed for an air intake from the home hole in the wall. In the case of the Echo American Musical Instrument Society Rockford, Illinois for tempered air. Organ, its sound was imagined traveling for his book Pipe Organs of the Rich and The 2½ rank all-exposed instrument On August 28, 2017, Gyllsdorff enter- through a 30-foot pipe in the wall before Famous, published by the OHS Press in was built in 1970 by M. P. Möller of Hag- tained the Rockford Chapter of the being heard. The situation was in no way 2014. The second edition of his The Aeo- erstown, Maryland, as their Opus 10708 American Guild of Organists at his home optimum for the transference of musical lian Pipe Organ and Its Music has just and installed at the DeKoven Episcopal where a blessing was given for the home sound. Now, at Stoneleigh, Opus 878 been published. Foundation of Racine, Wisconsin. When and the pipe organ. is ideally situated in chambers directly the Episcopal Foundation closed its under the room in which it is heard. Notes doors, the instrument was sold. During Photo credit: David Fabry, Jr. The installation was not without diffi cul- 1. Advertisement for the Aeolian-Pipe-Or- 1 gan, Architecture, vol. 27, no. 1 (January 15, ties, however, and for the 8 ⁄2-foot-high 1913): 22. basement to accommodate the organ 2. Telegram from Frank Taft to A. Perry chamber it had to be excavated to a depth Martin, July 14, 1932. M. P. Möller/Fabry, Inc. 1 3. In late 1923, Aeolian had extended its of 14 ⁄2 feet. The underlying stone and Gregory Gyllsdorff residence, Rockford, Illinois pedal compass from 30 notes to what was, by granite had to be jackhammered and then, the industry standard, 32 notes. then the walls of the house reinforced. 4. In the extant jack box, the 16′ Violone GREAT PEDAL and Diapason were wired to come on together 8′ Principal (unenclosed, 61 pipes) 32′ Resultant (Gt 8′ Rohrfl ute) Each organ chamber was elegantly and ′ ′ spaciously laid out so that personnel can whenever the Bassoon was called for in the 8 Rohrfl ute (enclosed, 97 pipes) 16 Bourdon (ext Gt 8’ Rohrfl ute) Aeolian Duo-Art rolls. The Violone came on 4′ Principal (enclosed, 73 pipes) 8′ Principal (Gt) move about comfortably and all pipes alone when the Pedal String was called for. 4′ Rohrfl ute (ext 8′) 8′ Rohrfl ute (Gt) 2 are within reach for tuning. Every piece Information supplied by Chris Kehoe. 2⁄3′ Twelfth (ext, 4′ Principal) 4′ Choral Bass (Gt 8′ Principal) of wood was refi nished and shellacked, 5. Its fi rst appearance of the Flute Español 2′ Rohrfl ute (ext 8′) 32′ Contra Fagotto (wired fr 16′) was in Opus 1598, for William K. Vanderbilt, 8′ Schalmei (enclosed, 61 pipes) 16′ Fagotto (32 pipes) pipes are as shiny as when new. Since its Jr., at Eagle Rock, the contract of which was 4′ Schalmei (fr 8′, top octave repeats) 8′ Schalmei (Gt) acquisition, Emery Brothers, as well as signed on January 15, 1926. Chimes (21 tubes) 4′ Schalmei (Gt) other subcontractors, did considerable 6. Thanks to OHS archivist Bynum Petty Zimbelstern (5 handbell unit) Great to Pedal 8 restoration work to several of the organ’s for the analysis and composition of the Swell Swell to Great Swell to Pedal 8 mixture. Pedal to Great MIDI to Pedal components when the OHS acquired the 7. Shop notes for Opus 878, July 28, 1932. MIDI to Great organ. In the original installation, the metal 8. Ibid. George Douglas Clews (1886– Accessories Pedal 16′ Diapason stood upright in the 1940) was treasurer of the Atlantic and Pacifi c SWELL 12 General pistons (thumb and toe) Swell chamber, but at Stoneleigh the bot- Tea Co. and grandson of George Huntington 8′ Principal (Gt) General Cancel (thumb) Hartford, founder of the grocery chain. “He 8′ Rohrfl ute (Gt) Set (thumb) tom octave had to be mitered, which was could play virtually any musical instrument, 8′ Erzahler (unenclosed, 61 pipes) Swell to Pedal reversible (thumb and toe) done by A. R. Schopp’s Sons and included but the organ in his home received his par- 8′ Erzahler Celeste (unenclosed, TC, Great to Pedal reversible (thumb and toe) reinforcing springs to reduce pressure on ticular attention.” “Kin of A. and P. Founder 49 pipes) Swell to Great reversible (thumb) the joints. Schopp also mitered the wooden Dies,” Jersey Journal (December 6, 1940): 10. 4′ Principal (Gt 4′) Pedal to Great reversible (thumb) ′ 9. Order from G. Donald Harrison, as- 4′ Rohrfl ute (Gt) 32′ Resultant reversible (toe) basses of the 16 Violone, which are now 2 sistant general manager, to A. Perry Martin, 2⁄3′ Nazard 32′ Fagotto reversible (toe) mounted horizontally. January 25, 1933. 2′ Principal (ext Gt 4′) Zimbelstern reversible (thumb and toe) 1 A large library of Aeolian Duo-Art 10. Letter of July 30, 1963, from treasurer of 1⁄3′ Larigot (enclosed, TG, 42 pipes) Tutti reversible (thumb and toe) rolls was also acquired from Curt Man- Aeolian-Skinner to C. W. Nichols. 8′ Schalmei (Gt) Balanced Swell shoe 11. Carlotta Gulvas Swarden, “West Orange 4′ Schalmei (Gt) Balanced Crescendo shoe gel, and the Duo-Art player has been Journal: Town and Company at Odds Over Tremolo (entire organ) Indicator Lights: Power, Crescendo, Tutti masterfully restored by Chris Kehoe. an Estate,” New York Times (November 20, MIDI to Swell Chime Volume Control The Concertola, the remote roll changer, 1994): 2.

28 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 20 DECEMBER Park Ridge Presbyterian Church This calendar runs from the 15th of the month Christmas concert; St. Patrick’s Cathe- Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline dral, New York, NY 7 pm Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ TENET, Handel, Messiah; St. Vincent Fer- Bloomingdale, IL recitals unless otherwise indicated and are grouped rer Catholic Church, New York, NY 7:30 pm within each date north-south and east-west. •=AGO Richard Benedum; Christ Episcopal, chapter event, • •=RCCO centre event, +=new organ Bradenton, FL 12:15 pm dedication, ++= OHS event. Christmas Lessons & Carols; Cathedral Christopher Babcock Michael J. Batcho Information cannot be accepted unless it Church of the Advent, Birmingham, AL specifi es artist name, date, location, and hour in 5:30 pm Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, order; please do not send duplicate listings. 21 DECEMBER Hyannis Port CATHEDRAL OF ST. JOHN THE DIAPASON regrets that it cannot assume Quire Cleveland, Charpentier, Midnight MILWAUKEE responsibility for the accuracy of calendar entries. Mass; Holy Trinity Lutheran, Akron, OH 7:30 pm Britten, A Ceremony of Carols; Christ UNITED STATES Church Cathedral, Lexington, KY 12 noon East of the Mississippi John Sherer; Fourth Presbyterian, Chi- Dean W. Billmeyer cago, IL 12:10 pm 15 DECEMBER University of Minnesota Christmas brass & organ concert; 22 DECEMBER Minneapolis 55455 • [email protected] Church of the Transfi guration, Orleans, MA Daniel Hyde, Messiaen, La Nativité du 7:30 pm Seigneur; St. Thomas Church Fifth Av- Festival of Carols; First Congregational, enue, New York, NY 3 pm Cheshire, CT 5 pm The King’s Singers; Washington National Georgia Boy Choir; Peachtree Road Cathedral, Washington, DC 7:30 pm GAVIN BLACK Byron L. Blackmore Lessons & Carols; Christ Church Cathe- United Methodist, Atlanta, GA 7 pm Princeton Early Keyboard Center Christmas concert; Trinity-by-the-Cove dral, Cincinnati, OH 7 pm Crown of Life Lutheran Church Episcopal, Naples, FL 5 pm Quire Cleveland, Charpentier, Midnight 732/599-0392 Sun City West, Arizona Mass; Lakewood Congregational, Lake- Lessons & Carols; St. John Cantius www.pekc.org 623/214-4903 Catholic Church, Chicago, IL 7 pm wood, OH 8 pm Lessons & Carols; Cathedral Church of 16 DECEMBER St. Paul, Detroit, MI 5 pm Diana Chou; Center Church on the 23 DECEMBER Green, New Haven, CT 5 pm THOMAS BROWN Lessons & Carols; St. John’s Episcopal, Carson Cooman Christmas concert; St. Ignatius Loyola, UNIVERSITY Hagerstown, MD 10:15 am PRESBYTERIAN CHURCH Composer and Concert Organist New York, NY 3 pm Christmas Lessons & Carols; Washington Lessons & Carols; Cathedral of the In- CHAPEL HILL, NORTH CAROLINA Harvard University National Cathedral, Washington, DC 6 pm www.carsoncooman.com carnation, Garden City, NY 4 pm Lessons & Carols; Cathedral of St. Philip, ThomasBrownMusic.com Carol concert; Madison Avenue Presby- Atlanta, GA 4 pm terian, New York, NY 4 pm Quire Cleveland, Charpentier, Midnight Britten, A Ceremony of Carols; Holy Trin- Mass; Our Lady of Peace Catholic Church, ity Lutheran, New York, NY 5 pm Cleveland, OH 4 pm Your professional card ELBERT ISSELHORST Anna Lapwood; St. Thomas Church Lessons & Carols; Christ Church Cathe- D D could appear here! Fifth Avenue, New York, NY 5:15 pm dral, Cincinnati, OH 4:30 pm Pittsburgh Camerata; Shadyside Presby- Britten, A Ceremony of Carols; Fourth Professor Emeritus Contact: [email protected] terian, Pittsburgh, PA 3 pm Presbyterian, Chicago, IL 9:30 & 11 am University of Iowa–Iowa City or 608/634-6253 Vox Amadeus, Handel, Messiah; St. Katharine of Siena Catholic Church, 24 DECEMBER Wayne, PA 4 pm Christmas Lessons & Carols; Grace Lessons & Carols; Cathedral of Mary, Church, New York, NY 8 pm STEVEN EGLER Our Queen, Baltimore, MD 4 pm Christmas Lessons & Carols; Washington JOHN FENSTERMAKER Central Michigan University Joseph Fala; Duke University Chapel, National Cathedral, Washington, DC 6 pm Durham, NC 5:15 pm Lessons & Carols; Rockefeller Memorial School of Music TRINITY-BY-THE-COVE Richard Spotts; Cathedral of St. Philip, Chapel, University of Chicago, Chicago, IL Mt. Pleasant, MI 48859 Atlanta, GA 3:15; Choral Evensong 4 pm 4 pm [email protected] NAPLES, FLORIDA Carols by Candlelight; Peachtree Road Saint-Saëns, Christmas Oratorio; St. United Methodist, Atlanta, GA 5:30 pm Giles Episcopal, Northbrook, IL 10:30 pm Christmas concert; Trinity-by-the-Cove Norberto 25 DECEMBER Episcopal, Naples, FL 4 pm George Fergus; Washington National Lessons & Carols; Calvary Episcopal, Cathedral, Washington, DC 1:30 pm Susan Goodson Guinaldo Louisville, KY 4 pm Mozart, Coronation Mass; Church of St. Emanuel United Church of Christ His Music Lessons & Carols; Christ Church Cathe- Agnes, St. Paul, MN 12 midnight & 10 am dral, Lexington, KY 7 pm Manchester, Michigan See—Listen—Buy www.GuinaldoPublications.com Matthew Haider; Loyola University, Chi- 30 DECEMBER cago, IL 3 pm Lessons & Carols; Cathedral of St. Philip, Apollo Male Chorus; Luther Seminary, Atlanta, GA 11:15 am St. Paul, MN 3:30 pm Christmas Lessons & Carols; St. Paul’s A Professional Card in Episcopal, Delray Beach, FL 10 am STEPHEN HAMILTON 17 DECEMBER Nicholas Schmelter; Christ the Good The Diapason Sumrall High School Women’s Choir; St. Shepherd Catholic Parish (St. Helen Cam- For rates and digital specifi cations, recitalist–clinician–educator Patrick’s Cathedral, New York, NY 1:45 pm pus), Saginaw, MI 4 pm contact Jerome Butera Handel, Messiah, Oratorio Society of New www.stephenjonhamilton.com Schubert, Mass in G; Church of St. Ag- 847/391-1045; [email protected] York; Carnegie Hall, New York, NY 8 pm nes, St. Paul, MN 10 am Lessons & Carols; First Baptist, Cleveland, OH 4 pm 31 DECEMBER Concert for Peace; Cathedral of St. John 18 DECEMBER the Divine, New York, NY 7 pm David Herman James Kennerley; Merrill Auditorium, Paul Cienniwa, harpsichord, Bach, Portland, ME 7:30 pm Goldberg Variations; St. Paul’s Episcopal, Trustees Distinguished Professor Emeritus of Music and University Organist Britten, A Ceremony of Carols; Christ Delray Beach, FL 4 pm Church Cathedral, Cincinnati, OH 12:10 pm The University of Delaware Q [email protected] 1 JANUARY 19 DECEMBER Karen Beaumont; Salem Lutheran, Mil- Freeport High School Chorale; St. Pat- waukee, WI 2 pm rick’s Cathedral, New York, NY 1:45 pm Musica Sacra, Handel, Messiah; Carn- 3 JANUARY Gail Archer egie Hall, New York, NY 7:30 pm TENET; Church of St. Jean Baptiste, organist TENET, Handel, Messiah; St. Vincent Fer- New York, NY 7 pm + Nathan Laube www.gailarcher.com Lorraine Brugh, Ph.D. rer Catholic Church, New York, NY 7:30 pm ; Holy Name of Jesus Catholic Cathedral, Raleigh, NC 7 pm Candlelight Vespers; Shadyside Presby- Professor of Music David Jonies; St. Peter Catholic Cathe- Vassar College terian, Pittsburgh, PA 7 pm University Organist dral, Marquette, MI 7 pm Barnard College, Columbia University Betty Jo Couch; Advent Lutheran, Mel- [email protected] Valparaiso, Ind. bourne, FL 12 noon 4 JANUARY (212) 854-5096 Christine Kraemer; St. Luke’s Episco- TENET; Fifth Avenue Presbyterian, New valpo.edu Promotion pal, Evanston, IL 11:30 am York, NY 7 pm 219.464.5084 SOZO Media Advent Lessons & Carols; St. Giles Epis- Karen Beaumont, with cello; Grace Lu- [email protected] [email protected] copal, Northbrook, IL 4 pm theran, Milwaukee, WI 5 pm

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 5 JANUARY 20 JANUARY New York, NY Syracuse, NY 13203-2816 TENET, Blue Heron, Dark Horse Con- Renée Anne Louprette, with uilleann www.andrewhenderson.net sort; Fifth Avenue Presbyterian, New York, pipes; St. Ignatius Loyola, New York, NY (315) 471-8451 NY 7 pm 3 pm Epiphany Evensong; Emmanuel Epis- Monica Czausz; St. Vincent Ferrer Cath- copal, Chester Parish, Chestertown, MD olic Church, New York, NY 4:30 pm 6 pm Robert McCormick; Cathedral Church Richard Barrick Hoskins Brian Jones of the Nativity, Bethlehem, PA 4 pm Director of Music & Organist 6 JANUARY Kirk Michael Rich; Cathedral of St. Director of Music Emeritus Diana Chou; St. John’s Episcopal, West Philip, Atlanta, GA 3:15; Choral Evensong St. Chrysostom's Church Hartford, CT 12:15 pm 4 pm Chicago TRINITY CHURCH Menotti, Amahl and the Night Visitors; Eric Plutz; Hyde Park Community United [email protected] BOSTON Grace Church, New York, NY 4 pm Methodist, Cincinnati, OH 4 pm Bach, Cantata 65; Holy Trinity Lutheran, Three Choirs Festival; Christ Church Ca- New York, NY 5 pm thedral, Louisville, KY 3 pm James Wetzel; St. Thomas Church Fifth Choral Evensong; Christ Church Cathe- KIM R. KASLING JAMES KIBBIE Avenue, New York, NY 5:15 pm dral, Lexington, KY 4 pm D.M.A. The University of Michigan TENET; Church of St. Jean Baptiste, Nicholas Schmelter, with fl ute; St. Ann Arbor, MI 48109-2085 New York, NY 7 pm Paul’s Episcopal, Flint, MI 4 pm St. John’s University Edward Tipton; Cathedral of St. Philip, 734-764-1591 FAX: 734-763-5097 Craig Cramer; Goshen College, Collegeville, MN 56321 Atlanta, GA 3:15; Choral Evensong 4 pm Goshen, IN 4 pm email: [email protected] Epiphany Evensong; St. Chrysostom’s Corrado Cavalli; Loyola University, Chi- Episcopal, Chicago, IL 4 pm cago, IL 3 pm Mozart, Piccolomini Mass; Church of St. Gounod, St. Cecilia Mass; Church of St. David K. Lamb, D.Mus. Agnes, St. Paul, MN 10 am Agnes, St. Paul, MN 10 am Karen Schneider Kirner Director of Music 8 JANUARY Director, Notre Dame Handbell Choir 22 JANUARY Trinity United Methodist Church Mario Cieferri; Central Synagogue, New Nichole Keller; St. Louis King of France Assistant Director, Notre Dame Folk Choir New Albany, Indiana York, NY 12:30 pm Catholic Church, St. Paul, MN 12:35 pm University of Notre Dame 812/944-2229 Paul Barte; St. Louis King of France Catholic Church, St. Paul, MN 12:35 pm 23 JANUARY Students from The Juilliard School; Cen- 11 JANUARY tral Synagogue, New York, NY 12:30 pm Michael Unger; Cathedral Church of the Alcee Chriss; Kravis Center for the Per- Advent, Birmingham, AL 7:30 pm forming Arts, West Palm Beach, FL 7:30 pm A.S.C.A.P. Nicholas Schmelter, with fl ute; First FELLOW, AMERICAN GUILD OF ORGANISTS Presbyterian, Caro, MI 12 noon 24 JANUARY 345 SADDLE LAKE DRIVE Aaron Tan; Ball State University, Muncie, East West Trio; St. Patrick’s Cathedral, ROSWELL-ATLANTA, GEORGIA 30076 IN 7:30 pm (770) 594-0949 New York, NY 7 pm Peter Richard Conte & Andrew Ennis, Choir concert; Church of St. Luke in the duo organists; Rockefeller Chapel, Univer- Fields, New York, NY 8 pm sity of Chicago, Chicago, IL 8 pm 25 JANUARY 12 JANUARY Tom Trenney; First Presbyterian, Brian Kapp & David Tryggestad; Sa- Gainesville, FL 7:30 pm cred Heart Music Center, Duluth, MN 2 pm Professor Emeritus – University of Michigan – Ann Arbor The Chenaults; Calvary Episcopal, Syvati Duo; Good Shepherd Catholic Memphis, TN 7:30 pm Professor of Organ for 67 years Church, Golden Valley, MN 6:15 pm MarilynThe University’s longest-serving faculty memberMason Birmingham Boys Choir; Cathedral Church of the Advent, Birmingham, AL 13 JANUARY 12:30 pm The Chenaults; Woolsey Hall, Yale Uni- Nicholas Schmelter; First Presbyterian, versity, New Haven, CT 7:30 pm A two-inch Professional Card in The Diapason Caro, MI 12 noon Gail Archer; Reformed Church of Bronx- John Sherer; Fourth Presbyterian, Chi- ville, Bronxville, NY 3 pm cago, IL 12:10 pm For information on rates and specifi cations, contact Jerome Butera: David Briggs; Cathedral of St. John the David Jonies, with trumpet; St. Chrysos- Divine, New York, NY 5 pm [email protected] 608/634-6253 tom’s Episcopal, Chicago, IL 7:30 pm David Enlow; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 27 JANUARY Geoffrey Ward; Cathedral of St. Philip, Choral Evensong; St. John’s Episcopal, Atlanta, GA 3:15; Choral Evensong 4 pm West Hartford, CT 5 pm Isabelle Demers; Lutheran Church of Yale Camerata; Congregational Church, PHILIP CROZIER LARRY PALMER the Redeemer, Atlanta, GA 7 pm Naugatuck, CT 5 pm • Katelyn Emerson; St. John’s Episcopal James Kennerley; St. Thomas Church CONCERT ORGANIST Harpsichord – Organ Cathedral, Jacksonville, FL 4 pm Fifth Avenue, New York, NY 5:15 pm Todd Wilson, silent fi lms, The Kid and ACCOMPANIST Alan Morrison; Ursinus College, Big Business; Baldwin Wallace College, Professor of Music, Emeritus Collegeville, PA 4 pm 3355 Queen Mary Road, Apt 424 Berea, OH 7 pm Jens Korndörfer; Duke University Cha- Karel Paukert; St. Luke’s Episcopal, Montreal, H3V 1A5, P. Quebec pel, Durham, NC 5:15 pm SMU, Dallas, Texas Evanston, IL 3:30 pm Choral Evensong; Cathedral of St. Philip, Canada James Russell Brown; St. Giles Episco- Atlanta, GA 4 pm pal, Northbrook, IL 4 pm (514) 739-8696 Recitals — Lectures — Consultancies Gail Archer; Our Lady of Grace Catholic Haydn, Theresienmesse; Church of St. Church, St. Petersburg, FL 3 pm [email protected] Agnes, St. Paul, MN 10 am [email protected] + 214.350-3628 Ken Cowan, hymn festival; DeSantis 14 JANUARY Family Chapel, West Palm Beach, FL 4 pm Katelyn Emerson, children’s programs; Tom Trenney; First Presbyterian, St. John’s Episcopal Cathedral, Jackson- Gainesville, FL 10:55 am worship service; ville, FL 10:30 am & 4:30 pm 5 pm hymn festival Michael Emmerich; Basilica of the Sa- announces... 15 JANUARY cred Heart, Notre Dame University, South James Bobb; St. Louis King of France Bend, IN 8 pm Catholic Church, St. Paul, MN 12:35 pm James Russell Brown; Northern Illinois 20 Under 30 Nominations University, DeKalb, IL 3 pm Nominations open December 1 17 JANUARY Haydn, Kleine Orgelsolomesse; Church We will be recognizing 20 young Choral Evensong; Cathedral Church of of St. Agnes, St. Paul, MN 10 am the Advent, Birmingham, AL 5:30 pm men and women whose career 28 JANUARY accomplishments place them at 18 JANUARY Aaron Tan & Grant Wareham; Woolsey the forefront of the organ, church Christopher Jacobson; Christ Episco- Hall, Yale University, New Haven, CT 5 pm music, harpsichord, carillon, and pal, Easton, MD 7:30 pm Jill Hunt; Presbyterian Homes, Evan- organbuilding fields—before Rhonda Edgington, with trumpet; ston, IL 1:30 pm their 30th birthday. Fourth Presbyterian, Chicago, IL 12:10 pm 29 JANUARY Visit TheDiapason.com 19 JANUARY Russell Weismann; St. Louis King of Yale Schola Cantorum; Christ Church, for more information and to nominate. France Catholic Church, St. Paul, MN New Haven, CT 7:30 pm 12:35 pm Benjamin Sheen; St. Thomas Church Fifth Avenue, New York, NY 3 pm 30 JANUARY Stay up to date on all of the latest industry news and events. • Paul French & Benjamin Rivera, work- Patrick Kronner; Basilica of the Sacred Visit TheDiapason.com regularly. shop; Church of the Ascension, Chicago, Heart, Notre Dame University, South Bend, IL 10 am IN 12:15 pm

30 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH UNITED STATES Christmas concert; Grace Episcopal Ca- Southminster Presbyterian Church West of the Mississippi thedral, San Francisco, CA 7:30 pm SHORT HILLS Arlington Heights, IL 60005 22 DECEMBER 15 DECEMBER Northwest Boychoir, Lessons & Carols; Apollo Male Chorus; Lutheran Church Benaroya Hall, Seattle, WA 7:30 pm of the Good Shepherd, Minneapolis, MN ANDREW SCHAEFFER Christmas concert; Grace Episcopal Ca- DEREK E. NICKELS, DMA 7:30 pm thedral, San Francisco, CA 3 pm Luther Memorial Church (ELCA) Jordan Smith, Jason Alden, Katie Min- Church of the Holy Comforter David Hegarty; Legion of Honor Muse- Madison, Wisconsin ion, & Graham Schultz, with trumpets; um, San Francisco, CA 4 pm Kenilworth, IL 60043 Christ the Servant Lutheran, Allen, TX 7 pm [email protected] Northwest Boychoir, Lessons & Carols; 23 DECEMBER (847) 251-6120 • [email protected] Recitals — Hymn Festivals Trinity Lutheran, Lynnwood, WA 7:30 pm Mark Fideldy; Gethsemane Lutheran, Christmas concert; Grace Episcopal Ca- Hopkins, MN 4 pm thedral, San Francisco, CA 3 pm Northwest Boychoir, Lessons & Carols; Stephen G. Schaeffer A one-inch Professional Card David Hegarty; Legion of Honor Muse- First Presbyterian, Seattle, WA 7 pm in The Diapason um, San Francisco, CA 4 pm Christmas concert; Grace Episcopal Ca- Recitals – Consultations thedral, San Francisco, CA 3 pm Director of Music Emeritus For information on rates and specifi cations, 16 DECEMBER Christoph Tietze; Cathedral of St. Mary Handel, Messiah Sing-along; St. Olaf of the Assumption, San Francisco, CA 4 pm Cathedral Church of the Advent contact Jerome Butera: Catholic Church, Minneapolis, MN 6:30 pm Birmingham, Alabama [email protected] 608/634-6253 Lessons & Carols; Cathedral Basilica of 24 DECEMBER the Immaculate Conception, Denver, CO Frederick Swann; St. Margaret’s Episco- 3 pm pal, Palm Desert, CA 10:30 pm Lessons & Carols; St. Mary Basilica, Lessons & Carols; Grace Episcopal Ca- Jeffrey Schleff, Ed.D. Phoenix, AZ 5 pm thedral, San Francisco, CA 4 pm Organist – Teacher – Consultant STEPHEN SCHNURR Northwest Boychoir, Lessons & Carols; Saint Paul Catholic Church Holy Rosary Catholic Church, West Seattle, 29 DECEMBER Sulphur Public Schools, Sulphur, OK WA 7:30 pm John Walko; Legion of Honor Museum, United Disciples Christian Church, Richardson, TX Valparaiso, Indiana Christmas concert; Grace Episcopal Ca- San Francisco, CA 4 pm [email protected] thedral, San Francisco, CA 3 pm 30 DECEMBER Christmas concert; St. Paul’s Episcopal, Christoph Tietze, with fl ute; Cathedral of Burlingame, CA 4 pm St. Mary of the Assumption, San Francisco, ROBERT L. Choral Evensong; Church of the Advent CA 4 pm of Christ Our King, San Francisco, CA 4 pm SIMPSON Mark Steinbach Christmas concert; La Cañada Congre- 31 DECEMBER Christ Church Cathedral Brown University gational, Flintridge, CA 4 pm New Year’s choir and orchestra concert; 1117 Texas Avenue St. James Catholic Cathedral, Seattle, WA Houston, Texas 77002 17 DECEMBER 7:30 pm Brass and organ Christmas concert; James Welch; St. Mark’s Episcopal, Grace Episcopal Cathedral, San Francis- Palo Alto, CA 8 pm ] co, CA 4 pm Joe Utterback 1 JANUARY David Wagner 18 DECEMBER ]] ] Amanda Mole; Christ the King Lutheran, www.jazzmuze.com DMA Jonathan Dimmock; Cathedral of Christ Houston, TX 6 pm Our Light, Oakland, CA 7:30 pm 203 386 9992 www.davidwagnerorganist.com 5 JANUARY 19 DECEMBER Jonathan Dimmock; Legion of Honor Northwest Boychoir, Lessons & Carols; Museum, San Francisco, CA 4 pm St. Mark’s Episcopal Cathedral, Seattle, WA 7:30 pm 6 JANUARY Nathan Laube; Fresno State University, Kevin Walters KARL WATSON 20 DECEMBER Fresno, CA 3 pm Northwest Boychoir, Lessons & Carols; Epiphany Lessons & Carols, Golden M.A., F.A.G.O. SAINT LUKE’S St. Alphonsus Catholic Church, Seattle, WA Gate Boyschoir & Bellringers and St. Brigid Rye, New York 7:30 pm School Honor Choir; Cathedral of St. Mary METUCHEN of the Assumption, San Francisco, CA 4 pm 21 DECEMBER Jacob Benda; Nativity of Mary Catholic 12 JANUARY Church, Bloomington, MN 7 pm Durufl é, Requiem; St. Olaf Catholic Alan G Woolley PhD RONALD WYATT Northwest Boychoir, Lessons & Carols; Church, Minneapolis, MN 7:30 pm Musical Instrument Research Holy Rosary Catholic Church, West Seattle, Jonathan Dimmock; Legion of Honor Edinburgh Trinity Church WA 7:30 pm Museum, San Francisco, CA 4 pm [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253 1849 - A Way With Bach . . . in anticipation of the upcoming Pipedreams Tour in Germany this spring, we sample various interpretive approaches of his music played on D instruments in Bach Country. A two-inch Professional Card in The Diapason E 1850 - The Nativity of the Lord . . . picturesque evocations of WKH¿UVW&KULVWPDVLQFOXGLQJWKHH[WUDRUGLQDU\PXVLFRI For information on rates and specifi cations, contact Jerome Butera: C Olivier Messiaen. [email protected] 608/634-6253

1851 – Christmas All Around . . . a multi-national celebration 2 of the Nativity Festival with music old and new. 0 ArtistArtist Spotlights Spotlightspotlight s 1 1852 - The Organist’s Yearbook . . . our traditional summing- up of some of the year’s happenings in the world of the Artist Spotlights 8 King of Instruments. are available on Your professional card 1853 – First Things First . . . we start the New Year with a The Diapason survey of arresting, mostly-new music in world-premiere website and could appear here! recordings. e-mail newsletter. Contact Jerome Contact: [email protected]

Pipedreams is American Public Media’s weekly program dedicated to Butera for rates or 608/634-6253 the artistry of the pipe organ. Host Michael Barone’s celebration of the and specifi cations. king of instruments is heard on stations nationwide and worldwide via is a proud supporter 608/634-6253 pipedreams.org. Go online to locate a broadcast station near you. of Pipedreams apoba.com [email protected] SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2018 Q 31 Calendar

Alexander Frey, masterclass; St. Ed- Wyatt Smith; University of Puget Sound, Lessons & Carols; Christ Church Cathe- Jonathan Hope; Westminster Cathe- mund’s Episcopal, Pasadena, CA 10 am Tacoma, WA 2 pm dral, Oxford, UK 7:30 pm dral, London, UK 4:45 pm Choral Evensong; All Saints’ Episcopal, Epiphany Lessons & Carols; Merton Col- 13 JANUARY Beverly Hills, CA 5 pm 24 DECEMBER lege, Oxford, UK 5:45 pm Craig Cramer; Episcopal Church of the Lessons & Carols; King’s College, Cam- Margaret Harper; Christ’s Chapel, Dul- Transfi guration, Dallas, TX 7 pm INTERNATIONAL bridge, UK 3 pm wich, UK 7:45 pm Joshua Stafford; California Polytechnic Lessons & Carols; Cathedral, Llandaff, University, San Luis Obispo, CA 3 pm UK 3:30 pm 14 JANUARY Bruce Neswick; Grace Episcopal Ca- 15 DECEMBER Jürgen Wolf; Kiliansdom, Würzburg, Sam Giddy; Royal Hospital School, Hol- thedral, San Francisco, CA 4 pm 26 DECEMBER brook, Ipswich, UK 1:30 pm Kevin Duggan; St. James’s Episcopal, Germany 4 pm Barry Jordan; Dom, Magdeburg, Ger- Ansgar Schlei, with brass; Willibrordi- Los Angeles, CA 6 pm many 5 pm 17 JANUARY Dom, Wesel, Germany 6:30 pm Nathan Laube, Bach, Clavierübung III; Ralf Borghoff; St. Laurentius, Erwitte, 14 JANUARY 30 DECEMBER Royal Festival Hall, London, UK 7:30 pm Joshua Stafford; California Polytechnic Germany 7:30 pm Daniel Beckmann, with brass & percus- Umberto Pineschi University, San Luis Obispo, CA 3 pm (chil- ; Salesian Church, sion; St. Nikolaus Kirche, Bergen-Enkheim, 19 JANUARY Pistoia, Italy 5 pm dren’s matinee) Germany 7 pm Gail Archer; Organ Festival of Khanty- Alexander Frey; Pasadena Presbyterian Mansijsk, Khanty-Mansijsk, Russia 8 pm 16 DECEMBER 31 DECEMBER Church, Pasadena, CA 8 pm Simon Williams, masterclass; St. Michael Butterfi eld; Westminster Ca- Christoph Schoener, with trumpet; St. George’s, Hanover Square, London, UK thedral, London, UK 4:45 pm Mikaelis Kirche, Hamburg, Germany 7 pm 18 JANUARY 2 pm Simon Johnson, Messiaen, La Nativité; Michael Grill, with orchestra; Er- Wyatt Smith; Christ Episcopal, Tacoma, Sam Giddy; St. George’s, Hanover St. Paul’s Cathedral, London, UK 6 pm löserkirche, München-Schwabing, Ger- WA 12:10 pm Square, UK 5 pm many 9 pm 19 DECEMBER Colin Walsh; St. Alban’s Cathedral, St. 19 JANUARY Rudolf Peter, with trumpet; Au- Shin-Young Lee; Radio France, Paris, Alban’s, UK 5:30 pm Alcee Chriss; Texas Christian Univer- gustinerkirche, Landau/Pfalz, Germany France 8 pm 10 pm sity, Fort Worth, TX 7 pm 20 JANUARY Christmas Lessons & Carols; Merton Gerhard Löffler; St. Jakobikirche, Ham- Jonathan Dimmock; Legion of Honor Gerard Brooks; Methodist Central Hall, College, Oxford, UK 6 pm burg, Germany 10:30 pm Museum, San Francisco, CA 4 pm London, UK 3 pm Johannes Krutmann, with choir; Lieb- Anthony Gritten; St. Paul’s Cathedral, 20 DECEMBER frauenkirche, Hamm, Germany 11:15 pm 20 JANUARY Geert Bierling; Pelgrimvaderskerk, Rot- London, UK 4:45 pm Andrew Peters, with horn and alphorn; terdam, Netherlands 8:30 pm 1 JANUARY Richard Cook; Westminster Cathedral, Second Presbyterian, St. Louis, MO 4 pm London, UK 4:45 pm Janette Fishell; Trinity Episcopal Cathe- New Year’s concert; Abteikirche, Amor- 21 DECEMBER bach, Germany 4 pm Matthew Jorysz; Westminster Abbey, dral, Phoenix, AZ 3 pm Kaori Mune-Maier; Erlöserkirche, London, UK 5:45 pm Agnieszka Kosmecka; Cathedral of St. München-Schwabing, Germany 6 pm 4 JANUARY Mary of the Assumption, San Francisco, Lessons & Carols; St. Albans Cathedral, Simon Earl; Ss. Peter & Paul, Godalm- 24 JANUARY CA 4 pm St. Albans, UK 7:30 pm ing, UK 1 pm Lucas Arvidsson; St. Margaret Loth- bury, London, UK 1:10 pm 25 JANUARY 22 DECEMBER 6 JANUARY Paul Jacobs ; St. Mark’s Episcopal Ca- Teresa Schmid, Charlotte Berger, & Hayo Boerema; Laurenskerk, Rotter- 26 JANUARY thedral, Seattle, WA 8 pm Stefan Schmidt; Kiliansdom, Würzburg, dam, Netherlands 3 pm Eleni Keventsidou; St. Paul’s, Deptford, Germany 4 pm James Orford; St. Paul’s Cathedral, UK 1 pm 26 JANUARY Ansgar Schlei; Willibrordi-Dom, Wesel, London, UK 4:45 pm • Stephen Hamilton, workshop; West- Germany 6:30 pm Anthony Gritten; Westminster Cathe- 27 JANUARY minster Presbyterian, Minneapolis, MN Jaap Kroonenburg; Groote Kerk, Maas- dral, London, UK 4:45 pm Anthony Gritten; Westminster Abbey, 9:30 am sluis, Netherlands 8 pm Alexander Hamilton; Westminster Ab- London, UK 5:45 pm Stephen Hamilton; St. Mark’s Episcopal Lessons & Carols; Cathedral, Durham, bey, London, UK 5:45 pm Cathedral, Minneapolis, MN 7:30 pm UK 7 pm 28 JANUARY Jonathan Dimmock; Legion of Honor Lessons & Carols; Cathedral, Manches- 7 JANUARY William Saunders & Joel Cooper; Roy- Museum, San Francisco, CA 4 pm ter, UK 7:30 pm Charles Harrison; Royal Hospital al Hospital School, Holbrook, Ipswich, UK Choral Evensong; St. Paul’s Episcopal, School, Holbrook, Ipswich, UK 1:30 pm 1:30 pm Burlingame, CA 5 pm 23 DECEMBER Ben Bloor; Westminster Cathedral, Lon- 11 JANUARY 29 JANUARY 27 JANUARY don, UK 4:45 pm Sam Giddy; All Saints, Oakham, UK Samuel Ali; Grosvenor Chapel, London, Monica Czausz; Mount Olive Lutheran, Lessons & Carols; St. Albans Cathedral, 7:30 pm UK 1:10 pm Minneapolis, MN 4 pm St. Albans, UK 6:30 pm 12 JANUARY 30 JANUARY Sam Giddy; St. James, Bushey, UK 12 Michel Bouvard & François Espi- noon nasse; Radio France, Paris, France 8 pm

13 JANUARY 31 JANUARY Natalia Letyuk; St. Paul’s Cathedral, Isabelle Demers; Maison Symphonique London, UK 4:45 pm de Montréal, Montréal, QC, Canada 8 pm

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GAN BUILDERS - EST E OR . 187 PIP 7 Schoenstein SAN FRANCISCO w ww 58 .sch 47-58 oenstein.com - (707) 7 ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

32 Q THE DIAPASON Q DECEMBER 2018 WWW.THEDIAPASON.COM Recital Programs

PHILIP CROZIER, Église Saint-Augus- JAMES HIGDON, University of Kansas, 56), Schumann; Variations sur un thème de la Guerre, Ferko; Scherzetto (Sonata in c), tin, Paris, France, July 8: Epigrams, Kodály; Lawrence, KS, July 3: Choral-Improvisation Clément Jannequin, JA 118, Alain; Dieu parmi Whitlock; Andantino, Doucement Espressif Fantasia and Fugue in G, Parry; Prière, Mo- sur le Victimae paschali, Tournemire, transcr. nous (La Nativité du Seigneur), Messiaen. (String Quartet), op. 10, Debussy, transcr. rel; Scherzo, Toccata (Dix Pièces, nos. 8, 4), Durufl é; Récit de tierce en taille, de Grigny; Lutheran Church of the Incarnate Word, Guilmant; Overture (The Hebrides), Men- Gigout; Postlude pour l’offi ce de Complies, Totem Poles, Yi; Litanies, JA 119, Deuxième Rochester, NY, July 30: Praeludium in C, delssohn, transcr. Graham Sheen. JA 29, Alain; Andantino (op. 51, no. 2), Im- Fantaisie, JA 117, Trois Danses, JA 120, Alain. BuxWV 136, Buxtehude; Deuxième Fantaisie, promptu (op. 54, no. 2), Vierne; Allein Gott in Alain; Ciaconna in f, Pachelbel; The Primi- DAMIN SPRITZER, Grand Avenue der Höh’ sei Ehr’, BWV 675, Bach; Hommage, DAVID HIGGS, Christ Episcopal Church, tives, At the Ballet, Everyone Dance (Five United Methodist Temple, Kansas City, Bédard; Pièce héroïque, Franck. Rochester, NY, July 29: Toccata in F, BuxWV Dances), Hampton; Introduction and Passaca- MO, July 6: Chorale, Jongen; Cortège Aca- St. Marien-Dom, Hamburg, Germany, 156, Buxtehude; Partita: O Gott, du frommer glia (Sonata VIII in e, op. 132), Rheinberger. démique, MacMillan; Fantasy in E, op. 39, July 14: Partite diverse sopra De Lofzang van Gott, BWV 767, Bach; Annum per Annum, Darke; Miserere mei, Domine (Bach’s Me- Maria, Post; Sonata in C, BWV 529, Bach; Pärt; Sonata I in f, op. 65, no. 1, Mendelssohn. HECTOR OLIVERA, Cathedral of the mento), Bach, transcr. Widor; Elegiac Ro- Praeludium in d, BuxWV 140, Buxtehude; Immaculate Conception, Kansas City, MO, mance, Ireland; Rhapsody in c-sharp, op. 17, Epigrams, Kodály; Fantasia and Fugue in G, CHRISTOPHER HOULIHAN, Coun- July 6: Toccata on Es sungen drei Engel, Mi- no. 3, Howells; Elegy, Willan; Rhapsody in Parry; Hommage, Rhapsodie sur le nom de try Club Christian Church, Kansas City, MO, cheelsen; Oblivion; Piazzolla; Prelude and d, Rowley. Lavoie, Bédard. July 3: 4 Skizzen für den Pedalfl ügel, op. 58, Fugue in b, BWV 544, Bach; Clair de lune Schumann; Master Tallis’s Testament, Howells; (24 Pièces de fantaisie, op. 53, no. 5), Vierne; MARK STEINBACH, Marienkirche, VINCENT DUBOIS, St. Michael & All Grande Pièce Symphonique, op. 17, Franck. Giga, op. 73, Bossi; Allegro (Symphonie VI in Rötha, Germany, July 15: Suonata, Piazza; Angels Episcopal Church, Mission, KS, July g, op. 42), Widor. Adagio in C, KV 356, Gigue in G, KV 574, 3: O Antiphon Sequence, McDowall; Al- WILMA JENSEN, with Stephen Seif- Mozart; Trip to Pawtucket, Shaw; Offertorio legro (Symphonie VI in g, op. 42), Widor; ert, dulcimer, Asbury First United Methodist JENNIFER PASCUAL, Grace and Holy per organo, anonymous (18th C., Pistoia). Clair de lune (24 Pièces de fantaisie, op. Church, Rochester, NY, July 30: Flourish and Trinity Episcopal Cathedral, Kansas City, Georgenkirche, Rötha, Germany, July 15: 53, no. 5), Vierne; Prelude and Fugue on Chorale, McCabe; Méditation à Sainte Clotilde, MO, July 6: Processional March in A, op. 41, Praeludium in C, BuxWV 137, Buxtehude; ALAIN, Durufl é; Allegro deciso (Évoca- James; Petite Rapsodie improvisée, Tournemire; no. 5, Guilmant; Batalla in the 5th Tone, anon- Liebster Jesu, wir sind hier, BWV 731, Pre- tion), Dupré; improvisation. Introduction, Chorale, and Fugue on a British ymous; Sonata no. 1, Cornelius-Bates; Pavane ludium et Fuga in e, BWV 548, Bach; Dance Theme, Briggs; Blackberry Winter, Ellisor. por une infant défunte, Ravel, transcr. Mach- No. 4, Glass. KATELYN EMERSON, Twelve Corners ella; Rimembranza, Yon; Pezzi Brevi, Fagiani; Presbyterian Church, Rochester, NY, July 30: NICOLE KELLER, Unity Temple on the Aalaiki’ssalaam, Hakim. JACOB STREET, Old West Church, Bos- Praeludium in d, BuxWV 140, Buxtehude; Trio Plaza, Kansas City, MO, July 6: Fantasy: To- ton, MA, July 10: Prelude in e, Bruhns; Sonata (Triptyque), Langlais; Finale, op. 78, Laurin; rah Song, Phillips; Very Slowly (Sonatina), ROBERT POOVEY, Episcopal Church of in e, BWV 528, Prelude and Fugue in a, BWV Herzlich tut mich verlangen, op. 122, no. 9, Sowerby; Five Pieces for Organ, Wallace; So St. Luke and St. Simon Cyrene, Rochester, 543, Bach; Organ Sonata, op. 18, no. 2, Dis- Brahms; Chorale Prelude on Eventide, Parry; Fades the Lovely Blooming Flower, Shearing; NY, July 30: A Trumpet Minuet, Hollins; Aria tler; Allegro in d, Mendelssohn. Paean, Howells. Suite No. 1 for Organ, Price. con variazione, Martini; Andantino in D- fl at, Lemare; Allegro vivace (Première Sym- MARIJIM THOENE, Basilica of St. Mary, CLARA GERDES, Methuen Memorial OLIVIER LATRY, Cathedral, Hereford, phonie, op. 14), Vierne; Sonata II in c, op. 65, Gdansk, Poland, July 20: Ave Maris Stella Music Hall, Methuen, MA, July 25: Toccata, UK, July 31: Prelude and Fugue in E-fl at, BWV no. 2, Mendelssohn. (Faenza Codex), anonymous; Elevation (Mis- Adagio, and Fugue in C, BWV 564, Bach; 552, Bach; Choral No. 2 in b, Franck; Clair de sa delli Apostoli), Frescobaldi; Pastoral, Zi- Fantasie Choral No. 1 in D-fl at, Whitlock; lune, Debussy, transcr. Cellier; Prelude and WILLIAM PORTER, Anabel Taylor Hall, poli; Ave Maris Stella, de Grigny; Meditation, Toccata (Pastorale and Toccata), Conte; So- Fugue in g, op. 7, no. 3, Dupré; Postlude pour Cornell University, Ithaca, NY, July 28: Prae- Vierne; Woman of the Apocalypse Crowned nata II, Hindemith; Carnival Overture, op. l’offi ce des Complies, Alain; Evocation II, Es- ludium in e, BuxWV 142, Buxtehude; Partita: with Stars, Teml; Habakkuk, Hovhaness. 92, B. 169, Dvorák, transcr. Lemare. caich; improvisation on a submitted theme. Freu dich sehr, o meine Seele, Böhm; Liebster Holy Trinity Cathedral, Drohiczyn, Poland, Jesu, wir sind hier, BWV 731, Prelude and July 22: Ave Maris Stella (Faenza Codex), DAVID HATT, Trinity Episcopal Ca- MALCOLM MATTHEWS, Leicester Fugue in C, BWV 531, Bach. anonymous; Elevation (Missa delli Apostoli), thedral, Reno, NV, July 26: Chorale and Evangelical Presbyterian Church, Leicester, Frescobaldi; Pastoral, Zipoli; Ave Maris Stel- Chaconne on Home, Hatt; Variations Sym- NY, July 31: Improvisation-Caprice, Cantabile DARYL ROBINSON, Church of the As- la, de Grigny; Meditation, Vierne; Habakkuk, phoniques, Franck, transcr. Abbing; Varia- (Quatre Pièces, op. 37), Jongen; Sonata IV in cension, Rochester, NY, July 29: Comes Au- Hovhaness. tions and Fugue on a Theme of Mozart, op. B-fl at, op. 65, no. 4, Mendelssohn; tumn Time, Sowerby; Scherzo, Roberts; Pre- 132, Reger. lude and Fugue on Union Seminary, Hancock; DAVID TROIANO, Cathedral Basilica, Trinity Episcopal Cathedral, Reno, NV, AMANDA MOLE, Methuen Memorial Fantasia on a Theme of Gustav Holst, Miller. Bialystok, Poland, July 20: Prelude and Fugue July 27: A New Invention, DePue; Kleines Music Hall, Methuen, MA, July 11: Over- in e, Bach; Prelude on Kto sie w opieke, Zelen- Harmonisches Labyrinth, BWV 591, Bach; ture (St. Paul), Mendelssohn, transcr. Best; BENJAMIN SHEEN, St. Andrew’s Epis- ski; Praeludium in g, Bruhns; Kumbaya Varia- Bachanmy Six Variations, DePue; Wo soll Orpheus, Liszt, transcr. Gottschalg; Toccata, copal Church, Kansas City, MO, July 5: Fan- tions, Behnke; Adoro te devote, Alyward; Toc- ich fl iehen hin, BWV 694, Bach; The Disciple Adagio, and Fugue in C, BWV 564, Bach; tasia and Fugue in G, op. 188, Parry; Solemn cata Pontifi cal, Young; Toccata and Fugue, Variations, DePue; Pedal-Exercitium, BWV Myto, Wammes; Innig (Studien für den Pedal- Prelude In Memoriam (For the Fallen, op. Sawa; Two Palate Sketches from Utrillo, Heb- 598, Bach. fl ügel: Sechs Stücke in kanonischer Form, op. 80), Elgar, transcr. Grace; Cartes Postales de ble; Salve Regina, Titcomb.

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Pinel, Appraiser. 629 Edison Drive, East Wind- of the Year! 003074, $25.00, 800/566-6150, and excellent benefi ts including healthcare and Wlpmusic.com. other ancillary benefi ts, paid time off, holiday sor, NJ 08520-5205; phone: 609/448-8427; email: [email protected]. pay, and 401(K) and Employee Stock Ownership The new Nordic Journey series of CD record- retirement plans. Send resume by mail only: Pipe Organs of Oberlin chronicles the rich history of ings reveals premiere recordings of symphonic organ music—much of it still unpublished—from Maker, 112 Kendal Drive, Oberlin, OH 44074 Fruhauf Music Publications is pleased to organs at Oberlin College, the Conservatory of Nordic composers, played by American organist offer the second of three complimentary hymn Music, and the town of Oberlin, Ohio. The hard- James Hicks on a variety of recently restored anthems for mixed voices and organ. 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The letter-sized PDF booklet will be available C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, Ed Nowak, Chicago-area composer, arranger, for Internet download throughout the Christmas and many others are featured. Text by Stephen and church musician, announces his new web- Wanted: Organists visiting Maui. Lahaina’s season from www.frumuspub.net. Please consult Schnurr; photographs by William T. Van Pelt, site, featuring Nowak’s original choral works, Holy Innocents Episcopal Church invites visit- FMP’s home page Bulletin Board to access the Trevor Dodd, Halbert Gober, as well as rare hymn concertatos, chamber and orchestral ing organists to play its Beckerath Positiv organ reprintable fi le. vintage examples. $50, plus $5 shipping. Visit works, organ hymn accompaniments, organ at Sunday services. Built in 1972 by Rudolf von www.organsofoberlin.com. and piano pieces, electronic music, and psalm Beckerath and then-apprentice Hans-Ulrich settings. The website offers scores and recorded Organa Europae calendars featuring famous examples that are easy to sample and can be Erbslöh for Honolulu’s Lutheran Church, the 408- pipe organs of Europe; years 1969 to 1977. Raven has released the fi rst in a series of new purchased in downloaded (PDF and MP3) or pipe Shrankpositiv has a 54-note “split” manual, $10.00 each. 219/662-0677, [email protected]. 30-note pedal, 11 stops, 8 ranks, and 6 registers. recordings by Timothy Olsen, Organs of North printed form. Visit ednowakmusic.com. Holy Innocents acquired the instrument in 1977 Carolina. Vol. 1, The German Muse (OAR-977), and moved it to Maui where it has been played Does your congregation or audience enjoy features the 1965 Flentrop at Salem College in by parish musicians such as Carol Monaghan spirituals? “Deep River,” by CAJ Parmentier, is works by Buxtehude, Distler, Böhm, J. S. 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26-rank Casavant pipe organ for sale. Orgues Aeolian-Skinner opus 1480. 2 manuals, 20 Consoles, pipes and numerous miscellaneous THE DIAPASON E-Newsletters are e-mailed Létourneau is offering a 22-stop Casavant ranks, 4 divisions, enclosed and unenclosed parts. Let us know what you are looking for. monthly to subscribers who sign up to receive Frères pipe organ (Opus 2295 from 1955) for Great. Price reduced signifi cantly to $99,000. E-mail [email protected] (not comcast), them. Don’t miss the latest news, featured artists, sale. This electro-pneumatic instrument is cur- Details: [email protected]. phone 215/353-0286 or 215/788-3423. and classifi ed ads—all with photos—some before rently in storage at the Létourneau shops and they appear in print! Visit www.TheDiapason. is available for purchase in “as is” condition for com and click on Subscribe to our newsletter. For Residence instrument available, Doug- Gothic White Oak Organ Case. 25′ x 25′ x 12′ USD $45,000 with its original three-manual con- assistance, contact Stephen Schnurr, 847/954- lasville, Georgia. Four manual, six division, deep. Excellent condition. Organ Clearing House, 7989, [email protected]. sole. Likewise, Létourneau would be pleased to hybrid instrument built in 2010. Short montage 617/688-9290, [email protected]. provide a proposal to rebuild this instrument, on YouTube by entering “HDG residence organ” taking into account any desired changes to the THE DIAPASON has a very special subscrip- in the browser. Complete stoplist and pictures stoplist as well as installation costs, voicing, SERVICES / SUPPLIES tion offer! New subscriptions and gift sub- available. Contact M. Proscia, 770/258-3388 or casework as required, and rebuilding the three- scriptions received in 2018 qualify for free CDs 770/361-2485; [email protected]. manual console with a new solid-state switch- Complete Pipe Organ Services from the Organ from Raven! A one-year subscription gives ing system. The organ requires approximately Clearing House: 450 vintage pipe organs avail- you one free CD; a two-year subscription, two 360 sq. ft. with 15′ ceilings. For more details, Rieger 23-rank mechanical pipe organ for sale. able, renovation, tuning, consultation. Other CDs; a three-year subscription, three CDs. visit www.letourneauorgans.com, email info@ Two 61-note manuals and 32-note AGO concave, services include transportation, cleaning and Raven has provided us a choice of six of their letourneauorgans.com or call Andrew Forrest at radiating pedals. 1,221 pipes, manual and pedal renovation of carvings. 617/688-9290. john@ recent releases. CDs are also availalbe with 450/774-2698. couplers, and tremulant; includes 3 separate organclearinghouse.com. our digital subscriptions ($35 for one year) mixture stops and 2 reed stops. Gently voiced for and student subscriptions ($20 for one year)! a chapel or home use. Compact design: width: Give the gift of THE DIAPASON, the gift that keeps 1 Releathering all types of pipe organ actions 1929 Holtkamp, two manuals and pedal, 6 5′-8 ⁄8″, depth 7′-3¼″, height 7′-3½″ with sepa- giving month after month! For details: www. and mechanisms. Highest quality materi- ranks, 12 stops. Birchwood casework, unusual rate electric blower 2′ x 2′-1″ x 2′-5″. Mechanical thediapason.com/subscribe. als and workmanship. Reasonable rates. Ludwigtone on Swell division. Organ was res- key and stop action, slider windchest. Reduced to cued and is currently in storage, Detroit area. Columbia Organ Leathers 800/423-7003. $45,000.00. For more details call 360/945-0425 www.columbiaorgan.com/col. $5,000, 313/892-6602. or see OHS Organ Data Base, Rieger Orgelbau, THE DIAPASON’S 20 Under 30 program has Gaspar Schulek Residence. returned! Nominations for this award for young Do you have a pipe organ that you would leaders in the world of the organ, organbuild- Tellers Opus 972 (1966), two manuals and like to interface with an electronic or digital ing, church music, carillon, and harpsichord pedal, 28 stops, 25 ranks, un-enclosed, stopkey Circa 1860 Pfeffer eight-rank organ, available organ? We can interface any digital organ or open December 1 and continue through console, Philadelphia area. Asking $5,000.00 rebuilt and custom fi nished. Also 1884 choir any organ console with any pipe organ. For more February 1. See p. 3 for complete details. and buyer to bear cost of removal. For more organ by Louis Debierre. Both are pictured on the information e-mail [email protected] (not information: [email protected]. Redman website: www.redmanpipeorgans.com. Comcast) or call 215/353-0286. Postal regulations require that mail to THE DIAPASON include a suite number to assure 5-stop positive for sale. Organ was built by Historic 1859 ROBJOHN, II+Ped, 11 ranks. Drop Aeolian/Robert Morton-style maroon delivery. Please send all correspondence to: James Louder of Montreal and can play at ′ ″ dead gorgeous rosewood case, 14 -2 tall. Lovely leather is now available from Columbia Organ THE DIAPASON, 3030 W. Salt Creek Lane, Suite A=392, 415, and 440. $60,000 US or best offer. for chapel, large residence, or museum. www. Leathers! Highest quality. 800/423-7003, 201, Arlington Heights, IL 60005. [email protected] 312/961-1163. bigeloworgans.com. Click on News. www.columbiaorgan.com.

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George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020

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