THE DIAPASON SEPTEMBER 2018

All Saints Episcopal Church Southern Shores, North Carolina Cover feature on pages 26–27 ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO JAMES DAVID CHRISTIE 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. 9, A new season Whole No. 1306 As I write this on August 1, I realize you will read this at SEPTEMBER 2018 the end of this month or early September, the very last days of Established in 1909 summer. Most choirs and ensembles will soon begin rehears- Stephen Schnurr ISSN 0012-2378 als for their weekly services or seasonal concerts. The staff of 847/954-7989; [email protected] The Diapason hopes that these past weeks and months have www.TheDiapason.com An International Monthly Devoted to the Organ, provided you a bit of respite from the myriad activities you will the , Carillon, and Church Music soon experience. 20 Under 30 Our “Here & There” section this month contains listings for The Diapason’s 20 Under 30 program returns in December! CONTENTS many church, university, civic, and regional ensembles that will We will recognize once again young women and men whose FEATURES excite you with opportunities for excellence in organ and choral career accomplishments place them at the forefront of the organ, The 1864 William A. Johnson Opus 161, music. If you have a series of events you would like for us to con- church music, harpsichord, carillon, and organbuilding fi elds, Piru Community United Methodist Church, sider, it is not too late to send the appropriate information to me. before their 30th birthdays. Nominations will open December 1 Piru, California, Part 2 by Michael McNeil 20 and close on February 1, 2019. Begin to consider now the young Lessons & Carols leader you might nominate for this important award! NEWS & DEPARTMENTS Planning ahead, if your church or educational institution is Editor’s Notebook 3 having a service of Lessons & Carols, presentation of Handel’s In this issue Here & There 3 Messiah, Advent recital series, or Advent or Christmas concert, We continue Michael McNeil’s series on the documentation Appointments 6 please submit that information to me as far in advance as pos- of what is likely California’s oldest , the 1864 William Nunc Dimittis 10 sible for proper coverage in our Calendar section. A. Johnson Opus 161 in the Piru Community United Method- Harpsichord Notes by Larry Palmer 12 In the wind . . . by John Bishop 16 ist Church. In “Harpsichord Notes,” Larry Palmer introduces On Teaching by Gavin Black 18 Resource Directory us to a new and complete edition of the keyboard works of Our 2019 Resource Directory will be mailed with your Armand-Louis Couperin, available at the website of Martin REVIEWS January issue. Planning has already begun for this helpful Pearlman. John Bishop, in “In the Wind . . .,” reveals for us the Book Reviews 13 booklet. If your business was not listed in the 2018 Directory interesting life of a little-known /organbuilder of the New Organ Music 13 and should be in 2019, please let us know, as these listings 19th century, William Horatio Clarke. We welcome back Gavin New Recordings 14 are free of charge. We cannot include you if we do not know Black with his column, “On Teaching,” and he tells us about his New Handbell Music 15 about you! If your business was included in our 2018 Directory, interesting visit to this summer. NEW ORGANS 28 kindly carefully evaluate your entry to see if information needs Our Cover Feature includes two recent modest-sized pipe CALENDAR 29 to be updated, expanded, etc. For enhanced presence through organs in North Carolina, created by Quimby Pipe Organs of advertising, Jerome Butera ([email protected]; 608/634– Warrensburg, Missouri. One is a two-manual, 18-rank instru- RECITAL PROGRAMS 33 6253) is always ready to assist you with many opportunities. ment for All Saints Episcopal Church, Southern Shores, the CLASSIFIED ADVERTISING 34 Our Resource Directory is a reference tool for our readership other a three-manual, 30-rank organ for Concord United for the entire year, so make sure you are included! Methodist Church, Concord. Q

THE DIAPASON Here & There SEPTEMBER 2018 Correction In John Bishop’s “In the Wind . . .” (August 2018, page 15), a former organ- ist of Grace Church, , was incorrectly identifi ed as George Mitch- ell. The correct name is Ernest Mitchell.

Events All Saints Episcopal Church Southern Shores, North Carolina Cover feature on pages 26–27

COVER Quimby Pipe Organs, Warrensburg, Missour; Longwood Gardens Aeolian organ All Saints Episcopal Church, Southern Shores, console (photo credit: Duane Erdmann) North Carolina 26

Longwood Gardens, Kennett Editorial Director STEPHEN SCHNURR Trinity Lutheran Church, Cleveland, Square, Pennsylvania, announces and Publisher [email protected] Ohio, Beckerath organ 2018–2019 organ and carillon events: 847/954-7989 September 9, Janet Tebbel and Lisa President RICK SCHWER 9/19 and 26, Robert Myers. For infor- Lonie, carillon; 9/23, Margaret Pan, [email protected] St. Mary’s Cathedral, Ruffatti organ mation: http://clevelandbeckerath.org/. carillon; October 7, Jackson Borges; 847/391-1048 10/13, open console day; November 2, Editor-at-Large ANDREW SCHAEFFER The Cathedral of St. Mary of the Association of Lutheran Church Peter Richard Conte and Jeremy Fil- [email protected] Assumption, San Francisco, Califor- Musicians (ALCM) continues “Hearts, sell; 11/11, John Walthausen. nia, continues recitals, Sundays at 4:00 Hands, Voices,” local workshops February 9, 2019, Todd Wilson; 2/17, Sales Director JEROME BUTERA [email protected] p.m.: September 2: Laura Wiley, fl ute; for church musicians: September 8, Parker Kitterman; March 3, Michael 608/634-6253 9/9, Angela Kraft Cross; 9/16, Lyle Honolulu, Hawaii; 9/15, Fairfi eld, Con- Smith; 3/22, David Briggs; 3/30, open Circulation/ Sheffl er, classical guitar; 9/23, Letizia necticut, and Mission, Kansas; 9/22, console day; 3/31, David Christopher; Subscriptions ROSE GERITANO [email protected] Romiti; 9/30, Christoph Tietze. St. Charlotte, North Carolina, Schaum- June 18–19, Longwood Gardens Inter- 847/391-1030 Mary’s Cathedral houses a 1971 Fratelli burg, Illinois, and Willmar, Minnesota; national Organ Competition. For infor- Ruffatti organ of four manuals, 89 ranks. 9/29, New York, New York, Baltimore, mation: www.longwoodgardens.org. Designer KIMBERLY PELLIKAN [email protected] For information: Maryland, Perrysburg, Ohio, Lindsborg, 847/391-1024 www.stmarycathedralsf.org. Kansas, and Seward, Nebraska. Holy Trinity Lutheran Church, October 5–6, South Bend, Indiana; Lynchburg, Virginia, announces special Contributing Editors LARRY PALMER Harpsichord Trinity Lutheran Church, Cleve- 10/6, Irvine, California; 10/13, Waukesha, music programs for 2018–2019, Sundays land, Ohio, continues its “Music Near Wisconsin, Denver, Colorado, Missoula, at 4:00 p.m.: September 9, J. William BRIAN SWAGER the Market” recital series, Wednesdays Montana, and Portland, Oregon; 10/20, Greene, harpsichord; October 21, Jer- Carillon at 12:15 p.m., featuring Rudolf von Columbia, South Carolina, San Francisco, emy Thompson; November 4, The Wren JOHN BISHOP Beckerath’s fi rst pipe organ installed in California, and Torrance, California; Masters; April 7, 2019, Marek Kudlicki; In the wind . . . North America, completed in 1956 and November 3, Hickory, North Carolina; May 5, Kimberly Marshall. For informa- consisting of four manuals, 65 ranks. 11/10, , Pennsylvania. For tion: www.holytrinitylynchburg.org. GAVIN BLACK ³ On Teaching September 5 and 12, Florence Mustric; information: www.alcm.org. page 4

Reviewers Stephen Buzard Sarah Mahler Kraaz 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 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 Jay Zoller 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. John L. Speller Subscriptions: 1 yr. $42; 2 yr. $75; 3 yr. $100 ( and U.S. Possessions). Copyright ©2018. Printed in the U.S.A. Leon Nelson 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 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 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 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. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

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

³ page 3

St. Chrysostom’s Episcopal Church, Chicago, Illinois, C. B. Fisk, Inc., organ

St. Chrysostom’s Episcopal Church, Chicago, Illinois, announces its 2018– The choir of the Cathedral of St. John the Evangelist, Milwaukee, Wisconsin, at 2019 season of musical events: September Salzburg Cathedral 16, Kimberly Schafer, carillon, featuring the premiere of a work by Kevin Michael The choir of the Cathedral of St. John the Evangelist, Milwaukee, Wisconsin, Kay, commissioned for the church’s 125th toured Austria in late June. The group sang for Mass at the Salzburg Cathedral and anniversary; 9/28, Jason Moy, harpsichord, Washington National Cathedral performed concerts in the Peterskirche and the Capuchin Church, both in . and friends; October 30, Thomas Ospi- In addition to performing formal concerts, they sang informally at Melk Abbey and tal, organ; November 11, Erica Schuler, Jeremy Filsell; 6/16, Paul Griffi ths; 6/23, the palace in Eisenstaedt. A varied program with emphasis on lesser-performed com- soprano, and Scott Brunscheen, tenor. Jackson Borges; July 4, 11:00 a.m., Inde- posers and American spirituals was presented. The choir was directed by Michael January 6, 2019, choral Evensong for pendence Day concert. Batcho, director of music, and accompanied by Andrew Kreigh, organist. For Epiphany; 1/25, David Jonies, organ, Additional concerts are as follows: information: www.stjohncathedral.org. and Ryan Berndt, trumpet; February 15, September 10, Diderot String Quartet; Bruce Neswick, hymn playing masterclass; October 30, Prague Philharmonic Chil- March 22, Jason Moy, harpsichord, Tönig- dren’s Choir; November 5, PostClassical Tarasevich, baroque fl ute, and Anna Stein- Ensemble; 11/11, National Veterans Day hoff, baroque cello; May 7, Ken Cowan. Concert; December 7–9, Handel, Mes- The church also hosts its summer carillon siah; 12/22, The King’s Singers; festival, June 9, 16, and 23. For informa- January 16, 2019, Diderot String tion: www.saintc.org. Quartet; 1/23, PostClassical Ensemble with gamelan and dancers; March 30, Trinity Lutheran Church, Worces- King’s College Choir, Cambridge, UK; ter, Massachusetts, announces its 2018– April 14, Mozart, Requiem; May 16, 2019 series, Music at Trinity, celebrating Diderot String Quartet; 5/31, Diderot the 50th anniversary of Noack Organ String Quartet. For information: Company Opus 40, completed in March https://cathedral.org/music/organ/. 1969: September 30, Harmonie Trans- verse Flute Ensemble; November 1, Durufl é, Requiem; December 2, Advent Lessons & Carols; March 3, 2019, Jona- than Dimmock; March 31, Sean Redrow; Participants of the American Guild of Pipe Organ Encounter in Philadel- April 14, James MacMillan, St. Luke phia at the shops of Patrick J. Murphy & Associates Organbuilders Passion; May 19, Nathaniel Gumbs. For information: www.trinityworc.org. Patrick J. Murphy & Associates Organbuilders welcomed participants in the American Guild of Organists Pipe Organ Encounter (POE) in Philadelphia, Pennsyl- Washington National Cathedral, vania, to its shops on July 11. A buffet lunch was provided, and the group participated Washington, D.C., announces its 2018– in a shop tour. The wood shop portion observed the newly acquired CNC router in 2019 organ recital series, Sundays at 5:15 action as well as workers explaining ongoing rebuilding work of the Schantz organ p.m., unless otherwise noted: September from the Cathedral of St Francis of Assisi, Metuchen, New Jersey. In the pipe shop, 23, George Fergus; 9/30, Weston Jen- voicer Megan Farrell explained the process of pipe preparation and demonstrated nings; October 7, Matthew Cates; 10/14, fl ue voicing. Prior to departure all participants asked questions and tried out two Erik Wm. Suter; 10/28, Elmo Consen- instruments (Skinner and Möller) currently for sale. tini; November 4, Stefan Donner; 11/25, Jeremy Filsell; December 25, 1:30 p.m., George Fergus; February 3, 2019, Alexander Straus- Fausto; 2/17, Stephen Kalnoske; March 3, Jeremy Filsell; 3/10, Jordan Prescott; Grace Church, New York, New York, Tay- 3/24, Jonathan Vaughn; April 7, Virgin- lor & Boody organ ius Barkauskas; 4/21, 1:30 p.m., George Fergus; May 5, Richard Spotts; 5/12, Grace Church, New York, New York, Chuyoung Suter; 5/26, Rebecca Marie announces its 2018–2019 Season of Bach Yoder; June 2, John Walthausen; 6/9, ³ page 6 Saving organs throughout America....affordably!

Basilica of Our Lady of Sorrows, Chicago, Illinois, 1902 Lyon & Healy Opus 90

The Basilica of Our Lady of Sorrows, Chicago, Illinois, will present a recital rededicating its 1902 Lyon & Healy organ, nearing completion of restoration by City Organ Works, LLC, under the leadership of David Rhodes. The recital by Freder- ick Hohman will take place September 16, 3:00 p.m. Our Lady of Sorrows was founded in 1874 and built its present church of Renais- sance architecture seating 1,200 between 1890 and 1902. In March of 1902, Clarence Eddy of Chicago played the dedicatory recital on Lyon & Healy Opus 90 (factory 1-800-621-2624 number 1342), a four-manual, 57-rank organ, the largest extant instrument of this Chicago builder. The Organ Historical Society presented the organ with its Historic foleybaker.com Organ Citation in 2002, during a convention recital honoring the organ’s centennial. For information: www.ols-chicago.org.

4 Q THE DIAPASON Q SEPTEMBER 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 , 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 /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 and Paul Cienniwa, harpsichord; April at Noon and Weekend Organ Medita- 28, Amernet String Quartet, with Paul Appointments tions. Bach at Noon takes place every Cienniwa, harpsichord; May 19, Giorgi Daniel J. Fenn is appointed director of music Tuesday through Friday, September 11 Chkhikvadze, piano; June 16, PEN Trio. and organist at Saint Luke Lutheran Church through May 22, 12:20–12:50 p.m., fea- For information: (ELCA), Silver Spring, Maryland. He succeeds turing the organ works of Johann Sebas- www.music.stpaulsdelray.org. Jeffrey R. Pannebaker, who is retiring after 30 tian Bach as daily meditation. Weekend years of service to the church. A native of Mis- Organ Meditations feature the diverse sissippi, Fenn studied organ performance at Mis- repertoire of the organ each Saturday sissippi College (Bachelor of Music, 2002) and and Sunday, September 9 through May University of (Master of Music, 2004). 26 in 45-minute informal programs. A He earned the Master of Sacred Music degree in free-will offering of dry goods for New choral conducting in 2009 in the program shared York food pantries is accepted. The organ between St. Olaf College and Luther Semi- of Grace Church is Taylor & Boody Opus nary in Minnesota. His organ teachers include 65 of four manuals, 87 ranks. For infor- Daniel J. Fenn Jeff McLelland, Robert Knupp, and Robert mation: www.gracechurchnyc.org. Bates, and he studied conducting with Anton Armstrong. Previous director of music positions include Grace Presbyterian Madonna della Strada Chapel, Goulding Church, Houston, Texas, and St. John’s Lutheran Church, Northfi eld, Min- & Wood organ nesota. At Saint Luke Church, he will serve as the principal organist and direct the adult, youth, and handbell choirs. Madonna della Strada Chapel, Loyola University, Chicago, Illinois, Reverend J. Michael McMahon is announces its 2018–2019 Third Sunday appointed executive director of the Hymn @3 Organ Concert Series: September Society in the United States and Canada, suc- 16, Michael Soto; October 21, Patrick ceeding Jan Kraybill. McMahon holds degrees Pope; November 18, Susan Klotzbach; in theology from Washington Theological Union, December 16, Matthew Haider; Janu- University of Notre Dame, and Catholic Uni- ary 20, 2019, Corrado Cavalli; February versity of America and is an ordained minister 17, Jeremy Kiolbassa; March 17, Sharon of the Christian Church (Disciples of Christ). Peterson; May 19, Thomas Fielding. For Since 2013, he has served as minister of music information: www.luc.edu/organ. at National City Christian Church (Disciples of Ransdell Chapel, Campbellsville Uni- Christ), Washington, D.C. From 2001 until 2013 versity, Campbellsville, Kentucky , London, Reverend J. Michael he was president and chief executive offi cer of UK, continues its 2018 Grand Organ McMahon the National Association of Pastoral Musicians. Campbellsville University, Camp- Festival, with recitals on Wednesdays McMahon has taught in the Department of bellsville, Kentucky, announces its 11th at 7:30 p.m.: September 19, Stephen Theology at the Catholic University of America and has been featured as a Annual Noon Concert Series with organ Farr; October 24, Catherine Ennis. For speaker and clinician for regional church gatherings and national music orga- recitals at 12:20 p.m. in Ransdell Chapel further information: nizations. He is the author of a book on Christian initiation, has written articles or Our Lady of Perpetual Help Catholic www.westminstercathedralchoir.com. on worship and church music for a variety of journals, and has contributed to Church: September 11, Stephen Black; several books on music ministry. October 16, Kenneth Stein; November 13, Larry Sharp; February 19, 2019, Jim Kirk Michael Rich is appointed associate di- McFarland; March 26, Jane Johnson; rector of music and organist of All Saints’ Epis- April 9, Wesley Roberts. For informa- copal Church, Atlanta, Georgia, one of the larg- tion: www.campbellsville.edu. est Episcopal churches in the country. He will assist interim director of music David Brensing- St. Paul’s Episcopal Church, Delray er in all aspects of the music program, including Beach, Florida, announces its 2018–2019 accompanying the adult choir and playing for concert season: September 16, Delray two choral services each Sunday. In addition to String Quartet with Jure Rozman, piano; the adult choir of forty volunteer and staff sing- October 21, Bernstein at 100, with Tril- ers, the parish has four youth choirs. Rich was lium Piano Trio; November 4, Choral most recently associate director of music for St. Evensong for All Saints’ Sunday; 11/18, Cathedral Church of the Advent, Birg- John Vianney Catholic Church, Houston, Texas. mingham, Alabama, M. P. Möller organ Cantors in Concert, featuring Sagee console Kirk Michael Rich After early studies with Douglas Reed at the Goldenholz, David Presler, Bruce Hur- University of Evansville, Indiana, Rich earned witz, clarinet, Gary Lawrence, piano; a Bachelor of Music degree from Oberlin Conservatory of Music, Oberlin, December 2, Advent Lessons & Carols; The Cathedral Church of the Ohio, where he studied organ with James David Christie and harpsichord 12/16, the Billington and Gonzalez Duo; Advent, Birmingham, Alabama, with Webb Wiggins. He received the Master of Music degree from the Jacobs 12/30, Christmas Lessons & Carols; announces special music events for School of Music, Indiana University, Bloomington, Indiana, studying with 12/31, Paul Cienniwa, harpsichord, 2018–2019. Choral Evensongs, Thurs- Christopher Young, Bruce Neswick, and Elisabeth Wright. He is a Doctor of Bach, Goldberg Variations. days at 5:30 p.m.: September 20, Octo- Musical Arts degree candidate at the Moores School of Music, University of January 20, 2019, Lynn University ber 18, November 15, December 20 Houston, Texas, studying with Robert Bates and Matthew Dirst. Kirk Rich is chamber music fi nalists; February 10, (Christmas Lessons & Carols), January represented by Seven Eight Artists. For information: Anton Belov, baritone, and Milana 17, 2019, February 21, and May 30. www.seveneightartists.com. Q Strezeva, piano; March 3, Choral Even- Advent Lessons & Carols are presented song; 3/24, Emily Carter, soprano, Erin December 2, 9:00 and 11:00 a.m. Paiva, piano, Laurice Campbell Buck- The Cathedral’s Midday Music Series, Jeffrey Flaniken, violin, Angela Flan- St. George’s Episcopal Church, Nash- ton, violin, Marie Ridolfo, viol da gamba, Fridays at 12:30 p.m.: September 28, iken, viola, and Donald Sanders, piano; ville, Tennessee. For information: October 26, Melissa Lander, clarinet, www.adventbirmingham.org. and Charles Kennedy, organ; Novem- ber 16, Peter H. Bloom, fl ute, Francis St. John’s Episcopal Church, West Grime, viola, and Mary Jane Rupert, Hartford, Connecticut, announces its piano; December 14, Cathedral Ring- 2018–2019 Music at the Red Door ers Handbell Ensemble; January 25, events: October 14, Jazz at the Red Birmingham Boys Choir; March 1, Fred- Door, with the Nat Reeves Quintet; erick Teardo, piano; April 26, Cathedral December 9, Candlelight Festival of Ringers Handbell Ensemble. Lessons and Carols; February 9, 2019, In addition, the Cathedral Concert Handel, Messiah, with the American Series presents: November 2, Frederick Baroque Orchestra and Chorus; March Teardo; January 10, Michael Unger; 9, Celtic Fire, with the CitySingers of February 22, VOCES8; May 4, Festival Hartford; March 24, Durufl é, Requiem; of Hymns, Psalms, and Spiritual Songs, April 27, Suzanne Bona, fl ute. with the cathedral choir and the choir of ³ page 8

AUSTINORGANS.COM t8PPEMBOE4U)BSUGPSE$5

6 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM Congratulations St. Timothy’s Episcopal Church Centennial, Colorado

Congratulations to St. Timothy’s Episcopal Church in Centennial, Colorado on the installation of their new highly customized Johannus Ecclesia D-570. This 4-manual organ of 81 stops and 94 ranks in 5 divisions plays a vital role in the church’s diverse music program, supporting worship, choral works and community concerts.

St. Tim’s selected Johannus after auditioning many instruments by various builders. In consultation with trusted advisors, they selected the Ecclesia D-570 for its beautiful authentic pipe organ sound and its tonal flexibility. Only Johannus was able to customize the organ to meet their every need: a movable console featuring beautiful routed oak panels, LED console lighting, ebony and oak keyboards, wooden drawknobs, brass toe studs ergonomically mounted on sweeps, a custom stop list, MIDI sequencer, adjustable bench, mechanical and digital Zimbelsterns and the Johannus Ultimate Voice Package featuring 39 inspiring orchestral instruments. This formidable new organ, with its 4 tonal styles, is suitable for any repertoire desired.

“Only Johannus offered us everything we wanted – an authentic pipe organ sound, a high degree of customization and a caring, knowledgeable dealer who worked hard to meet our every need.”

Music Director Johannus US has dealers throughout the United States. Visit johannus-us.com to fi nd a dealer near you. If you have any questions, or would like more information about any of our organs, you Patty Lewis can contact a US representative at [email protected] St Timothy’s Episcopal Church

FOLLOW US ON Here & There

³ page 6 and Nicole Marane; 5/29, Patrick Scott; June 26, the Chenaults. For information: www.prumc.org.

St. John’s Episcopal Church, West Hart- ford, Connecticut

Choral Evensong is offered Sundays at 5:00 p.m.: September 23, October 28, January 27, February 24, April 28. The New World Trio, ensemble in residence, presents concerts: September 30, Janu- ary 13, March 31. Pipes Alive! organ recitals are pre- sented on Sundays at 12:30 p.m.: January 6, Diana Chou; February 3, Kyle Swann; St. Ignatius Loyola Catholic Church, March 3, Nathan Lively; April 7, Scott New York, New York, Mander organ Lamlein; May 5, Jackson Merrill; June 2, Randi Dalton, Susan Reim, Erin Schmandt, and Nicholas Schmelter Christa Rakich. For information: Sacred Music in a Sacred Space www.reddoormusic.org. announces its 2018–2019 season of Nicholas Schmelter, director of worship and congregational life for First Presby- concerts at St. Ignatius Loyola Catholic terian Church, Caro, Michigan, hosted a Pedals, Pipes, & Pizza event at the church Church, New York, New York: Sep- for 22 participants on June 27 as part of the Caro Area District Library’s summer tember 26, I Wish It So, with vocalist reading program, “Libraries Rock!” Event staff appearing in the photograph include Dayna Katok and pianist Michael Sheetz; Randi Dalton (library assistant), Susan Reim (organist, First Presbyterian Church), October 17, Serenade to Music, with the Erin Schmandt (library director), and Nicholas Schmelter. For information: www. choir of St. Ignatius Loyola; 10/18, Jen- schmeltermusic.com. nifer Pascual; November 3, Yale Schola Cantorum; 11/12, Estonian Philharmonic Chamber Choir and the Tallinn Chamber Muller, viol de gamba; November 21, Orchestra in music of Arvo Pärt; 11/30 Paul Goussot, silent fi lm accompani- and December 2, A Chanticleer Christ- ment; December 19, Christmas concert; mas; 12/9 and 12/16, Christmas concerts. Shin-Young Lee, organ. January 20, 2019, Renée Anne Lou- January 30, 2019, Hommage à André Peachtree Road United Methodist prette with Ivan Goff, Uillean pipes; Isoir, with François Espinasse and Church, Atlanta, Georgia, Mander organ February 8, Passion for Bach and Col- Michel Bouvard; February 27, Mous- trane, with Imani Winds and Harlem sourgski, Pictures at an Exhibition, Peachtree Road United Methodist String Quartet; 2/24, Brahms, Requiem, with Vincent Genvrin; March 27, Yves Church, Atlanta, Georgia, announces and Mendelssohn motets; March 3, Ste- Lafargue, organ, with Léa Desandre, music events for the 2018–2019 season: phen Tharp; 3/21, Songs without Words, mezzo-soprano, and Lise Berthaud, alto; September 23, Nicole Marane, with with Mark Markham; April 14, So We April 10, Thomas Ospital, organ, with John Lemley, narrator, John Lawless, Must Make the Journey, with Lorelei Jean-Claude Gengembre, percussion; percussion, Prokofi ev, Peter and the Ensemble; May 24, Handel, Dixit Domi- May 15, Nathan Laube. For information: Wolf; 9/30, Coro Vocati; October 9, nus, and Haydn, Harmoniemesse; June www.maisondelaradio.fr. Thomas Heywood; 10/30, Chanticleer; 2, Sing & Celebrate, with St. Ignatius November 4, Su-Ryeon Ji, followed by Children’s Choirs. For information: Eastman School of Music, Uni- All Saints’ choral Evensong; 11/11, Scott www.smmsconcerts.org. versity of Rochester, Rochester, New Atchison and Nicole Marane; Decem- York, announces its 2018 Eastman ber 9, The Many Moods of Christmas; TENET announces its 2018–2019 Rochester Organ Initiative (EROI) 12/14–15, Georgia Boy Choir; 12/16, season of events, in New York, New York, Festival, Finding the Organ’s Voices, Carols by Candlelight; the organization’s tenth year: September October 24–26. The festival marks February 10, 2019, Nicole Marane, 28, Sacred Vespers, Rovetta @ 350, at Grenzing organ, Radio France, Paris, the tenth anniversary of three organ Akerley, A Sweet for Mother Goose; 2/16, the Church of St. Joseph in Greenwich France (photo credit: Christophe Abramowitz) installations in Rochester: the Craig- Georgia Boy Choir; 2/26, Oliver Brett Village; December 19, Handel, Messiah, head-Saunders Organ (GOArt/Yokota/ and Malcolm Matthews; March 3, The location to be announced; January 3, Radio France, Paris, announces Arvidsson) at Christ Episcopal Church, Crown: Music from the Coronation, with 6, 2019, Monteverdi, Vespers of 1610, 2018–2019 organ events. Tours of the the Halloran-All Saints Organ (Paul the Chancel Choir and the Georgia Boy Church of St. Jean Baptiste; February 7, concert hall and organ occur: October Fritts & Company Opus 26) at Sacred Choir; April 4, Three Choirs Festival; Oh Death, Rock Me Asleep, House of the 8, November 26, January 28, 2019, Feb- Heart Catholic Cathedral, and Taylor 4/6, Coro Vocati; 4/7, Scott Atchison and Redeemer; March 28–29, Bach, St. Mat- ruary 7, May 9, and June 3. Programs & Boody Opus 57 at First Presbyterian Schola; 4/26, Georgia Boy Choir; May 1, thew Passion, location to be announced. featuring the Gerhard Grenzing organ: Church of Pittsford. For information: Su-Ryeon Ji; 5/8, Timothy Wissler; 5/15, For further information: October 28, Nicholas Bucher, with www.esm.rochester.edu/organ/eroi. Sarah Hawbecker; 5/22, Scott Atchison https://tenet.nyc. Marion Tassou, soprano, and Marianne ³ page 10

Confident pedal work MANDER ORGANS comes with practice and the right shoes New Mechanical Action Organs on the pedals

x Men’s & Women’s Organ Shoes with suede soles and heels x Whole & Half

³ St. Peter’s Square - London E 2 7AF - Sizes in 3 Widths Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 x Quick & Easy Continuo Organs [e] [email protected] Returns www.mander-organs.com OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET 44 Montague City Rd Email: [email protected] Imaginative Reconstructions Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes

8 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM

Here & There

Nunc Dimittis Nelson Bernard Newby, 72, died May 30. Born in Hartsburg, Illinois, in 1945, he graduated from Hartsburg- Emden High School in 1963. A veteran of the Vietnam War, he served from 1968–1969. Upon his return, he resumed working in Bloomington, Illinois, selling pianos and organs. In November 1977, Newby and his family moved to Florida, where he began his career as owner of Central Music. As a Rodgers Instruments and Fratelli Ruf- fatti representative, he provided organs to Around the World in 80 Minutes Nelson Bernard Newby churches across the United States and to Patrick Wedd (photo credit: Jonathan Sa’adah) the Caribbean Islands. Jeannine Jordan, organist, and A funeral was held June 13 at St. John’s Lutheran Church, Hartsburg, and David Jordan, media artist, performed After 22 years of service as director he was buried with a military honor guard at Hartsburg Union Cemetery. their program Around the World in 80 of music at Christ Church Cathedral, Nelson Bernard Newby is survived by his wife, Kimberle Newby, son Timo- Minutes for the Parish Arts Series at , and 58 years in the profession, thy (Tara) Newby, grandson Alex Newby, sister Doris (Newby) Higdon, and Fairlawn Lutheran Church, Akron, Patrick Wedd retired at the end of June brother Howard Newby. Q Ohio, April 14, and at Prince of Peace 2018. At the cathedral he was responsible Lutheran Church, Loveland, Ohio, on for three choral services each Sunday— April 18. For information: two Eucharists (one in English, the other ³ page 8 She had composed her Offertoire in www.promotionmusic.org. in French) and choral Evensong. Under Beauvais, France, in March 1915, while his direction the Cathedral Singers pre- People she was a nurse for wounded soldiers sented music from medieval times to the during the war. The performance also present day, and had commissioned and included works by Jean-Charles Gan- premiered many settings. drille, Francis Poulenc, William Bolcom, Wedd was born in Ontario and holds and Bernard Wayne Sanders. For infor- degrees in organ performance from mation: http://shusterfournier.com. the Universities of Toronto and British Columbia. While living in Vancouver for 16 years he worked in the areas of early and new music, and played frequently with the Vancouver and Canadian Broadcasting Corporation orchestras. Connor Reed He was director of music for 11 years at Vancouver’s Christ Church Cathedral. On July 7, the Young Organist In 1986 he moved to Montreal to Collaborative (YOC), centered in assume artistic directorship of the Tudor Carolyn Shuster Fournier at the choir Portsmouth, New Hampshire, awarded Singers, one of Canada’s then four pro- organ of Soissons Cathedral, France its annual Penn Brown Memorial Schol- fessional chamber choirs. With them he arship for Advanced Organ Study to concertized, toured, and recorded, and Carolyn Shuster Fournier per- Connor Reed of Bow, New Hampshire. collaborated with Montreal performing formed the world premiere of Alice R. J. William Greene Qualifi ed applicants completed a judged organizations. Wedd founded the semi- Lesur’s unpublished Offertoire en la audition for the scholarship conducted professional choir Musica Orbium, which mineur (Offertory in A Minor), opus 9, J. William Greene has recently pub- on the 36-stop, 2,425-pipe Létourneau recently celebrated its 25th anniversary. on the Jaquot Jean-Pierre & Sons choir lished new works through Sacred Music Opus 75 at St. John’s Episcopal Church, He has concertized extensively in organ at Soissons Cathedral, France, Press and Lorenz Pushing Company. Portsmouth. The Penn Brown scholar- North America and England. He played in a concert July 7 that commemo- Festive Brass is a collection of 31 concer- ship provides 24 lessons of advanced the opening recital on the fi rst Casavant rated the end of the First World War. tato style hymn settings for brass, organ, study and is named in honor of the late organ to be installed in and Also participating in the program was and optional timpani. Simply Lent is a C. Pennington Brown, a YOC supporter. played the fi rst solo recital on the Gabriel soprano Magali Léger and trumpeter collection of easy to moderate settings For information: www.stjohnsnh.org/ Kney organ of Roy Thompson Hall in Nicolas Debacq. Alice Thiboust-Lesur of Lenten hymns. Also newly released young-organist-collaborative/. Toronto. He concertized and hosted fre- (1881–1980), the mother of composer is a new Advent anthem, See How Our quently for the CBC and recorded the Daniel-Lesur (1908–2002), had studied Christ Comes, for SATB and organ. For Poulenc and Jongen concertos with the composition with . information: www.jwilliamgreene.com. Calgary Symphony Orchestra, NAXOS discs of music for organ and trombone with Alain Trudel, as well as organ works of Healy Willan. He has composed for the church, including anthems, Masses, canticles, and hymns. Wedd served on the national committee that assembled the latest hymnbook for the Anglican Church, Common Praise. He was also artistic director of the Montreal Boys’ Choir Course (now the Massachu- Mark Steinbach setts Course) for over 20 years, the longest continuously running summer course of Mark Steinbach was invited by the the RSCM anywhere in the world. Xi’an Conservatory of Music, Xi’an, In recognition of his contribution to China, for a fi ve-day residency May the worlds of organ and liturgical music 8–12. He taught masterclasses, coached he received an honorary Doctorate of the conservatory choir, and performed Divinity from McGill’s Diocesan College on the school’s new Eule pipe organ in a and an honorary Fellowship of the Royal collaborative concert of solo organ works Canadian College of Organists. At his and compositions for choir and organ. retirement he also received the President’s Mark Steinbach is university organist Award of the RCCO Montreal Centre. and senior lecturer of music at Brown A weekend celebration was held in University, Providence, Rhode Island. Montreal in June, including concert and For information: liturgical performances of the Stravin- [email protected]. sky Mass with instruments and choral

“superb musicianship, masterly technique and savvy programming … Archer’s Visser Pipe Organ Co. sweeping assurance and stamina enable you to hear the music behind the virtuosity.” Quality Craftsmanship, Creativity & Integrity — GRAMOPHONE (JAN 2018) — New Organs–Restorations–Additions–Relocation MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com All Actions & Tonal Styles • 713-503-6487 • [email protected]

10 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM Here & There

Evensong featuring music by Britten, coronation services, and a number of Howells, Gabriel Jackson, Paul Halley, state funerals. Catalogued are his 315 Concert management and Wedd. Patrick Wedd plans to con- compositions with musical examples, Karen McFarlane Artists, Inc., announces tinue concertizing and composing and works published and unpublished in the addition of Katelyn Emerson to its main will continue conducting Musica Orbium. manuscript. For further information: roster of concert organists. Emerson has been www.rscm.com. with the management for the last two years as the winner of the 2016 American Guild of Publishers Organists National Young Artist Competition in Fruhauf Music Publications Recordings Organ Performance. announces a complimentary publica- Katelyn Emerson concertizes and presents tion, Unnumbered through the Ages, an masterclasses and lectures throughout the expanded three-verse hymn anthem for United States and . She has received SATB choir and organ. Conceived in an prizes in international organ competitions, most Anglo-Catholic tradition, text and music recently in the United States, France, , and combine in a manner suitable for All . Emerson’s double degrees in organ per- Saints as well as the seasons of Epiphany formance and French are from Oberlin College and Pentecost. This is the fi rst of three Katelyn Emerson (photo and Conservatory, Oberlin, Ohio. Recipient of verse anthems to be published by Fru- credit: Joseph Routon) the J. William Fulbright Study/Research Grant, hauf, and it is the most adventurous of Katelyn studied en perfectionnement at the Con- the set, featuring the organist as a soloist servatoire de Toulouse, France, with Michel Bouvard, Jan Willem Jansen, and and accompanist. For information: Yasuko Uyama-Bouvard. She has studied with Hans-Ola Ericsson, James David www.frumuspub.net. Christie, , Marie-Louis Langlais, and Ray Cornils, among others. Over the past two years Emerson served as associate organist and Oxford announces new choral publi- All the Host of Heaven choirmaster at Boston’s Church of the Advent. Beginning autumn cations: Psalm 105, by Dominic DiOrio 2018, through a German Academic Exchange Scholarship (DAAD), (978-0-19-352296-1, £3), for SATB Acis announces a new CD release: Emerson will pursue a Master’s degree at the Musikhochschule, and organ; The Presence, by Cecilia All the Host of Heaven, featuring the , Germany. For more information and to hear recordings: McDowell (978-0-19-351198-9, £2.35), Baylor A Cappella Choir, Alan Raines, www.katelynemerson.com. For booking information: for SATB double choir unaccompanied; conductor, Isabelle Demers, organ- www.concertorganists.com. Q How can I keep from singing?, by Sarah ist, Jamie Barton, mezzo-soprano, and Quartel (978-0-19-352208-4, £2.25), for Quinn Kelsey, baritone. The featured SATB unaccompanied; and Preces and works are Durufl é, Requiem; Ešenvalds, the Dale Warland Singers and the Min- Responses, by Howard Skempton (978- Stars; and Dove, Seek Him, recorded at nesota Beethoven Festival Chorale. The 0-19-351787-5, £2.05), for SATB unac- Saint-Étienne-du-Mont, Paris, France. title work is the premier recording of a companied. For information: For information: four-movement work by Argento. For www.oup.com/sheetmusic. www.acisproductions.com. information: www.gothic-catalog.com.

Even Such Is Time

Cambridge, and the Ely Cathedral Girls’ Choir, directed by Sarah MacDonald. The CD is the fi rst recording dedicated to the works of Gotham. Seasons Even Such is Time features the Choir Utrumne est Ornatum of Christ’s College, Cambridge, UK, per- Gothic announces a new CD: Seasons: forming works of Gerald Finzi, Kenneth Choral works of Dominic Argento & Regent announces new CD releases: Leighton, Herbert Howells, and William Vincent Persichetti (G-49316, compact Utrumne est Ornatum: The Music Walton. David Rowland is conductor. disc, $19.99; digital download, $14.98). of Mark Gotham, is performed by For information: In this album, Dale Warland directs the Chapel Choir of Selwyn College, www.regent-records.co.uk. Q Sir William Henry Harris: Organist, Choir Trainer and Composer

The Royal School of Church Music announces a new publication, Sir William Henry Harris: Organist, Choir Trainer and Composer, the fi rst biography and catalogue of his works, by John Henderson and Trevor Jar- vis (ISBN 9780854022793, £27.00). Harris was organist of St. George’s Chapel, Windsor Castle, beginning in 1933 and continuing for 28 years. He was music teacher to the British royal family and played the organ for many high-profi le occasions, especially Order of the Garter ceremonies, two WEEKEND ORGAN MEDITATIONS Grace Church in New York www.gracechurchnyc.org

JL Weiler , Inc.

Museum-Quality Restoration of Historic Pipe Organs jlweiler.com

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 11 Harpsichord Notes By Larry Palmer

Armand-Louis Couperin: Complete Keyboard Works During this past concert season I have been revisiting a few of my favor- ite harpsichord solos from the French repertoire. High among these have been several works by Armand-Louis Couperin (La Chéron and l’Affl igée) and, with guest harpsichordist Mitchell Crawford, the fi rst movement of the same composer’s Symphony for Two . Following one of these concerts, my sometime harpsichord student Deborah Dana brought one of the two B-fl at solo pieces to her lesson, using a score printed from an online source. I asked her for more complete information, and she graciously sent me this link to Martin Pearlman’s website: http://www.martinpearlman.com/artist. php?view=dpk#docs. And thus began this month’s column, with its informa- tion about a very large gift to the entire harpsichord community! Pearlman’s online magnum opus comprises the complete keyboard works of Armand-Louis Couperin in a pristine scholarly edition of 350 downloadable pages: under Docu- ments, simply scroll down to the fourth Martin Pearlman at the harpsichord (photo credit: Patrick O’Connor) icon (Armand-Louis Couperin Edition Complete) and make your choices —the What a kind and useful gift! Previ- whole edition or the helpful preface, ously we have had the two volumes of followed by the individual groups of selected works for keyboard edited by pieces: a very legible modern-notated the eminent scholar and organist/harp- edition of the complete Pièces de sichordist David Fuller for A-R Editions Claveçin, several newly offered miscel- of Madison, Wisconsin, and a complete laneous solo pieces (including one with facsimile edition of the 1752 solo harp- organ registrations), and the extensive sichord pieces by Brigitte Haudebourg group of works for two harpsichords. for French publisher August Zurfl uh. There are also two appendices com- Incidentally, both Fuller and Haude- prising separate parts for Harpsichord bourg have recorded various pieces One and Harpsichord Two of the duo- from their respective print editions, as harpsichord compositions. has Martin Pearlman. All of this is offered for free down- Pearlman graciously acknowledged loading and performing: a gift from the the work of his predecessors in publica- generous and thoughtful editor, who tion. He also dedicated this extensive also has given me permission to quote study to Gustav Leonhardt, from whom from his introduction: “Based on work he took harpsichord lessons in Amster- I began in the 1970s I decided, in the dam. In a note to me Pearlman men- modern spirit of online sharing, to make tioned, “Mr. Leonhardt was quite com- Armand-Louis Couperin and his wife, portraits by Charles-Nicolas Noel (courtesy this edition available without charge to plimentary . . .” concerning the scholarly of Martin Pearlman) those who are interested in it. I ask only effort involved in this new addition to that any performers of the two Quatuors A-L Couperin scores. subjects that are presented in the fi fty- Instruments [particularly of interest which I have completed acknowledge Rather than reprint the many helpful page preface: Introduction and Acknowl- since the composer’s wife was a Blanchet my role in writing the second harpsi- sections of Pearlman’s 359-page oeuvre, edgements; Genealogical Table [of the from that family of harpsichord-building chord parts (which were missing from I present here a list of those topics that Couperin Dynasty]; Life of Armand- fame]; Performance Issues (Double Bars the manuscripts).” curious readers may fi nd to be useful Louis Couperin; Couperin’s Keyboard and Repeats, Abbreviations, Appoggia- turas, Ornaments); [A comprehensive] Bibliography; Editorial Policy; Descrip- tion of Sources; Critical Notes; and, fi nally, Portraits and Facsimiles. faculty What follows are 219 pages compris- graduate study in Thomas Murray ing the easy-to-read musical scores, which include several formerly unknown organ performance Professor of Organ works in the category “Other Pieces at Yale Institute of Sacred Music and Yale School of Music Martin Jean for Solo Keyboard Instruments.” Addi- tionally, there is access to more than a Professor of Organ hundred additional pages of individual Jeffrey Brillhart parts for harpsichords 1 and 2 of the duo works. (In our Dallas printing spree we Organ Improvisation consumed more than a ream of paper Walden Moore and several cartridges of black printer ink, all for this very “Baroque” cause.) Liturgical Keyboard Skills What treasures! What a treat! End- less thanks are due Martin Pearlman for his generosity and true collegial spirit. And, fi nally, a tip of the hat to Deborah degrees offered Dana in this, her birthday month. Once Master of Music again, as with her introducing me to the Master of Musical Arts Wagnerian unmeasured prelude by Scott Doctor of Musical Arts Ross (cited in The Diapason, July 2017, page 11), her teacher has learned from his student. And that (along with hearing musical progress) is one of the greatest joys in a professor’s life! Q Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511 Institute students receive full tel 203.432.9753 fax 203.432.9680 · ism.yale.edu/musicprograms tuition scholarships. Generous Comments and questions are wel- [email protected] awards available to qualified come. Address them to lpalmer@smu. applicants. edu or 10125 Cromwell Drive, Dallas, Texas 75229.

12 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM Reviews

Book Reviews feel under-appreciated and expendable to propose that the duets are an explora- Volume 1 contains Marsh’s treatise A High and Holy Calling, by Paul in today’s climate. Westermeyer attri- tion of vocation, a musical sending-out. on playing the organ; Volume 2, on the Westermeyer. MorningStar Music butes the seemingly inexorable tension We will never know what Bach’s true other hand, is music for performance. Publishers, St. Louis, Missouri, 2018, between pastors and church musicians purpose was, but Westermeyer’s line of The twenty pieces in this collection pro- 104 pp., $16.00. Available from www. to their divergent training: with but a reasoning is compelling. vide a window into eighteenth-century morningstarmusic.com. few exceptions, seminaries teach pastors This book may fi nd its greatest pur- English organ music in the tradition of Let’s face it—these are diffi cult times to regard music as merely one of the pose as a pastoral tool for organists John Stanley (who Marsh heard play to be an organist. Appreciation of West- church’s many side-offerings and a tool facing uncertainty, disillusioned in their as a young man), Maurice Greene, and ern art music is in decline; religious to attract people to their pews, while jobs. To these readers, Westermeyer says William Goodwin (whose Twelve Volun- affi liation is dropping at an alarming rate, conservatories foster musical excellence he hears them, and they are not alone. taries for Organ are another item in the particularly among the mainline denomi- divorced from a background in theology, —Stephen Buzard Fitzjohn catalogue). nations; and as worship attendance falls, administration, and church politics. Nei- Chicago, Illinois Marsh displays both skill and original- too, many pastors respond by slashing ther background is suffi cient, and a suc- ity of invention in these pieces, making it traditional music programs, perceiving cessful parish requires a healthy dialogue diffi cult to provide a collective descrip- traditional music as out-of-touch or elit- between the pastor and the musician. New Organ Music tion. Following some general comments, ist. In his new book, A High and Holy Westermeyer writes with the tone Twenty Voluntaries (Set 2), by John features of particular voluntaries are pre- Calling: Essays of Encouragement for of an optimistic curmudgeon: “In our Marsh (1752–1828), edited by David sented to give some idea of the variety the Church and Its Musicians, Paul Wes- culture, virtually all music is regarded Patrick and John Collins. Fitzjohn found herein. termeyer mounts a full-throated defense as a tool to sell things. Bach’s music, Music Publications, Herts, EN5 Most of the voluntaries are cast in of the importance of the organ and the however, is doing something else and 2HN, UK, 2017. fi tzjohnmusic@ the slow-fast pattern familiar to users organist in the life of contemporary reaches beyond that superfi cial patina to btinternet.com, www.impulse-music. of the Oxford Old English Organ Music Christianity. Although he draws on his essence. . . . It puts us at odds with music co.uk/fi tzjohnmusic. for Manuals volumes. First sections, Lutheran background, his words speak as sales technique and makes us—along John Marsh, an English organist and marked, “Largo,” “Largo e cantabile,” to those of any denomination. with Bach—easy targets.” Yet he sees a composer, wrote “some 324 voluntaries “Andante,” and “Adagio,” are gener- This 104-page compilation is a quick silver lining in the people we have com- for organ as well as numerous anthems, ally homophonic, expressive, and fuller read and could be devoured in a single mitted ourselves to serve, writing simply, songs, glees,” and thirty-nine sympho- textured (three voices with added notes) sitting or enjoyed as individual nuggets “Congregations are smart.” He believes nies, according to the editors’ preface. than the following sections. Second of inspiration. The fi rst section, “Refl ec- the path forward is rooted in the past, An inheritance early in his career as a sections present satisfying contrasts in tions,” is adapted from twelve columns sometimes to the detriment of his argu- solicitor allowed Marsh to devote him- tempo, texture, and harmony: these written for the newsletter of the Twin ment. For example, in a chapter about self to teaching and writing music for are energetic, imitative passages in two Cities Chapter of the American Guild healthy clergy-musician relationships, the organ, his true passion. Although voices that touch on secondary key areas of Organists. The second, “Hymns,” he describes two examples from the fi ve volumes of his voluntaries survive, before resolving to the tonic. Manual contains four brief essays on hymn play- nineteenth century. While history should only a few pieces have appeared in print indications, among Great, Swell, and ing and hymnody. The fi nal and meatiest inform the present, citing contemporary until recently. Both editors of this vol- Choir divisions, and registration sugges- section, “Vocation,” expounds on this success stories would make the case for ume bring exemplary credentials to this tions, are all original, refl ecting Marsh’s theme using the historical examples of hope—and the relevance of our profes- task: David Patrick is well-acquainted pedagogical bent; in his preface to the the Reformation, Bach’s Clavierübung sion—more compelling. with the classical English voluntary, 1792 publication, reproduced in the III, and the ministry of Paul Manz. My favorite part of the book was the having edited the multivolume set, foreword, he states that these pieces are Anyone looking for a scholarly or chapter on Bach’s Clavierübung III that 18th-Century English Organ Music, intended “chiefl y for Young Practitio- exhaustive exposition on any of these aims to contextualize and explain those (Oxford), and John Collins researches ners.” Old practitioners will fi nd them topics will be disappointed, nor does enigmatic duets just before the fugue. and performs early organ and harpsi- helpful, too. this book purport to bring forth radi- While this subject would seem tangen- chord repertoire in addition to regularly Voluntary I is lengthier than most of the cally new ideas. Instead it reads as a tial, he points to numeric symbolism, reviewing organ music and recordings others, with a da capo indication at the end rallying-cry to anxious organists who key relationships, and motivic structure for The Diapason. ³ page 14

CHORAL CLASSICS in a FEATURED GUESTS

CARITAS CONCERTS

BONUS CONCERTS

ORGAN RECITALS

CHRISTMAS CONCERTS

K. Scott Warren Artistic Director

AT THE CHURCH All Tickets ON SALE NOW! | smssconcerts.org | 212 288 2520 OF ST. IGNATIUS LOYOLA

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 13 Reviews

³ page 13 Voluntary XIX returns to the Italian and has juxtaposed it with some lyric pas- then carries us to a full organ fff repeat of the second (“Trumpet” solo) section. style, which is never really absent— sage work in the upper range of the cello of the Ode to Joy section with larger After the performer returns to the begin- Handel and other composers absorbed in between. This makes for a piece of chords, culminating in a short repeat ning of the piece and plays to the fermata it completely, and Italian musicians like some variety as the cello moves between of the opening fanfare in the left hand. in measure 58, she is apparently meant to Geminiani in eighteenth-century Lon- the two extremes: moments of stress and Amazingly, there is also a one-measure leap to the (unlabeled) “coda” in measure don kept it alive. This, the penultimate moments of repose. allusion to “Happy Birthday!” The 94, although the composer does not state piece in the collection, is one of my Carson Cooman, in his adaptation, piece is six pages long and, although this. The piece ends in a bright fl ourish favorites because of its vigorous rhyth- has chosen to take more liberties in the not extremely diffi cult, probably rates a with both hands on the Great Trumpet. mic drive, beginning with the emphatic arrangement as he takes advantage of the medium to diffi cult designation with the The solo (second) section is marked opening I–V–I chords—a Vivaldi thumb- different qualities that the organ offers. arpeggiated middle section. “Largo,” which seems like a mistake until print if ever there was one. Marked He seems to make more of the cre- This music with its dynamic contrasts one reads in the editor’s notes (a reminder “Vivace,” this voluntary is very much like scendos inherent in the music and adds would be most effective on a large organ; of how important the front material in an a concerto movement. notes to chords in the score, overtones especially one with large-scaled trum- historical edition is) that Marsh consid- This is a handsome and useful that are inherent in the strings of the pets. I believe every organist could have ered it between “Adagio” and “Andantino” volume, spiral-bound, clearly format- cello and make the piece organistic in a real “blast” with it. and used “Largo” to prevent a player from ted and printed, with much helpful the transcription. Thus, there are fewer —Jay Zoller taking the tempo too quickly. information about Marsh, tempo mark- moments of repose as the organ builds Newcastle, Maine Voluntary IV has only one section, ings, ornamentation, registration, and through large crescendos. Indeed, there played on Diapasons, and fl ows gently performance suggestions for individual are only four short measures where the thanks to galant-style triplets. Repetition voluntaries. The music is interesting and score is marked piano! From that point New Recordings is favored over development, but manual original, making John Marsh’s second set on there is increasing volume from ff to Sacred Expressions: Twentieth- changes relieve any incipient monotony. of Voluntaries an excellent addition to fff at the end. The cello score also has Century Music for Organ, Kola Voluntary VI begins with a short any organist’s collection. some music that Cooman left out, as the Owolabi, organist. Syracuse Univer- Preludio in triple meter followed by a —Sarah Mahler Kraaz cello version is about 40 seconds longer sity, Crouse College, Syracuse, New Cornet solo section marked “Allegro.” Ripon, Wisconsin than the organ score. York, 1950 Holtkamp organ. Raven Motoric rhythmic patterns in imitation The original score is very exciting. Recordings, OAR-996. Available of violin string crossings—shades of Fantasistycke, by Thomas Åberg, Cellists are encouraged to take a look from www.ravencd.com. Vivaldi—propel this part to its satisfy- adaptation by Carson Cooman. at it. The organ score, connected in so Prelude and Variations on “Old Hun- ing conclusion. Svensk Musik, 1993/2013, GB12639, many interesting ways with the original, dredth,” Calvin Hampton; L’Ascension, Whereas No. VI is indebted to Italian 80 Swedish Kroner. Available from has grown, despite being shorter in Olivier Messiaen; Four Biblical Dances, Baroque string music, Voluntary VII has www.svenskmusik.org. length, into something much bigger. Petr Eben. a distinctly Handelian aspect. A stately, “Fantasy Piece” by Swedish organist The organ can do that, and Cooman did Born in Toronto, Ontario, Kola sarabande-like “Largo” in 3/2 opens the and composer Thomas Åberg had an an exemplary job in this transcription Owolabi moved at the age of fi ve to piece with upper voices moving in paral- interesting genesis. It was written in and arrangement. his father’s native Nigeria, where he lel thirds above a supporting bass and 1993 as a piece for solo cello. Twenty Both of these composers are well fi rst began music lessons. Returning to ends on a dominant chord (C) in prepa- years later, in 2013, American composer known and have growing reputations Canada at age ten he pursued a musical ration for the ensuing 3/4 “Allegro.” This Carson Cooman adapted it for organ. in their own countries and beyond. career, winning international acclaim second section, in binary form, calls for a I listened to the cello version a num- Although not a regular collaboration, for his anthem Hodie Christus Natus full registration of Diapasons (open and ber of times before I tried it as an organ both of these composers are pleased Est, which he composed at the age of stopped), Principal, and Sesquialtera piece. The theme of the work is based with the results. I think you will be, too, thirteen and which is widely performed and begins imitatively with a sturdy ris- on a four-note motif, which is repeated no matter which instrument you play! today. He earned a bachelor’s degree in ing fourth from C to F. It is simply good many times in various guises throughout. organ performance at McGill University, fun to play and would make an excellent In the cello score, Åberg has kept the Centennial Spreckels Fanfare for followed by a master’s degree in organ prelude, postlude, or recital piece. four-note motif fairly low in the range Organ, by Carol Williams. Melcot performance and choral conducting Music Publishing, $12.00. Available from Yale University and a doctorate in from www.melcot.com. organ performance from the Eastman This piece is dedicated to George School of Music. From 2006 to 2014 Hardy, president of the Spreckels Organ he taught at Syracuse University, where Society, on the occasion of the celebra- he was also university organist and con- tion of the one-hundredth anniversary ducted the Hendricks Chapel Choir. It of the Spreckels Organ. The music must was during this period that the present have been a sensation at its premiere. recording was made, although it was A full organ trumpet fanfare opens not issued until 2016. Since 2014 he has the work with some of Williams’s clas- been associate professor of organ at the sic twists in harmony. A strong melody University of Michigan, Ann Arbor. enters immediately over repetitive As part of Syracuse University, Crouse chords in the left hand—a very powerful College was originally built as the College statement. These two pages are repeated for Women, but now houses the music before a surprise as the player turns the department. The three-manual, sixty- page. A rhapsodic melody enters pianis- one-rank Walter Holtkamp, Sr., organ, simo, remotely echoing the opening Job No. 1649 of 1950, in Setnor Audito- theme, over gently undulating sixteenth- rium, Crouse College, is one of no fewer note arpeggios in the left hand. This than fi ve Holtkamp organs purchased section is spellbinding. At its conclusion, by Syracuse University in the 1950s. It there is another surprise—a short ppp contains quite a bit of pipework from the rendition of Beethoven’s Ode to Joy from previous organ, Frank Roosevelt Opus his Ninth Symphony! 423 of 1889. Perhaps this is why it sounds At this point, the opening material fi ner than other 1950s Holtkamps I have returns in its entirety. A short transition heard, where the reeds, lacking harmonic trebles, often seem weak in the treble. Not so with this organ, which is as fi ne A. E. Schlueter Pipe Organ Co. an American-Classic instrument as one could fi nd anywhere. The pleasant acous- tics also help, as doubtless does the fact that Kola Owolabi knows the organ inside out and can use it to its best advantage.

 New Instruments  Tonal Additions  Rebuilding  Maintenance  New Consoles  Tuning How can we help you? 800-836-2726 www.pipe-organ.com

14 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM Reviews

We are only just starting to get a of Songs. The third dance, “The Dance New Handbell Music The Best of Agape for 2–3 Octaves, perspective on the twentieth century. of Jephtha’s Daughter,” describes Earth and All Stars (Alleluia, Jesus Volume 1, by various composers For a long time twentieth-century organ how she came to meet her father, as Is Risen!), arranged for 3–5 octaves and arrangers. Agape (a division music meant contemporary organ music, he returned from victory over the of handbells by Matthew Compton. of Hope Publishing Company), but this is no longer true now that we Ammonites, with timbrels and dances. Agape (a division of Hope Publishing Code No. 2832, $14.95, Level 2-3 are in the twenty-fi rst century. Mes- The story did not end well, however, Company), $5.50, Level 4- (D). (E – M-). siaen’s L’Ascension was written over 84 since tragically Jephthah found himself This hymntune, written by David Eleven best-selling pieces for the years ago, while Calvin Hampton, one bound by an oath to offer his daughter Johnson, is arranged in a dynamic, fes- cost of three makes this collection a real of the fi rst musicians, alas, to succumb as a sacrifi ce in thanksgiving for his vic- tive setting that will thrill the player and bargain. These contemporary settings to AIDS, died over 33 years ago. Petr tory. The dance expresses the emotions the listener. Several handbell techniques are arranged by Peggy Bettcher, Susan Eben, who died a mere decade ago, was of the situation as the joyful opening and vibrant rhythms bring the piece to a E. Geschke, Sharon Elery Rogers, and the only composer on this CD to make it gives way to a more somber mood at brilliant conclusion. Douglas E. Wagner. The arrangements into the twenty-fi rst century. When I was the end. Again Kola Owolabi handles are engaging and guaranteed to appeal a teenager, the date of composition of the confl icting emotions of the piece Easy Favorites for the Handbell to both ringers and listeners. Franck’s Trois Chorales was more recent in a masterly fashion. The fi nal dance Soloist, Volume 2, arranged by than the composition date of Messiaen’s is entitled “The Wedding in Cana” and Cathy Moklebust, accompaniments Open My Eyes, arranged for 3, 4, or L’Ascension is now. Queen Victoria’s is a joyful nuptial dance, although it is by David Moklebust. Choristers 5 octaves of handbells and optional reign was nearer in time than the World not strictly Biblical since the Johannine Guild, CGB1022, $39.95, also avail- 3, 4, or 5 octaves of handchimes, by War II now is. Sic transit gloria mundi. account does not mention dancing at able audio accompaniment CD, Karen Thompson. Choristers Guild, Prelude and Variations on “Old the wedding, though there doubtless CGBD68, $49.95 (E – M-). CGB 1011, $4.95, Level 3 (M). Hundredth” by Calvin Hampton was would have been. The piece builds up As with the fi rst volume, this set is Based on the old hymntune, Scott, composed in 1975 and originally to a fi tting climax. arranged for handbell soloist and key- “Open My Eyes, that I May See,” this consisted of a prelude and nine varia- Kola Owolabi’s excellent playing and board accompaniment. Pieces span the arrangement opens with some lush har- tions. Hampton wrote an additional the interesting choice of repertoire church year, with Advent and Christmas monies that then move to a gentle, more three variations when Cherry Rhodes results in a compact disc that helps us titles being the easiest. The soloist’s part contemplative section, ending quietly gave the European premiere at the St. get more of a perspective on twentieth- is included as a pull-out booklet. These with suspended mallets. Very creative Alban’s Festival later in the year. The century organ music. arrangements are creatively written and and effective. variations employ compositional tech- —John L. Speller provide a variety of colorful harmonies —Leon Nelson niques borrowed from such compos- Port Huron, Michigan and rhythms. Vernon Hills, Illinois ers as Reger, Karg-Elert, Tournemire, and Dupré. It is thus rather eclectic in style, but is also both festive and vir- tuosic. It requires varied styles of touch and phrasing, as well as wide-ranging changes in registration, and Owolabi pulls these off extremely well on the Holtkamp organ. Back in the twentieth century when it was written, Olivier Messiaen’s L’Ascension seemed shockingly new to the sensibilities of the time. Now it is a familiar old friend. The first move- ment, Majesté du Christ demandant sa gloire à son Père, sounds both profound and warm on the Holtkamp organ. Owolabi makes particularly effective use of the 8′ Schalmey as a solo stop in the second movement, Alleluias sereins d’une âme qui désire le ciel. Although artfully performed the third movement, Transports de joie d’une âme devant la gloire du Christ qui est la sienne, does not quite come off on the Holtkamp organ, whose manual reeds lack éclat and élan and whose Pedal reed is a little soft in compari- son with that of a Cavaillé-Coll organ. Owolabi plays the final movement, Prière du Christ montant vers son Père, with much warmth and feeling. The earlier years of the Czech com- poser Petr Eben were less than happy. His father was Jewish, and he found himself in a Nazi concentration camp during World War II. After the War he remained under a cloud during Com- munist rule, owing to openly being a Roman Catholic and his refusal to join the Communist party. His life took a decided turn for the better, however, when Czech democracy was restored in 1989, and he then became some- thing of a national celebrity. The most recent works on the recording date from shortly after this. The Four Biblical Dances were written in 1990–1991 and published in 1992. A familiar story from the Bible records how King David shocked the Israelites by dancing in front of the Ark of the Covenant, kicking up his legs in such a way as to show everything he had. This is commemorated in the fi rst of the Four Biblical Dances, “The Dance of King David before the Ark of the Cov- enant.” Owolabi gives an excellent per- formance that captures the wild frenzy of the occasion. The mood changes from frenzy to tender in the second dance, “The Dance of the Shulamite,” which references Solomon’s bride in the Song

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 15 In the wind...

Lunching with geniuses Let’s hear it for the little guys I used to be an avid baseball fan. Start- It may be the genius luminaries of the ing with the “Impossible Dream,” the fi eld that we think of fi rst, but lurking in fabled 1967 season of the Boston Red their shadows are thousands of talented Sox, I followed the hometown team aided craftsmen and musicians, without whom and abetted by my father, who had grown the history of our instrument would up in Cincinnati following the Reds from be incomplete. William Horatio Clark the bleachers of Crosley Field. Dad had (1840–1913) is one whose work has the same seats at Fenway Park for more interested me because our paths have than thirty years (section 26, row 4, seats crossed several times. He was born into 13 and 14), and he and I had an unbroken a musical family in Newton, Massachu- streak of twenty-fi ve consecutive opening setts, and took his fi rst regular job as a day games there, unbroken even when church organist at the Unitarian Church opening day coincided with Good Friday, of Dedham, Massachusetts, at the age of and the priest and the organist had to sixteen. He subsequently was organist make special arrangements! A big part at the Berkeley Street Congregational of my adult relationship with my father Church in Boston (now the site of happened in those seats, and though I do Morgan Memorial Collection Center not follow the game anymore, I cherish on Melnea Cass Boulevard, very close the memories. to the location of the Hook workshop), Some of my colleagues play Virtual and moved to the First Congregational Baseball, a well-organized game in which Church of Woburn, Massachusetts, in they build teams by drafting and trading 1861, which is where I fi rst came across “real” players and keeping track of their his legacy. 1870 E. & G.G. Hook Opus 553, Die Berliner Hook-Orgel (photo credit: John Bishop) virtual teams based on the daily statistics The First Congregational Church of their players from the live major league of Woburn was built in 1860. It is an baseball games. They track wins and enormous wood-frame building whose losses, and if they have built good teams, 196-foot spire is reputed to be the tall- play through the playoffs and World est wooden steeple in North America. Series. It is very sophisticated and they are The magnifi cent three-manual organ by very devoted, and there is some wagering E. & G. G. Hook (Opus 283) was also involved to keep things interesting. built and installed in 1860, and I was Throughout my career, I have watched fortunate to serve as assistant organist the progress of many organ companies, there while I was in high school. The both domestic and foreign, and it occurs organbuilder George Bozeman was to me that we might develop an organ- organist there, and as I remember it building version of Virtual Baseball. We from my headstrong youth, he created would make up cards with photos and the position for me partly as the terrifi c lists of skills of all the employees in all educational experience it was, and partly the workshops, document their contribu- so I would be there to cover for him as tions to the various organs they worked his organ work required him to travel. on, and build a virtual “dream team” of My fi rst organbuilding experiences were craftsmen. No? Perhaps not. summer jobs in Bozeman’s shop in 1975 We follow the great names in organ- and 1976, and I am grateful to him as building as avidly as the most enthusias- friend and mentor. tic baseball fan in a sports bar. We cite That was one of my fi rst cracks at their great instruments, celebrate their leading a choir, and I was naïve enough 1879 Wm. H. Clarke & Co. organ, Sacred Heart of Jesus Catholic Church, Bethle- innovations, and rattle off specifi cations, that it never crossed my mind that con- hem, Ohio (photo credit: John Bishop) just like we rattled off great starting ducting from an attached keydesk was line-ups of history with our seatmates supposed to be diffi cult. Today, as I meet their Opus 553 there the following year, at Fenway Park. (Did Rico Petrocelli with organists and organ committees also voiced by Stephen Kinsley. During bat before or after Tony Conigliaro in who cannot conceive of such a thing, I my high school tenure, there were two the 1967 Red Sox?) We single out our am grateful for that early experience. tremendous three-manual Hook organs organbuilding heroes, past and present, And what an organ. Thirty-fi ve ranks in my life. chronicling their careers and the instru- of Civil War era tone color, brilliant I have a vivid memory of a recital ments they produced. choruses of Principals, two Trumpets, played by James Busby at the Unitarian We trace how organbuilders and an Oboe and a Clarinet, and a doozey of Church (currently organist at St. Ste- organists infl uenced each other, and if a Pedal Posaune with wood resonators. phen’s Episcopal Church in Providence, you are anything like me, we imagine As a seventeen-year-old I knew it was a Rhode Island), joined by soprano Elisa- conversations between them. Gottfried wonderful organ, but I had no idea how beth Phinney. Together, they offered Silbermann and J. S. Bach must have fortunate I was.1 You can see photos and Bach’s Cantata 51, Jauchzet Gott in allen had lunch together a couple times, as specifi cations of the organ at https:// Landen. The organ included a Carillon did Aristide Cavaillé-Coll with Charles- pipeorgandatabase.org/OrganDetails. (I think the knob said “Carrillons”), the Marie Widor, and Dirk Flentrop with php?OrganID=8041. fi rst percussion stop in an American E. Power Biggs. How I would love to The Reverend Stuart Nutter came as organ. It was a set of 29 metal bars struck have been a fl y on the wall, or even a new pastor during my time there, pro- by piano hammers, located above the top seated at the table for one of those meals. viding my fi rst experience with conser- manual behind the music rack, and play- I have read that Bach played a couple vative evangelical preaching. I was not able without wind using a mechanical pianofortes built by Silbermann and did close with members of the congregation, coupler, and Busby used that distinctive not think much of them. Maybe after that but I recall that members of the choir voice as part of “Bach’s Orchestra.” the lunches were over. Cavaillé-Coll was were not happy with his messages. One Mrs. Phinney taught singing at the a parishioner at Saint-Sulpice in Paris winter Sunday, there was a tremendous New England Conservatory of Music for until his death in 1899, when Widor roar as a huge load of wet snow slid off thirty-two years. Her daughter Monique, William Horatio Clarke (photo courtesy of was in the middle of his tenure there the roof and fell fi fty feet to the parking also a singer, was one of my high school Indiana Historical Society) and at the height of fame and creativity. lot. It seemed a sign that it was Pastor pals, and her husband Keith was direc- Cavaillé-Coll was thirty-three years older Nutter’s car that was utterly fl attened, tor of music at nearby Bedford (Mas- In 1873 he become organist of the First than Widor and was largely responsible such a wreck that three of the wheels sachusetts) High School. I remember Methodist Church in Erie, Pennsylvania, for Widor’s appointment at Saint-Sulpice. were broken off. several great experiences when I was and in 1874 he moved to Indianapolis, That great organ was nearly forty years I do not know if William H. Clarke accompanying Monique in various local Indiana, to become organist of the First old at the time of Cavaillé-Coll’s death, had anything to do with the planning of performances, and her parents were Baptist Church. While he was in India- and they must have talked about it fre- that Hook organ, but it is fair to assume there as coaches. napolis he founded Wm. H. Clarke & quently. I bet they had a regular weekly that he was present for at least part of the William Clarke was thirty years old Co., Church Organ Builders, enticing his table at their favorite bistro and were installation, where he would have met when the Hook organ was installed in the friend Stephen Kinsley to leave E. & G. G. sometimes joined by friends like Charles Stephen P. Kinsley, the brilliant voicer Unitarian Church and had moved back Hook to become head voicer. If I were Gounod or Camille Saint-Saëns. for E. & G. G. Hook. Clarke left Woburn and forth between jobs six times. His lon- building a virtual organ shop, I would Robert Clicquot and François Cou- in 1865, returned to the Berkeley Street gest tenure was the four-year stint at the want to have Kinsley as my voicer! perin, Henry (Father) Willis and Samuel church for a couple years, then returned Congregational Church in Woburn. He After the Unitarian church closed, Sebastian Wesley, Ernest Skinner and to Woburn where he stayed until 1869, stayed with the Unitarians and their grand E. & G. G. Hook’s Opus 553 was dis- T. Tertius Noble, and Charles Fisk and when he moved across Woburn Center forty-fi ve-rank organ for only one year, mantled by the Organ Clearing House, Daniel Pinkham are among other lunch to the Unitarian Church. It was no coin- and showed up in Dayton, Ohio, in 1871 restored by Hermann Eule of Bautzen, partners I would love to have joined. cidence that E. & G. G. Hook installed as the superintendent of school music. Germany, and installed in 2002 in Die

16 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM By John Bishop

for four years after I graduated in 1978. It was from him that I learned the fun- damentals of organbuilding and wood- working, tuning, and troubleshooting. One of the projects we did together was the restoration of another organ by Wm. H. Clarke & Co. This one in Sacred Heart of Jesus Catholic Church in Bethlehem, Ohio, a commanding stone Gothic building with a tall spire that was visible from many miles away across roll- ing farmland. The church’s organist was a high school student from a farming family with thirteen kids, who had the presence of mind to organize the par- ish to fund the restoration of the organ. The project was guided by his dream Organ Information.” He wrote music for that the organ should be “plaqued” by organ, edited anthologies of organ music the Organ Historical Society, and we and anthems, and worked as an organ completed the work in 1980. You can see consultant by correspondence until his the specifi cation of the organ at https:// death in 1913. pipeorgandatabase.org/OrganDetails. William Clarke was not a distin- php?OrganID=4256. guished or renowned organbuilder, and Garth Peacock of the Oberlin organ his organs are not remarkable for their faculty played the dedication recital. size, content, or innovations. Rather, Part of the historical authenticity of our they were good, solid, reliable church project was the restoration of the feeder organs. The two that I have known didn’t bellows and hand-pumping system. The include reeds, perhaps wise because recital was to close with the singing of a neither Yarmouthport, Massachusetts, hymn led by the hand-pumped organ, nor Bethlehem, Ohio, had organ tuners and I was the designated pumper. I do nearby in the 1870s. not remember which hymn it was, but Judging by the number of times he I do remember the impish glint in Pea- jumped from one short tenure to another, cock’s eye (we could see other around William Clarke may not have been the the corner of the organ case) as he drew most stable or reliable of church musi- more stops, fi lled in the chords, and cians. Maybe he argued with the pastors. played octaves in the pedals, requiring I imagine he was a colorful and exciting me to fl ail the pump handle up and down organist because of the number of times like the clapper between the two bells of he was welcomed back for a second stint an alarm clock! at a church where he had presumably § left in a huff or been dismissed. I have played and loved organs he knew, built, William Clarke moved from India- and others that he presumably designed. napolis to Toronto where he became I suppose he would have been an inter- organist of the Jarvis Street Baptist esting guy to talk with. It would be my Church in 1884, then served Plymouth fi rst choices to have lunch with Ernest Congregational Church there from Skinner or Aristide Cavaillé-Coll, but if 1884–1886. From 1886 to 1888, he was neither were in town, I would be happy 1860 E. & G. G. Hook Opus 283, First Congregational Church, Woburn, Massachu- organist of the First Baptist Church of to sit with Mr. Clarke. I know some good setts (photo credit: William T. Van Pelt) Rochester, New York, and he returned lunch spots in Woburn. Q to the First Congregational Church in Notes Kirche zum Heiligen Kreuz in Berlin. across the country, and a different singer Woburn, Massachusetts, in 1888 where 1. I had my weekly lessons and practiced Thomas Murray played the dedication came to Yarmouthport each Sunday to he served until he retired in 1892. after school on a three-manual organ by recital. It is known as Die Berliner participate in the service, another great In his last years, he lived in Reading, C. B. Fisk: http://www.cbfi sk.com/instru- Hook-Orgel and is highly regarded in its educational opportunity for a young Massachusetts (which adjoins Woburn), ments/opus_50. When I got to Oberlin as a freshman in the fall of 1974 (the Flentrop unique situation as a nineteenth-century organist. It was after my last summer on where he wrote a treatise on organ in Warner Hall was dedicated that Novem- American organ in a German church. Cape Cod that I went to Oberlin, where mixtures, a “Cheerful Philosophy for ber), I was surprised to learn that some of my Wm. H. Clarke & Company built I was reunited with several of the singers Invalids,” and a booklet on “Valuable peers had never played a pipe organ before. fi fteen organs that we know of, two of I had worked with in Yarmouthport. which have been part of my life. My The Wm. H. Clarke/Andover organ parents purchased a little house in was a simple and small instrument, but Yarmouthport, Massachusetts (on Cape it was lovely, and I loved playing on it. It Cod), in 1968 where we spent summers, was about two miles from home, and I did and where they moved after my father’s all that walking in bare feet, a memory retirement. There are two historic that sends lightning bolts up and down ranks II — 19 organs in Yarmouthport, but it was at my legs today. I played recitals each sum- the Swedenborgian Church where I mer, and I know that instrument was an served as organist for the summer-only important part of my early education. In

opus 133 congregation. The organ had been built 2002, after I had joined the Organ Clear- carolina north valdese, by Wm. H. Clarke & Co. in 1872, then ing House, I was invited to play another rebuilt and modifi ed by the Andover recital, the fi rst of many lecture-recitals Organ Company in 1960. You can see I developed. My topic was roughly the “before and after” stoplists at https:// history of the nineteenth-century Ameri- pipeorgandatabase.org/OrganDetails. can organ, with special attention given php?OrganID=8978, a study of sign-of- to William Horatio Clarke. I was fortu- the-times organ renovation. nate to learn that the Indiana Historical

Clayton Priestnal was pastor of the Society had considerable material about Presbyterian Church Waldensian small congregation (he served a parish in Clarke’s life, family, and work, which is rneauor Philadelphia during the winter) who was the source of the biographical informa- ou ga et n .l s .c the epitome of Central Casting’s version tion I am sharing here. w follow o w us on m of a rickety country minister. He was a As a student at Oberlin, I worked part- w facebook! slight man with the shaggiest eyebrows I time and summers for Jan G. P. Leek, had ever seen, who had a way of bounc- the ebullient organbuilder who was the ing up and down on the balls of his feet school’s full-time organ and harpsichord for emphasis as he was preaching. He technician until he left to start his own had established a relationship with the fi rm during my junior year. He was a Highfi eld Theater of Falmouth, Mas- fi rst-generation immigrant, who appren- sachusetts, a summer theater company ticed in the Netherlands as a child and 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA t that specialized in productions of Gil- came to Cleveland to work for Walter 800 625-7473 [email protected] bert & Sullivan operettas. Cast members Holtkamp, Sr. He was a great teacher were conservatory voice majors from and a lot of fun, and I stayed in his shop

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 17 On Teaching

Refl ections from a trip thirteen, and the stay in London was, at I recently returned from an unusually seven months, quite a long one for some- long vacation, and it has been around six one at that formative age, I had a lot of weeks since I have taught or even played experiences during that long-ago time a note on the organ or harpsichord. that were directly part of my own early For part of this time I was traveling in musical development. By and large, England—mostly London—with fam- those resided in the fairly deep recesses ily members. I am in the process of of my mind, but they came fl ooding back. discovering, as I get back to my regular It was in London, during the fall of routine, that there are aspects both of 1970, I really discovered the Beethoven being off from work for that long and, piano sonatas. This was not so much as a especially, of visiting London that have player, but as a listener. I had the radio lead me to refl ections about teaching, on much of the time that I was hanging playing music, the art of practicing, the around our apartment that year, and business of helping to motivate students BBC Radio 3 happened to be playing, or to understand and work with their over part of that season, a large sample motivation, and various other tiles from of Alfred Brendel’s early recording of the the mosaic of the work that I do and that Beethoven sonatas. These performances I write about. I want to set some of those were a revelation to me. I had certainly refl ections down here, before they have heard Beethoven’s piano music—and a chance to fade away. Admittedly, this some of his other works—prior to that. column is a bit miscellaneous. Yet, until then, I found the pieces unsat- I grew up in an academic family, and isfying: sort of fragmented or arbitrary. we had various sorts of long breaks from Looking back it is almost certain that I was our normal life at home. Some of those too young to appreciate them. My whole were the three-and-a-half month sum- orientation to music started with Bach mer vacations that seemed to me grow- and Handel, and I think that Beethoven ing up to be the norm. (More about that was frighteningly anarchistic to me as an later.) But there was also an occasional eleven- or twelve-year-old. Occasional sabbatical, when we would be away from listening to a sonata played by Rubinstein, home for eight or nine months, and really Schnabel, or Fischer had not enabled me settle somewhere. During one of these to break through that. However, for what- periods, when I was thirteen years old, ever reason, these Brendel recordings we lived in London. I also spent other, made perfect sense out of the music for shorter, chunks of time in London in my me, and in so doing opened up the whole teens, but, until a few weeks ago, I had world of post-Baroque music to me. not been there in forty-two years. (The I noticed, a week or so after returning reasons for this were varied and random: home from London, that the only music budget, logistics, other things going on, that had been going through my head and my own aversion to air travel.) since then were Beethoven piano sona- The fi rst, and biggest, phenomenon tas! The experience of being in London that I noticed being back there after all has apparently re-awakened something that time was just how powerful it felt to amounting to a preoccupation with those me—it was as if the years had melted away. pieces. I think that, if I had any piano It felt like a new and compelling combina- (as different from organ, harpsichord, tion of a dream and reality. Walking, and or ) technique, or perhaps if I in some cases, re-walking the streets of had a Beethoven-era piano to work with London felt like one of the most impor- (and the requisite technique) I would tant things that I had ever done. I knew quite possibly be interested in approach- that living in London had been important ing those pieces as a player. Indeed to me, but I was completely unprepared perhaps I will sit down and read through for how powerfully being there again after some of them, though without expecting such a long time would hit me. anything much in the way of rhetoric or interpretation, since I do believe that Early life experiences mastery of the instrument is as crucial and later infl uences as being able to learn the notes, and I What does that have to do with music, defi nitely do not have that with piano. or with teaching? Well, it reminds me of, So, in addition to the importance that and sort of ratifi es for me, the importance early experience plays in shaping what of early experience in shaping what we we care about or are interested in, I am care about, how we think and feel, and reminded of the notion that coming to what is more important and less impor- something naturally, when the time is tant to us. Only some of that, of course, right, is a valuable process. I did indeed is about music—maybe little or none for (try to) play a fair amount of Beethoven some people, a lot for others. And it is on the piano as a teenager. But, even not a point that is obscure or controver- though by then I loved listening to that sial, let alone specifi c to me. However, music, I never felt any affi nity for it as it came fl ooding back to me during this a player. Any work that I did on it felt particular time, and that in turn reminds forced, any practicing that I did of it me to renew my commitment to helping (and I did much too little) was impatient students discover what it is that they most and vulnerable to distraction. Of course care about, what draws them to what perhaps I “should have” made myself Statue of Mozart in London they are proposing to do in music—why work harder and better way back then, they are doing it—and to helping them to as a matter of discipline or dedication. plain more) when I was young? Suppose On another matter altogether: we explore where that all come from. Nevertheless, I could not or did not, and that specifi cally a teacher had man- walked past a house where Mozart lived In fact the fi rst student whom I saw that process feels to me (even more so aged to force or coerce me into doing for several weeks during 1764, when after I got back was a new student. And after the recent experiences that I am so. Would that have been good or bad? he was eight years old, and where he I felt like I could sharpen the focus of all describing here) like a completely differ- Even if the process feels unnatural, is the is said to have written his Symphony of the questions that I like to ask, such ent one from working on something out long-term loss too great to indulge the #1, K16. The house is located at 180 as “Why are you here?” “What interests of genuine interest and desire. preference for what feels to me natural, Ebury Street, just south of Sloane you about the instrument(s) and their organic, inner-directed? Is it a shame Square, which was a rural area at the repertoire?” “What is your fi rst memory Early life experiences that a fairly accomplished, middle-aged time Mozart lived there. (As far as I can of being aware of organ/harpsichord/key- and later regrets player feels regret about missing the tell, it is indeed the same building that board instruments?” and so on. I felt even On the other hand, as I refl ect on how chance to learn a particular part of the is there, on a quiet street very much in more comfortable than I have in the past the trip relates to my teaching, I wonder: repertoire? There is always an infi nite the middle of the city, now.) Mozart’s making such questions the center of the What are the downsides to my strong amount to regret and no one can do father, Leopold, was recovering from an process of our beginning to work together. focus on following one’s own deepest everything. Also it is impossible (isn’t it?) illness at the time, and apparently this Nevertheless, there were also things artistic interests? Would I, for example, to know with respect to any given child, necessitated quiet, and thus his children surrounding this trip that were much have been better off if I had somehow teenager, student of any age, what he were not allowed to play music. Thus, more specifi c to music and to my musi- found a way to get myself to practice or she will or will not wish that you had it was a good opportunity for Wolfgang cal life. Not surprisingly, since I was Beethoven more effectively (and just made them do along the way. Amadeus to focus on composition.

18 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM By Gavin Black

that you only know something if you know or think that someone is listening. know it. No one knows that which they So what about overheard practicing? For have not yet learned. This is one bed- me as a random casual listener, this was rock reason, though certainly not the performance, even though for the person only one, for teaching at all. It is also, seated at each of those organs it was not! It I believe, closely allied to this: that no certainly had some of the signifi cance for one knows or can know everything. So me that we usually associate with having knowing what we do know and what heard a performance. Here I am remem- we do not is critically important. And bering it a month or so later. Each of those knowing how to fi nd things out is as brief listening experiences added a little important as, or maybe more important something to the edifi ce of what it means than, knowing things. to me to have spent my life hearing music, Twice on the England trip I happened and to my awareness of what the organ is. to walk through a space where some- The last thing that I will mention for Plaque marking the Mozart family resi- one was practicing the organ. One of now is that, back in London, I poked my dence in London these spaces was King’s College Chapel, head briefl y into Holy Trinity, Sloane Cambridge, with its famous Harrison & Square. In 1970 we lived a few blocks assume, but I have now read that Edwin There is a statue of Mozart in the Harrison, and the other was Bath Abbey, from this church, and I used to go to Lemare, Walter Alcock, and John Ireland square near the house and a plaque where there is a Klais organ from 1997. I short organ recitals there. I don’t remem- were organists of the church at one time on the house itself. In fact, that block knew a lot about the King’s organ already, ber whether it was a daytime or evening or another. I do remember there being of Ebury Street has been renamed, or but nothing about the instrument in Bath. series—and if the former, exactly how I a picture of Jean Langlais on the wall, given the additional name of, Mozart As an organ groupie, I was excited to squared that with going to school. But taken on a visit of his to the place. I did Terrace. All of this happened a long hear both. So in each case I stood there I do remember that the sound of that not know much about him at that point, time after the Mozart family’s residence listening for a while, probably staying a bit organ and the ambience of the place but I was nonetheless impressed! Q there. Although Leopold Mozart was an longer than I would have otherwise. helped seal the deal regarding my inter- esteemed musician, and both Wolfgang The experience reminded me of est in the organ. I also remember that Gavin Black is director of the Princ- Amadeus Mozart and his older sister something I wrote in this column back in there was a strong sense of history there, eton Early Keyboard Center, Princeton, Nannerl were known as child prodigy March: Performance is playing when 1) that I found mesmerizing. I would not New Jersey. He can be reached by email performers, none of them were earth- you know that you are playing, and 2) you have recognized all of the names then, I at [email protected]. shaking celebrities back then. This leads me to the principle thing that I was trying to achieve by visiting and contemplating the Mozartiana around Ebury Street: the elusive awareness that Mozart was a person—a real, regular (though phenomenally talented) person. When he lived in Ebury Street, Mozart walked with his own ordinary feet over the same ground that my family and I A UTHENTIC SOUND were walking on last month. Did he like to walk down to the river? Was he more worried about his father or consumed by FROM REAL PIPES: his music? What was there to eat in the neighborhood? Did Mozart fi nd the old buildings around London cool? Standing in awe of geniuses like Mozart, Beethoven, Bach, makes plenty THE ORIGINAL TECHNOLOGY. sense. Their intellect is awe-inspiring, and there is something about perceiving their work as out of the ordinary that can be extraordinarily powerful. But this perspective is usually by default. It is important to remember that they were also ordinary humans with everyday lives. INVEST ONCE... By the way, on a perhaps somewhat macabre note, another spur towards trying to take in the sense of the great fi gures of the past as real people is to THINK APOBA. be found at and other places that house tombs of famous people. It is sobering and moving to walk past (or on!) the spaces that contain the actual mortal remains of, say, Elizabeth I, or Dickens, or Handel. The very bones that held the pen that composed Messiah NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING, REBUILDING AND SERVICE FIRMS are right there . . . . BUILDER MEMBERS A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. No one knows everything. Andover Organ Company Holtkamp Organ Company Schoenstein & Co. Thinking back to Beethoven and Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders Mozart reminded me of something else, Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs Bond Organ Builders, Inc. Muller Pipe Organ Company not from London directly, but about even Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS earlier in my life. I recall that when I was C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. something like six or seven years old, I Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems came across both of those names—Mozart Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources in a children’s book about composers, and Garland Pipe Organs, Inc. Quimby Pipe Organs, Inc. Peterson Electro-Musical Products Beethoven in the title of the song Roll Over Beethoven, which I probably heard sung by the Beatles. I remember being disturbed about the pronunciations of both of those names. I thought that “Mozart” should be pronounced with a “z” in the middle, and Call today for APOBA’s Please watch and share that “Beethoven” should be pronounced Pipe Organ Resource Guide our short video at: such that the fi rst syllable rhymed with and Member Prospectus www.apoba.com/video “beneath,” and the rest sounded like the appliance in which you might bake some- thing. I was sure that the grown-ups had it all wrong. I had never thought of the notion of different languages using letters differently, or having different sounds. Apoba.com 1-800-473-5270 My point is that this is an example of a simple fact that it is easy to forget:

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 19 Pipe organ documentation

The 1864 William A. Johnson Opus 161, Piru Community United Methodist Church Piru, California, Part 2

A virtually complete documentation and tonal analysis derived from the data, drawings, Façade complete Façade removal and photographs from the restoration of 1976 by Michael McNeil and David Sedlak

By Michael McNeil

Editor’s note: Part 1 of this article was smaller pipes. The side fl ats contain published in the August 2018 issue of pipes of the Open Diapason with con- THE DIAPASON, pages 16–20. siderable overlengths. This is the only architectural fl aw in this otherwise stun- The casework in pictures ningly designed case. The use of pipes The entire casework of Opus 161 of very different lengths is an important is executed in solid black walnut, and architectural device—it gives a sense of in the author’s opinion is among the scale, making the larger pipes appear best of Johnson’s cases with its elegant more imposing in contrast. But façades proportions and understated Gothic with pipes of extremely different size are ornamentation. The window above more complex and more expensive to the entrance of Eastside Presbyterian make. Compared to the vast majority of Façade detail Figure 7 Church, its original home, displayed nineteenth-century façades, Opus 161 is similar, restrained Gothic form and one of the fi nest aesthetic designs. observing well-worn and professionally ornamentation. Elsworth’s book illus- installed felt bushings in the openings trates a great many of Johnson’s organs, The keydesk in pictures of the stop jambs. But a more likely among them Opus 134, built in 1862 The reader should refer to Part 1 of explanation is that the round shafts and for St. Luke’s Episcopal Church in this series for photographs of the key- extant jambs were added at a later date, Lanesborough, Massachusetts.17 Opus desk and stop jambs (August 2018, pages and this goes a long way to explain the 134 has nearly identical stiles and 17–18). Elsworth described the keydesks disappearance of the split bass stops, ornamentation, but its proportions of Johnson organs from the period of all of which were screwed together to do not soar in the elegant manner of Opus 43, 1855, to Opus 268, 1868: make continuous stops with no splits. Opus 161, perhaps the result of limita- And this nicely explains the current The manual compass was invariably tions in height. It is ironic that one of fi fty-six notes, from CC to G3. The stop specifi cation with 20 controls instead of Johnson’s best aesthetic creations has knobs were disposed in vertical rows on the 22 controls indicated in the opus list languished in anonymity for decades. each side of the manual keyboards, and al- of the Johnson factory. Many American churches built in the ways had square shanks with round knobs The organ was initially supplied with that had fl at faces. Into these faces were set early nineteenth century did not have the ivory labels with the stop names. The a hook-down Swell shoe, normal fare for a provision for a pipe organ, and as labels were always engraved in Spencerian Johnson’s work of this time. This feature a consequence Elsworth noted that script with no pitch indication. The name- was deleted, and a balanced Swell shoe most of Johnson’s earlier organs were plates up to about 1867 or 1868 were of sil- was installed by crudely re-routing the ver, engraved “Wm. A. Johnson, Westfi eld, Figure 8 furnished with sides to the cases of the Mass.”19 action of the Great to Pedal coupler roll- free-standing organs produced for such erboard. Note the added Swell pedal in churches.18 As previously noted, Opus Figure 7, the missing hook-down pedal buttons were showing their age. There 161 originally had such side panels to This description provides some evi- in Figure 8, and the damage to the were no funds for such work in 1976. its casework, and these were found dence that the organ was modifi ed action in Figure 9 and Figure 10. All In Johnson’s action we see similarities crudely sawn and nailed behind the during its installation at Piru. The stop of this damage was repaired in the 1976 to Samuel Green. Bicknell writes: façade. The Piru church elected to action does indeed have square shanks restoration and the original hook-down Green introduced or developed numer- place the façade casework fl ush with leading to the bellcranks, but the shafts mechanism refabricated. The fi gures ous refi nements to the mechanism. He of- the wall of the church, necessitating the connecting to the square shanks and show the condition of the console prior ten arranged pipes from f# up in chromatic removal of the side panels. leading through the stop jambs are to the restoration. order on the soundboards, even in large As was typical of nearly all nineteenth round. The author had initially believed organs. This reduced the extent to which rollerboards were required. . . . To make century organs, the façade contains no that the stop jambs were original, The key action in pictures the key action readily adjustable the ends The basic layout of the key action can of the trackers were fi tted with tapped be seen in Figure 6 in Part 1 of this series wires and leather buttons. The appearance (August 2018, page 20). With the excep- of Green’s consoles was enhanced by the use of ivory inserts screwed into the heads tion of the repositioning of the Swell of the stop knobs, engraved with the name chest and the addition of the balanced of the stop. . . . Green also usually made Swell pedal, the key and stop action of keyboards with white naturals and black Opus 161 was well worn but virtually sharps. . . .20 unaltered in 1976. The damage to the trackers on the Pedal couplers from the All of these features are found on installation of the balanced Swell pedal Opus 161. The photographs of the action was repaired in 1976 with new track- were all taken in 1976 prior to the resto- Church of Saint Jude the Apostle ers, wires, felts, and buttons, and basic ration work. Wauwatosa, Wisconsin repairs to the stickers on the Swell to Three manuals – forty ranks Great coupler were made, but this was a The stop action in pictures stopgap solution. At this time the console The stop action of Opus 161 is con- A RTISTRY – R ELIABILITY – A DAPTABILITY was in need of a complete disassembly ventional, with metal squares and square and refurbishment of the leather on the wooden shanks. The stop action to the couplers, the felts, and the leather but- Pedal 16′ Double Open Diapason is a tons. The action was well designed, had ventil valve to the three windchests of served for a period of more than a hun- that stop, which are placed at the sides dred years, and had survived a move from (largest pipes, diatonic) and the treble Stockton to Piru. But the leather facings pipes at the back (chromatic). The pho- of the key tails where the coupler stickers tographs show the details of the stop made contact and the felts and leather action construction.

20 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM Notebook sketch 8: the dimensions of the fl at, non-radiating pedalboard with its original compass of C to d27.

Notebook sketch 7: the width of keys The rollerboard and trackers of the from low C to high g56. pedal coupler to the manuals; note the angled backfalls at the top connecting to the tails of the manual keyboards. were designed into the scales and fur- ther adjusted by the voicer at the toe. “The voicing of fl ue pipes, such as Dia- A few comments are in order on the pason, Dulcianas, and strings, consists nicking and languid treatment. The lan- Notebook sketch 6: the dimensions of the keys and pedals. of nicking the languid, cutting up the guids contain a counterface with a nega- upper lips to the proper mouth height, tive angle; the more usual angle is verti- On the tonal side Green seems to have and adjusting the positions of the lan- cal, or 90 degrees. The Isnards made a adopted the trend towards delicacy and guid and the upper and lower lips. The positive-angled counterface at about 75 developed it still further. . . . Green’s fi rst line of development in securing the effect amount of wind entering the pipe foot degrees with a normal bevel at about 45 he desired was to experiment . . . with the must be carefully adjusted by opening to 55 degrees. The negative counterface scales of the chorus . . . . in 1778 the Open or closing the orifi ce in the pipe toe.”25 of the Johnson languid is unusual. This Diapason is larger than the rest of the cho- There is no direct evidence that William languid is nicked at an angle with a knife, rus. . . . The appearance of extra pipes in some ranks, defi nitely by Green and con- A. Johnson had fi rst-hand knowledge of cutting a fi ne nick as deep as halfway into temporary with the instruments them- the 1792 Samuel Green organ delivered the languid bevel. Long knife cuts were selves, together with re-marking of the to Boston, but the legacy of Green is also in evidence inside the lower lip. As a pipes, suggests that Green took spare pipes obvious in Johnson’s work. general rule there are the same number with him to the site and rescaled stops dur- ing the tonal fi nishing in the building. This is considerably removed from the stan- dardised scaling and voicing adopted by, for example, Snetzler. The reasons for this become clearer when one understands that Green’s voicing broke new ground in oth- Unprecedented Natural Figure 9 er aspects as well. Delicacy was achieved partly by reduction of the size of the pipe foot and by increasing the amount of nick- ing. The loss of grandeur in the chorus was Pipe Organ Sound made up for by increasing the scales of the extreme basses. . . .21 ,QWURGXFLQJGLJLWDOO\VDPSOHGSHGDOVSHGDO H[WHQVLRQVDQGWXQHGSHUFXVVLRQVIURP,27, As we will see in the graphical analysis of the data, all of the features mentioned by Bicknell about Samuel Green would apply equally well to Johnson’s Opus 161. Bicknell observes, “Where Snetzler provided a chorus of startling boldness and with all the open metal ranks of equal power, Green introduced refi ne- ment and delicacy and modifi ed the power of the off-unison ranks to secure a new kind of blend.”22 As earlier noted by Elsworth, John- son’s wind pressure during the period of 1855 to 1868 “was generally between 1 3 2 ⁄2 and 2 ⁄4 inches (63 and 70 mm), and Figure 10 in rare examples, nearly 3 inches.”23 The lower wind pressures, narrower scales of A description of the stops and the upperwork, and reduced toes pro- general notes on the scaling duced a sound with restrained brilliance. and voicing Referring to his conversations with This section provides a detailed Edwin B. Hedges (1872–1967), a description of the stops; two of the Swell voicer for Johnson organs, Elsworth stops were not measured (16′ Bourdon made some telling observations. In the and 8′ Stopped Diapason). For the stops process of making the pipework, “ . . . which were measured, a table of data in the languids were carefully soldered millimeters is shown. The photographs in place, and the fl ues were properly show some details of the construction, adjusted.”24 This is a very important although the poor resolution of the cam- comment, because today the fl ueway era is regrettable. is considered a variable for adjusting As earlier noted, there is a close power in some voicing styles, especially resemblance between the organs of North Germanic voicing. Johnson’s Samuel Green in late eighteenth century fl ueways are very open, often the maxi- Integrated Organ Technologies England and the organs of William A. mum that would produce good speech, ƹƸƸƵƷƳƵƷƹƵ_LQWHJUDWHGRUJDQWHFKFRP Johnson in nineteenth-century America. even with Johnson’s bold nicking. Power Bicknell writes: balances, for Johnson as well as Green,

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 21 Pipe organ documentation

The tails of the Swell keys, showing rounded and leathered ends where the pedal coupler stickers engage them. Note the wear on the leather. Also note that the stickers lean to the left, which is A view from the console showing the back of the Swell keys at bottom, the stickers caused by a misalignment in the pivots from the Great extending upward through the Swell key tails, and the Great rollers of the angled pedal backfalls, a casualty at the top that activate the diatonic bass notes. The rollers and squares at the top of wear and the installation of the bal- right activate the Great pallets d#, c#, B, A, G, F, D#, C#. The Great pallets C, D, E, F#, anced swell pedal. G#, A#, c, d, e, f . . . .g′′′ are activated from left to right by the fanned squares.

The back of the angled backfalls from the pedal coupler, showing the stickers to the tails of both manual keyboards. The stickers are carried in boards that move laterally to engage the stickers under the key tails. Note the sticker which has fallen out of its guide slot.

The Swell rollerboard. Note the fi nely- The red arrow points to the sliding cut slots in the tops of the roller arms to board carrying the stickers in one of minimize friction and binding. The origi- the couplers. Note the electric blower nal pencil layout marks are still visible. switch; this has been attached to the stop knob labeled “Bellows Signal.”

View from the back, looking towards the rear of the keyboards. The blue arrow points to one of the axles from one of the couplers that activates a movable board with the stickers. The red arrows point to a guide rail for the Swell track- ers; note the crudely cut end of the rail and the guide missing a tracker run. This may be the result of the reposi- tioning of the Swell chest in the Piru installation. These squares have tapped wires, felts, Looking from the front of the console to These squares are pinned directly to the and leather buttons for adjustment. the left of the keyboards, we see a blue fast speech even when the lower, nega- trackers with no adjustment. arrow pointing to the adjustment screw for the Swell action and a red arrow tive languid bevel shows above the top pointing to the adjustment screw for the edge of the lower lip; the upper lip is not Many of the pipes were found in 1976 square rail of the Great action, which is pulled out to compensate for this languid to be crudely pinched at the top, part fanned (notice the angle of the square). position. Ears are generally found up to of an effort to reduce the pitch to the 1′ in pitch in the principal chorus, but modern standard. All of this damage was of nicks on a languid, regardless of pitch. they are very narrow, not extending far repaired on mandrels, and tuning slides Notebook sketch 9: a languid in These languids work well and produce in front of the mouth. were fi tted. cross-section.

Great division 8′ Keraulophon The second stop on the chest, the 8′ Open Diapason Keraulophon pipes were found badly A Precious Gift This is the fi rst stop on the front of the pinched at the top along with crudely Great windchest. It has zinc resonators reduced toe bores in an effort to reduce from the Past from low C to tenor B and planed com- the pitch. All of the pipes were straight- mon metal feet from about tenor E. All ened on mandrels and tuning slides pipes from middle C are planed common added. Toes that were not damaged were for the Present metal (30% tin, 70% lead). Zinc wind used as a guide for readjusting damaged conductors to the façade pipes supply toes. This stop is voiced with tuning slots and the Future copious wind; the conductor diameters and ears, but no beards of any kind. are 38 mm at low C and 25 mm at tenor The bass octave is common with the Supremely beautiful and blendable C. If memory serves, at least one or two Clarabella, fi ve pipes from tenor C to E tonal color – a Gift from the Venetian of the pipes in the side fl ats were dummy have zinc resonators, and the rest have School of organbuilding, a monumental part of our pipes, implying that the speaking façade planed common metal resonators. The pipes extended to tenor D. The façade nicking is bold and often crossed to keep JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH pipes were tuned with scrolls at the back, the speech stable. Flueways were often SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN which were entirely rolled up as a conse- more closed on one side. This is a bolder quence of the drop in pitch to 440 Hz, string than a Dulciana. Intriguing? Let us build your dream. where the original pitch was probably closer to 450 Hz. See the earlier notes on 8′ Clarabella the pitch and wind pressure. As with all This is the third stop on the chest. Bass of the stops in the principal chorus, the pipes C to tenor E are stopped wood; ears are very narrow. the remainder are open wood with lead The author feels obligated to point out plates covering the tops for tuning. These a grave error he made in the restoration lead plates are somewhat closed down by removing the heavy nicking on the to accommodate the lowered pitch. The languids of the Open Diapason, and only internal blocks forming the languids are Builders of Fine Pipe Organs to the World on this stop. To make the record clear, lower than the front plates by 2.0 mm at David Sedlak advised against doing this, tenor E, and 1.5 mm at tenor F. The bevel www.ruffatti.com and the author regrets that he did not take of the upper lip is internal for the open Sedlak’s advice. These nicks should be pipes and external for the stopped pipes. Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 renewed in the manner used by Johnson. The stopped pipes have narrow, slanted

22 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM A view above the console with the fa- çade center fl at pipes removed. The Great windchest is at bottom with zinc A view from the back of the console wind conductors to the façade pipes. looking towards the left side with the The Swell rollerboard is above and be- Swell stop action. The blue arrow in- hind the Great windchest. The treble dicates the square shanks from the pipes of the Pedal Double Open Diapa- stopknobs that connect to horizontally- son can be seen to the left of and behind mounted metal squares. These squares the Swell rollerboard. The wind trunk to connect to horizontal wooden shanks the Swell windchest can be seen at up- and another set of metal squares. The per left, extending diagonally. The Swell red arrow points to the diagonally- windchest now extends above the Great mounted beam which carries the hori- windchest, encroaching upon the clear- zontal squares; note that it has been The center fl at pipes of the Open Diapason, as found prior to the restoration, show- ance of the tallest pipes on the Great crudely sawn off, perhaps one of the ing the rolled-up scrolls to lower the pitch. windchest. The large black vertical tube many consequences of the reposition- is part of a vacuum cleaner. ing of the Swell windchest.

The red arrow points to the metal squares to which the Great stop knob The squares and shanks of the stop ac- shanks are connected. The horizontal The Open Diapason on the chest. Note The 8′ Keraulophon prior to restoration, tion to the Swell windchest from the left shanks connected to those squares ac- the planed metal feet and zinc resona- showing the crudely pinched tops of stop jamb. The blue arrow points to a tivate the large, vertical backfalls indi- tors of the tenor pipes. Tuning slides the pipes to effect a pitch reduction. pipe of the Pedal Double Open Diapa- cated by the blue arrow, which in turn were added during the restoration. son; the red arrow points to the ventil activate the ends of the sliders on the valve for that stop. Great windchest. in planed common metal with soldered wide, especially in the treble, and dem- domed tops, chimneys with no tuning strips at the sides of the mouth to form for the Johnson Clarabella can be found onstrate that Johnson regulated power mechanism, and very large ears for tun- narrow ears; the open pipes have no extra in the table, and those calculations are entirely at the toe, not the fl ueway. Such ing. Those large ears had been pushed in strips functioning as ears. The nicking is used in the graphical analysis. fl ueway depths are often found in classi- far enough to virtually touch each other deeper and heavier than the pipes of the cal French voicing. This data set can be when found in 1976, another effort to principal chorus. The scales and voicing 4′ Principal taken as reasonably accurate evidence of reduce the pitch. The cutups were of this stop place its power on the same The fourth stop on the chest, the Prin- Johnson’s unmolested voicing. lightly arched. There was considerable level as the principal chorus foundations. cipal has fi ve zinc resonators from C to handling damage to the fl ueways. The The only concession to power is a greatly E; the rest are all planed common metal. 4′ Flute à Cheminée toes were reasonably intact. The reduc- reduced mouth width in the bass octave, These pipes showed very little damage. The fi fth stop on the chest from tenor tion in pressure from 76 mm to 63 mm a concession to its function as a common The fl ueway depths are remarkably C, this is a classically constructed fl ute allowed these pipes to speak much more bass to the Keraulophon. The effective inside diameter of a wooden pipe is a calculation of its diagonal, a method proposed by Nolte.26 The potential power of a round pipe is related to the amplitude of the standing wave in the pipe, which is in turn related Thousands of Songs to its diameter. Following this logic, Nolte has pointed out that the amplitude ONE LICENSE of a standing wave in a rectangular pipe ONE LICENSE is a premier licensing source that covers is related to its widest point, i.e., its all of your congregational reprint needs. diagonal. We often see modern conver- sions of wood pipe scales by relating In the last year we have added over 10,000 new titles. their rectangular areas to those of round Our catalog now has over 63,000 songs from more than metal pipes with equivalent areas, but 160 member publishers and their divisions, including this does not produce balanced power. the music of GIA, OCP, and WLP. The consequence is that conventional modern wisdom decrees that wood Our reporting process is fast, easy, and intuitive. There is no online licensing resource that is as user friendly as ONE LICEN SE. pipes should be scaled a few half tones narrower than round pipes of equivalent area. This disconnect disappears with Nolte’s observation of the relevance of the diagonal, not equivalent areas. This is not a new idea. Many older organs, e.g., J. A. Silbermann’s organ of 1746 at www.onelicense.net | 800.ONE.1501 Marmoutier, show very disjointed scales between the rectangular wood bass of Annual Single-Use/Event Podcast/Streaming Practice-Track the 16′ Montre and its metal pipes when License License License License plotting by equivalent areas. Convert the Silbermann wood bass scales to diagonals and those scales merge seamlessly into the scales of the metal pipes. Diagonal computations of the effective diameters

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 23 Pipe organ documentation

Flute à Cheminée table

Twelfth table

A pipe from the bass octave of the 4′ Pipes from the 4′ Flute à Cheminée. Principal. The resonator is zinc; the These pipes were constructed in the soldered-in upper lip and the pipe foot classical manner with planed com- are planed common metal. Although the mon metal, soldered and domed tops, resolution of the photograph is poor, chimneys with no tuning devices, and note the spacing, angle, and depth of very large ears for tuning. These pipes Fifteenth table the nicking. This is typical Johnson are shown with the ears in a normal voicing. position.

Open Diapason table

Keraulophon table Trumpet shallot and tongue table

freely with the ears much more opened scales are considerably narrower than (but not completely straightened). The the Open Diapason, continuing the pipe construction becomes open at g#′′, trend of narrower scaling with higher i.e., the last twelve pipes, and they are stop pitches, a characteristic introduced noticeably wider across the break. The by Samuel Green. This progression can table above shows a calculation of the be clearly seen in the graphical analysis, total resonator length, i.e., the body in stark contrast to the Hook’s constant Clarabella table length plus the chimney, and the per- scaling of the principal chorus. By this centage of the chimney length to the means Johnson and Green achieved a total length. This gives an idea of the chorus with more refi nement and less harmonics that Johnson was trying to impact, but they compensated with very emphasize with the chimney. At tenor C wide scaling of the extreme basses. the chimney is 25% of the total length, emphasizing the fourth harmonic, while 8′ Trumpet at middle C the chimney is 30% of the The extant pipework of this eighth and total length, roughly emphasizing the last stop on the chest was constructed of Principal table third harmonic. The chimney progresses planed common metal with zinc bottom to larger percentages of the total length sections from tenor C to tenor B. The as the pitch rises. The chimney is not a Trumpet has an obscure history. In 1976 constant percentage of the total length. only two octaves of pipes were found The photograph shows the classical con- from tenor C 13 to C 37. These were all struction of this stop. in fairly good condition without obvious modifi cations; some crude slotting of the 2 2 ⁄3′ Twelfth tops was repaired and the pipes spoke The sixth stop on the chest, this stop well on 63 mm wind. All of the original consists entirely of planed common pipes were cut to exact length with no metal pipes that had minimal damage. tuning slots or scrolls. The bass octave of the Trumpet was originally separated on 2′ Fifteenth the slider, but found screwed together The seventh and last fl ue stop on the in 1976. Interestingly, while the bass chest, the 2′ Fifteenth continues the topboards were bored and chamfered trend of extremely deep fl ueways and to receive pipes, the chamfers were not closed toes. The fl ueway depths of this burned in like all other borings on both stop are perhaps the largest the author windchests. With the repositioning of has measured on any organ. Remark- the Swell chest over the Great chest, ably, this planed, common metal stop it was now impossible to reconstruct a has no ears on any pipe, and its sound full-length bass set of pipes, and a half- is exquisite. The toes are very restrained length set was fabricated with limited and represent the means of controlling tonal success (a few of the half-length power. The diameter and mouth width pipes needed mitering to clear the Swell

24 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM Trumpet resonator table

A notebook sketch of the method in which the Mixture was added to the Great Key to Trumpet shallots and tongues Key to trumpet resonator windchest. chest). The missing treble pipes were were left many half tones overlength by joined his father as a partner in the fi rm 26. John M. Nolte, “Scaling Pipes in Wood,” recreated by the fi rm of Stinkens to scales the pipemaker. When the cone-tuned and the mixtures built from that time ISO Journal, No. 36, December 2010, pp. 31 8–19. extrapolated from the original pipework. pipes were cut to length, it was obvious deleted the third-sounding rank. Q 27. Scot L. Huntington, Barbara Owen, These were quite successful and a good that the cutups were very high. But this Stephen L. Pinel, Martin R. Walsh. Johnson tonal match. The high treble from c#′′′ was fortuitous, because it taught the les- Notes and Credits Organs 1844–1898, The Princeton Academy to g′′′ were obviously fl ue pipes, and the son that high cutups can have a superb All photos, drawings, tables, and illustra- of the Arts, Culture, and Society, 2015, Cran- tions are courtesy of the author’s collection if bury, pp. 11, 13, 14, 16. rackboard borings provided guidance blend, and this mixture provided a fi ne not otherwise noted. Most of the color photos 28. The Johnson Organs, p. 36. for their scales. All shallots are brass and sparkling glitter in the plenum with no were unfortunately taken by the author with 29. Ibid, p. 48. are marked “H. T. Levi,” one of the reed hint of harshness. There are no ears on an inferior camera in low resolution. David 30. Johnson Organs 1844–1898, pp. 17-18. voicers for William A. Johnson, according any pipes. The toes are relatively more Sedlak used a high quality camera, lenses, and 31. The Johnson Organs, p. 48. 27 28 fi lm to produce the high-resolution color pho- to both Barbara Owen and Elsworth. open than what Johnson would have tos of the church and its architectural details; This stop bears a strong resemblance to done and the cutups are higher. The these are all attributed to Sedlak. To be continued. the Trumpet heard in the recording of mixture composition is as follows: 17. The Johnson Organs, p. 50. the Samuel Green organ at Armitage, 18. Ibid, p. 22. Michael McNeil has designed, con- 2 ′ 1 ′ 19. Ibid, p. 23. Staffordshire, England (see the section C ⁄3 ⁄2 20. The History of the English Organ, p. structed, and researched pipe organs 2 on Recordings). c 1′ ⁄3′ 186. since 1973. He was also a research engi- 1 The Trumpet was carefully disas- c′ 1⁄3′ 1′ 21. The History of the English Organ, p. neer in the disk drive industry with 27 1 sembled during the restoration and its c′′ 2′ 1⁄3′ 185. patents. He has authored four hardbound ′′′ ′ ′ 22. Ibid, p. 207. measurements carefully tabulated; see the c 4 2 23. The Johnson Organs, p. 25. books, among them The Sound of Pipe drawings and tables below. Measurements 24. Ibid, p. 45. Organs, several e-publications, and many unfortunately omitted were the height of Barbara Owen noted that William A. 25. Ibid, p. 47. journal articles. the block and the length and width at the Johnson was hired to add a VII Cymbal top of the main taper on the tongues. to the Hook organ.30 This mixture was installed in 1870, and no records indi- II Mixture cate how this happened. The political The author added a two-rank mixture implications invite much speculation, of in planed common metal to the Great course. The differences in scaling and during the 1976 restoration. While the voicing of the Johnson mixture relative to merits of this can be debated, it was the Hook chorus illuminates the differ- added in a manner that did not affect ent approach to chorus design between the other stops. A thick oak board was Johnson and Hook. We will look at this in mounted at the back of the key chan- detail in the graphical analysis. The John- nels, extending backwards and upwards, son VII Cymbal provides a scintillating making this the ninth stop on the Great. crown to the Hook chorus and contains a The pipework was narrowly scaled in the third-sounding rank. In 1871 William H. manner of Johnson, roughly -7 half tones Johnson, the son of William A. Johnson, 2 1 from ⁄3′ pitch to ⁄4′ pitch, then widen- 1 ing to about -3 half tones at ⁄8′ pitch. A great many Johnson organs of this size had mixtures. It should be noted that The 2019 Resource Johnson mixtures of the time period dur- Directory will arrive with ing which Opus 161 was created were your January 2019 issue. called Sesquialtera, and they included third-sounding ranks. Elsworth states, “ Do you need to add your business to our . . . these were composed of 17th, 19th, listings? Update your contact information? 3 1 and 22nd ranks [i.e., 1 ⁄5′, 1 ⁄3′, and 1′, the same pitches observed in Samuel Send updates to [email protected]. Green’s Sesquialteras] with two or three breaks.”29 The mixture added by the Advertising opportunities are available author is more typical of later Johnson by contacting [email protected]. work in its composition without thirds. Advertising deadline is November 1. The voicing of the cutups was a for- tunate accident, where the pipes were mouth-voiced before realizing that they

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

Quimby Pipe Organs, rescaling, and revoicing, would fi nd a Warrensburg, Missouri place in the new tonal concept, though Two organs in North Carolina not always at the same pitches or divi- In 2017, Quimby Pipe Organs (QPO) sions as before. One independent Pedal completed the installation of two small- rank was added—a Pedal Octave that to-medium sized instruments in North plays at 8′ and 4′. Carolina. Both projects incorporated Although the existing Möller unit pipework or mechanics from the windchests were retained in the new churches’ preceding instruments, as Swell, having been releathered recently, the work would not have been feasible efforts were made to provide more of in either case given all-new construc- a “straight” ensemble in the Swell, with tion. However, both projects resulted in unifi cation judiciously used for added organs that function mechanically as if color and fl exibility, rather than to cre- they are all new, and both have entirely ate ensemble. new tonal identities that align with mod- Not one new pipe was constructed ern QPO practice. Accordingly, both for the project. Rather, ranks were have been given QPO opus numbers, carefully selected from our extensive and each is, in its own way, an exploration inventory of nineteenth- and twentieth- of what should constitute a modern-day century American pipework for integra- American multum in parvo organ, where tion into the ensemble. The end result comparatively few ranks of pipes yield is not a patchwork of individual voices, surprising results: instruments that are as one might expect, but rather, a fl exible, musical, and artistically satisfy- cohesive, fl exible ensemble. This is not ing. Each organ plays with the authority only due to the quality of the vintage of a much larger instrument than its size pipework, but also to the unique facility would suggest. of Michael Quimby to identify which ranks will work to achieve the intended Opus 73 result, and also to the ability of Head All Saints Episcopal Church Voicer Eric Johnson and staff voicers Great pipes at Southern Shores (L to R): Mixture III, 2′ Fifteenth, 4′ Octave, 8′ Dulci- Southern Shores, North Carolina Samantha Koch and Christopher Soer ana, 8′ Hohlfl ute, and 8′ Open Diapason (photo credit Steve Blackstock) We were invited to visit All Saints Epis- to carry out the work. Also essential is copal Church by Organist and Director of our fully functional pipe shop, where The existing 8′ Trumpet was exten- Music Steve Blackstock because we had cleaning, restoration, modifi cation, and sively revoiced and extended to play previously worked with him to relocate repair can happen as required alongside at 16′ and 4′. It is at once brilliant an 1878 Marshall Brothers organ, which construction of new pipes. and foundational and forms a grand was electrifi ed and rebuilt by Ernest M. Several church members participated underpinning for the full ensemble. A Skinner in 1912 and is now situated in in passing pipes into the organ. One pair of early-twentieth-century strings a new case on QPO electro-pneumatic couple, key donors to the project, also yield characteristic, lush string tone in slider windchests at Holy Redeemer-by- assisted, and knowing that there were no the Swell, and the unison rank extends the-Sea in Kitty Hawk, North Carolina. new pipes in the organ, inquired as to the down to 16′. The 16′ Contra Viola is Blackstock asked us to assess All provenance of the pipes. In response, I surprisingly versatile: in addition to Saints’ 1948 M. P. Möller organ, Opus told her that the pipe she had in her hand making an effective double to the new 7721. Originally fi ve unifi ed ranks, the came from an organ formerly at a church Great Diapason chorus, it is soft enough organ had grown to nine, enclosed in a in St. Louis, Missouri. She was stunned. to serve as a whisper bass (with the freestanding case in the rear corner of She had attended there as a young lady, Swell box closed) under the 8′ Dulci- the room. There were some pleasant and it was, in fact, where she had met her ana, yet harmonically intense enough sounds in the instrument—particularly husband, who was also helping to pass to combine with the 16′ Gedeckt and the stopped wood fl ute—but the dispo- pipes. We quickly fi gured out that we synthesize a 16′ Diapason. sition of these voices at various pitches were installing pipes that had played at The organ was completed in Septem- over two manuals and pedal was not the time that she would have heard the ber 2017 and was dedicated on Sunday, entirely successful; there was a lack of organ—a happy coincidence that added October 1. On Sunday, October 15, fl exible, contrasting ensembles. dramatically to the signifi cance of the Dorothy Papadakos accompanied the Several options were investigated, instrument for these two. 1920 silent fi lm, The Strange Case of Dr. including either the relocation of a mid- New casework was designed by QPO Jekyll and Mr. Hyde. Façade pipe detail, Southern Shores nineteenth-century Hook tracker or a and constructed by members of the (photo credit Daniel Barlow Photography) mid-twentieth-century Austin. But the church to expand and complement the Opus 74 ideas that resonated most with Steve existing enclosure. The new casework Central United Methodist Church Brown, Opus 34 is a QPO multum in were those which Michael Quimby and I is intentionally somewhat transparent, Concord, North Carolina parvo instrument dating from before developed for the expansion and radical and the pipes of the Great division are Susan Renz Theodos, director of our work had shifted into the mature rebuilding of the existing Möller. visible at different times during the day music at Central United Methodist Quimby tonal style. The approach was straightforward: when overhead light passes down from Church in Concord, North Carolina, In working together with Susan after the existing enclosed mechanical chas- skylights overhead. The façade pipes are contacted us regarding a project for a her visit to a more recent project at St. sis would become the Swell, and a new vintage zinc basses, here painted with possible new organ because of her previ- John’s Episcopal Church in Roanoke, unenclosed Great division would be pearlescent white bodies and rose gold ous experience playing our Opus 34, of Virginia (Opus 66, 2010), we devel- added on a new Quimby-Blackinton mouths, which complement the open, three manuals and thirty-three ranks at oped a proposal for an equally effective electro-pneumatic slider chest. The light-fi lled character of the church. The St. Michael’s Episcopal Church, Litch- three-manual organ, slightly expanded, best of the existing pipework would be existing console was rebuilt and placed fi eld, Connecticut (1992). Developed which would have the same versatility retained, and after careful restoration, on a moveable platform dolly. in tandem with then organist Thomas and nuance as Opus 34, but expressed

All Saints Episcopal Church Quimby Pipe Organs, Opus 73 Southern Shores, North Carolina

GREAT (unenclosed) SWELL (enclosed) PEDAL 16′ Contra Viola (Swell) 16′ Gedeckt, 97 pipes 32′ Resultant (fr 16′ Bourdon) 8′ Open Diapason, 49 pipes, 1–12 8′ Gedeckt (ext) 16′ Bourdon (Swell) common with Pedal 8′ Octave 8′ Viola, 85 pipes 16′ Contra Viola (ext Swell 8′ Viola) 8′ Hohl Flute, 55 pipes, 1–6 common 8′ Voix Celeste, TC, 49 pipes 8′ Octave, 44 pipes, 1–17 in façade with Swell 8′ Gedeckt 4′ Principal, 73 pipes 8′ Gedeckt (Swell) 8′ Gedeckt (Swell) 4′ Stopped Flute (ext) 8′ Viola (Swell) 8′ Viola (Swell) 4′ Viola (ext) 4′ Super Octave (ext) 2 8′ Dulciana, 61 pipes 2⁄3′ Nazard, 49 pipes, 1–12 common 16′ Trombone (Swell) 4′ Octave, 61 pipes with Swell 8′ Gedeckt 8′ Trumpet (Swell) 4′ Spitzfl ute (Swell), 1–12 Swell 8′ 2′ Octave (ext) 8′ Oboe (Swell) Gedeckt; 13–61 2′ Flageolet 2′ Flageolet, 61 pipes 4′ Clarion (Swell) 3 2′ Fifteenth, 61 pipes 1⁄5′ Tierce, TC, 37 pipes, top octave 4′ Oboe Clarion (Swell) 1 1⁄3′ Mixture III, 183 pipes repeats 16′ Contra Trumpet (Swell) 16′ Contra Oboe, TC, 61 pipes Two manuals, 18 ranks, 1,111 pipes 8′ Trumpet (Swell) 8′ Trumpet, 85 pipes 8′ Oboe (Swell) 8′ Oboe (ext) Builder’s website: Zimbelstern 4′ Clarion (ext) https://quimbypipeorgans.com Tremulant Church website: http://allsaintsobx.org Mitered 16′ Contra Viola and 8′ Viola basses in the Swell at Southern Shores (photo credit Steve Blackstock)

26 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM Susan Theodos, director of music, and recitalist Bradley Hunter Welch at the con- sole following the dedication of the organ at Central United Methodist in Concord (photo credit Susan Theodos) Delivery of console to the Concord church (photo credit Susan Theodos)

church’s previous organ is conceptually similar to the practice of Aristide Cavaillé- Coll in nineteenth-century France. His organs at Notre Dame de Paris and Saint- Sulpice incorporate signifi cant percent- ages of eighteenth-century Clicquot pipe- work, but those old ranks of pipes were successfully transformed to contribute to a new tonal aesthetic by Cavaillé-Coll. New and vintage reeds were provided, custom voiced in-house; these range from the throaty Cromorne in the Solo-Choir, to the lyrical Oboe and fi ery Trumpet in the Swell, to the brilliant Harmonic Trumpet in the Solo-Choir, and fi nally, the dominating, spectacular Tuba in the Great. The Harmonic Trumpet, available at 16′, 8′, and 4′ on manuals and pedal, can serve in the Great as chorus reeds with the box closed, as a soft or loud 16′ reed in the Pedal, and with the box open as an exciting climax to full organ at all three Great pipes at Concord (L to R): Mixture pitches. The Tuba is intended strictly for IV, 2′ Fifteenth, 4′ Stopped Flute, 4′ Oc- ′ ′ solo use and is voiced on 12 inches wind tave, 8 Hohlfl ute, and 8 Open Diapason pressure so that individual notes can be (photo credit Susan Theodos) Bradley Hunter Welch at the console in Concord, organ grille in the background heard over full organ. Also of note are the variety of 8′ and according to a more Romantic approach: make the project more cost-effective, we transformation to the carefully selected 4′ fl utes, several of which are vintage, and with heroically scaled chorus work and refurbished and rebuilt a three-manual principals, fl utes, strings, and mutations is which contrast and combine with each characteristic, harmonically developed console, constructed by another builder in stunning; none of the reused ranks bears other effectively. The Swell strings are individual voices that lock together into 2000, for an organ that is now redundant. any resemblance to what existed before. revoiced Casavant pipework and contrast seamless, coherent ensembles. With new mahogany interior, console lid, The previous instrument was weak in the a more broadly voiced Viola Pomposa and The resulting instrument makes use of and bench top, the refi nished console is unison range, and top-heavy with piercing Celeste in the Solo-Choir. Together with select existing pipework from the church’s a splendid match for the church’s neo- upperwork. Individual foundation voices the Swell Spitzfl ute and Celeste, a wide former 1973 Casavant (Opus 3179), new Classical interior. were bland and blended poorly, with range of undulants is provided, which can pipework constructed by Quimby, and The use of existing Casavant pipework little support for choral accompaniment be combined in surprising ways. select vintage ranks from QPO inventory. in combination with our own inventory or even congregational song. The trans- The organ was completed in Novem- New electro-pneumatic slider windchests was attractive to the church, not only formed ranks, having been recomposed, ber 2017 and was dedicated by Bradley were constructed for all straight manual because it was fi scally responsible, but rescaled, and radically revoiced, now form Hunter Welch on Sunday morning, April ranks and electro-pneumatic unit ranks because they understood it to be envi- colorful, expressive Diapason ensembles 15, 2018, with a recital following the for all pedal and extended ranks. The ronmentally responsible when compared at a wide range of dynamic levels. same afternoon. winding system and interior structure of with new construction, and therefore, Our approach to rescaling and revoic- —T. Daniel Hancock, A.I.A., President the organ are all new. In order to help good stewardship in several senses. The ing old ranks of pipes that came from the Quimby Pipe Organs, Inc.

Central United Methodist Church Quimby Pipe Organs, Opus 74 Concord, North Carolina

GREAT (unenclosed) SWELL (enclosed) SOLO-CHOIR (enclosed) PEDAL 16′ Bourdon (Pedal) 16′ Spitzfl ute, 73 pipes 8′ Solo Diapason (Pedal) 16′ Open Diapason, 73 pipes 8′ Open Diapason, 49 pipes, 1–12 8′ Open Diapason, 61 pipes 8′ Doppel Flute, 49 pipes, 1–12 16′ Bourdon, 73 pipes common with Pedal 16′ Open 8′ Stopped Diapason, 61 pipes common with Pedal 16′ 16′ Spitzfl ute (Swell) Diapason 8′ Gamba, 61 pipes Bourdon 8′ Octave (ext) 8′ Hohl Flute, 49 pipes, 1–12 common 8′ Voix Celeste, TC, 49 pipes 8′ Chimney Flute, 61 pipes 8′ Bourdon (ext) with Pedal 16′ Bourdon 8′ Spitzfl ute (ext) 8′ Viola, 61 pipes 4′ Fifteenth (ext) 8′ Bourdon (Pedal) 8′ Spitzfl ute Celeste, TC, 49 pipes 8′ Viola Celeste, TC, 49 pipes 4′ Flute (ext) 8′ Spitzfl ute (Swell) 4′ Octave, 61 pipes 4′ Principal, 61 pipes 32′ Contra Trombone (ext), 1–12 derived 8′ Spitzfl ute Celeste (Swell) 4′ Harmonic Flute, 61 pipes 4′ Night Horn, 61 pipes 32′ Harmonics (derived) 2 4′ Octave, 61 pipes 2′ Fifteenth, 61 pipes, double-draws 2⁄3′ Nazard, 61 pipes 16′ Trombone (Solo-Choir) 4′ Stopped Flute, 61 pipes with Mixture 2′ Octave, 61 pipes 16′ Contra Oboe (Swell) 2′ Fifteenth, 61 pipes 2′ Mixture IV, 183 pipes 2′ Spire Flute, 61 pipes 8′ Harmonic Trumpet (Solo-Choir) 1 3 1⁄3′ Mixture IV, 244 pipes 16′ Contra Oboe, 73 pipes 1⁄5′ Tierce, 61 pipes 8′ Oboe (Swell) 16′ Harmonic Trumpet (Solo-Choir) 8′ Trumpet, 73 pipes 16′ Harmonic Trumpet, 85 pipes 4′ Harmonic Clarion (Solo-Choir) 16′ Contra Oboe (Swell) 8′ Oboe (ext) 8′ Harmonic Trumpet (ext) 4′ Cromorne (Solo-Choir) 8′ Harmonic Trumpet (Solo-Choir) 4′ Clarion (ext) 8′ Cromorne, 61 pipes 8′ Tuba (Great) 8′ Trumpet (Swell) Tremulant 8′ Oboe (Swell) 8′ Oboe (Swell) 8′ Tuba (Great) 4′ Harmonic Clarion (ext) Three manuals, 38 ranks, 2,339 pipes 8′ Cromorne (Solo-Choir) Tremulant 4′ Harmonic Clarion (Solo-Choir) 8′ Tuba (Great) Church website: http://concordcentral.org 8′ Tuba, 61 pipes Chimes, 25 tubes Cover photo: Daniel Barlow Photography

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 27 New Organs

Muller Pipe Organ Company, Croton, Ohio Saint Paul the Apostle Parish, Westerville, Ohio The highlight of Muller Pipe Organ Company’s ninety-fi fth anniversary year was the completion of the new pipe organ for Saint Paul the Apostle Parish of Westerville, Ohio, the largest congre- gation in the Catholic Diocese of Colum- bus. Our relationship with the parish began as the new building was being designed, and we enjoyed working col- laboratively to create a space that would be effective for both worship and music. The result is a handsome brick edifi ce seating approximately 1,500 parishioners in an acoustically reverberant and visu- ally arresting space. John Bryan, music director at St. Paul, and Paul Thornock, then diocesan organ consultant, worked with us as tonal ideas were developed. These conversations produced an eclectic instrument that supports the diverse liturgies of the par- ish, boldly leads major diocesan events, and accommodates a wide variety of organ repertoire. Saint Paul boasts an active choral program to match the size of the parish and space. To ensure ample room for these singers, we placed the Positive on the railing, where it is reminiscent of a Rückpositv both in location and sound. The other divisions are in the large main case at the back of the spacious gallery. Our tonal philosophy dictates a broad, warm sound for the Great division; this Saint Paul the Apostle Parish, Westerville, Ohio, Muller Pipe Organ Company organ, console with Positive division behind was readily accomplished at Saint Paul by a location in the main case. This division’s location on the gallery rail allowed us is powerful enough to speak over fuller broadly scaled and boldly voiced principal to contrast its voice with the Great by combinations, yet does so with a refi ned, chorus is the cornerstone of the entire means of smaller scaling, lower wind even tone. instrument. The smaller-scaled Violone pressure, and gentler voicing. The The cases were conceived to visually was designed primarily as a 16′ stop, but somewhat unconventional Quintadena harmonize with the Romanesque features plays at 8′ pitch and functions as the sec- provides a lovely solo voice and offers an of the building. From the choir seating in ondary principal, being both brighter and alternative to the eloquent Gedeckt. The the balcony, the outline of the Positive more articulate. The Tromba is the dark- Positive Trompet is a median between pipework mirrors the architecture of the est of the manual trumpets and employs the Great and Swell trumpets. These ceiling and mural while drawing one’s English shallots and harmonic resonators shallots were designed for effective tone focus directly to the liturgy at the front beginning in the middle octave. Because on light wind pressure, providing plenty of the church. The casework and the the division is expressive, the Great of power with ample fundamental tone. console were fabricated by craftsmen at includes ranks that would be expected in The pipes of the Pedal division are the Muller shop. The cases of quarter- a Choir division: a throaty Clarinet and a divided into C and C-sharp sections sawn red oak were handcrafted using pair of tapered Gemshorns. on either side of the main case. It traditional joinery, as was the raised panel The Swell is the workhorse of the boasts a powerful Trombone as well as console. The console is movable and fea- organ and balances the Great division. a reclaimed 16′ Open Wood Diapason. tures interior accents of solid walnut with A secondary principal chorus with a Like each manual division, the Pedal has inlays of ebony and maple. low-pitched mixture, an independent a complete and independent principal We are especially grateful for the sup- fl ute chorus, and broadly scaled Viole chorus, culminating with a four-rank port of A. R. Schopp’s Sons, Inc., David R. strings provide a solid platform for cho- mixture. To provide fl exibility, the Pedal Beck, Paul Thornock, and countless oth- The façade and Pontifi cal Trumpet of ral accompaniment. The Trompette and division includes judicious borrowing ers in the industry for their counsel and the Muller organ Clairon create a fi ery French effect. The from the manual divisions. wisdom. However, the instrument would Hautbois, with its open shallots, also has The visually and aurally commanding not exist without the heroic efforts of John honoring us with the opportunity to build a bright French quality or nasality. Pontifi cal Trumpet is mounted horizon- Bryan, the Reverend Charles Klinger, this lasting testimony to their faithfulness. The Positive contains the most articu- tally on the main case and is constructed pastor, and the parishioners of Saint —Luke Tegtmeier, Tonal Associate late and colorful stops of the organ. Its of brass with fl ared resonators. This stop Paul the Apostle. We thank them all for Muller Pipe Organ Company Muller Pipe Organ Company Saint Paul the Apostle Parish, Westerville, Ohio

3 GREAT - Main case, enclosed 8′ Viole Celéste 61 1⁄5′ Tierce 61 16′ Trombone (ext 32′) 1 16′ Violone 73 4′ Octave 61 1⁄3′ Larigot 61 16′ Basson-Hautbois (Sw) 8′ Principal 61 4′ Harmonic Flute 61 1′ Mixture III 183 16′ Bass Clarinet (Gt) 2 8′ Violone (ext 16′) 2⁄3′ Nazard 61 8′ Trompet 61 8′ Trombone (ext 32′) 8′ Rohrfl öte 61 2′ Blockfl öte 61 Tremolo 8′ Hautbois (Sw) 3 8′ Gemshorn 61 1⁄5′ Tierce 61 8′ Clarinet (Gt) 4′ Clarinet (Gt) 8′ Gemshorn Celeste (TC) 49 2′ Plein Jeu IV 244 8′ Tromba (Gt) 8′ Pontifi cal Trumpet (Gt) 4′ Octave 61 16′ Basson-Hautbois 73 8′ Pontifi cal Trumpet (Gt) 4′ Koppelfl öte 61 8′ Trompette 61 Wind pressures 1 2′ Super Octave 61 8′ Hautbois (ext 16′) PEDAL – Main case, unenclosed Great – 5 ⁄2″ 1 1⁄3′ Fourniture IV 244 4′ Clairon 61 32′ Diapason (resultant, 16′ Open) Swell and Pedal – 5″ 1 16′ Bass Clarinet (ext 8 ′) Tremolo 32′ Bourdon (resultant, 16′ Subbass) Swell reeds – 4 ⁄2″ 8′ Trompet (Pos) 8′ Pontifi cal Trumpet (Gt) 16′ Open Wood Diapason 32 Positive – 3″ 8′ Tromba 61 16′ Violone (Gt) Pontifi cal Trumpet – 6″ 8′ Clarinet 73 POSITIVE – Railing, unenclosed 16′ Subbass 56 32′ Trombone (1–24) – 8″ 8′ Pontifi cal Trumpet 61 8′ Principal 61 16′ Bourdon (Sw) Tremolo 8′ Holz Gedeckt 61 8′ Octave 32 Full complement of couplers 8′ Quintadena 61 8′ Subbass (ext 16′) Electro-pneumatic pitman chest action SWELL – Main case, enclosed 4′ Octave 61 8′ Bourdon (Sw) Peterson ICS 4000 16′ Bourdon 73 4′ Waldfl öte 61 4′ Choral Bass 32 2 8′ Principal 61 2⁄3′ Quint 61 4′ Subbass (ext 16′) Three manuals, 54 ranks, 3,117 pipes 2 8′ Bourdon (ext 16′) 2′ Super Octave 61 2⁄3′ Mixture IV 128 8′ Viole 61 2′ Flautina 61 32′ Trombone 56 Photo credit: Jesse Braswell

28 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 30 SEPTEMBER Park Ridge Presbyterian Church This calendar runs from the 15th of the month Raúl Prieto Ramírez; First United Meth- Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline odist, Schenectady, NY 4 pm Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Weston Jennings; Washington National Feb. issue). All events are assumed to be organ Bloomingdale, IL Cathedral, Washington, DC 5:15 pm recitals unless otherwise indicated and are grouped The Chenault Duo; River Road Baptist, within each date north-south and east-west. •=AGO Richmond, VA 2:30 pm chapter event, • •=RCCO centre event, +=new organ Coro Vocati; Peachtree Road United dedication, ++= OHS event. Methodist, Atlanta, GA 3 pm Christopher Babcock Michael J. Batcho Information cannot be accepted unless it John Schwandt; St. Peter Catholic specifi es artist name, date, location, and hour in Church, Canton, OH 3 pm Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, Monica Czausz order; please do not send duplicate listings. ; First Congregational, CATHEDRAL OF ST. JOHN Columbus, OH 4 pm Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. Ken Cowan; Basilica of St. John the Baptist, Canton, OH 4:15 pm Hey-Liberis Duo (Michael Hey, organ, & UNITED STATES Christiana Liberis, violin); Cathedral of the East of the Mississippi Blessed Sacrament, Detroit, MI 4 pm Dean W. Billmeyer Janette Fishell; Ball State University, 16 SEPTEMBER Muncie, IN 3 pm University of Minnesota Sandor Szabo; St. Joseph Catholic 1 OCTOBER Church, Bronxville, NY 3 pm Minneapolis 55455 • [email protected] Janette Fishell, masterclass; Ball State Christopher Houlihan; Cathedral Basil- University, Muncie, IN 9 am ica of the Sacred Heart, Newark, NJ 4 pm Alan Morrison; Ursinus College, 3 OCTOBER Collegeville, PA 4 pm Miguel de Jesus; Cathedral Basilica of GAVIN BLACK Byron L. Blackmore Karen Beaumont; St. Hedwig Catholic the Sacred Heart, Newark, NJ 12 noon Church, Milwaukee, WI 2 pm Princeton Early Keyboard Center Crown of Life Lutheran Church + Frederick Hohman; Basilica of Our 5 OCTOBER 732/599-0392 Sun City West, Arizona Lady of Sorrows, Chicago, IL 3 pm The Chenault Duo; St. Paul’s School, Michael Soto; Loyola University, Chi- Concord, NH 7:30 pm www.pekc.org 623/214-4903 cago, IL 3 pm + Daniel Hyde; St. Thomas Church Fifth Kimberly Schafer, carillon; St. Chrysos- Avenue, New York, NY 7 pm tom’s Episcopal, Chicago, IL 4 pm Christopher Houlihan; Christ Lutheran, Athens, OH 7:30 pm THOMAS BROWN 18 SEPTEMBER Carson Cooman Nicholas Schmelter; First Presbyterian, UNIVERSITY Scott Dettra; Union University, Jackson, Caro, MI 12 noon TN 7:30 pm PRESBYTERIAN CHURCH Composer and Concert Organist 6 OCTOBER CHAPEL HILL, NORTH CAROLINA Harvard University 19 SEPTEMBER John Gouwens, carillon; Culver Acad- ThomasBrownMusic.com www.carsoncooman.com Robert Myers; Trinity Lutheran, Cleve- emies, Culver, IN 4 pm land, OH 12:15 pm 7 OCTOBER 20 SEPTEMBER + Benjamin Sheen; St. Thomas Church Your professional card Choral Evensong; Cathedral Church of Fifth Avenue, New York, NY 5:15 pm DELBERT DISSELHORST the Advent, Birmingham, AL 5:30 pm Jackson Borges; Longwood Gardens, could appear here! Kennett Square, PA 3 pm Professor Emeritus 21 SEPTEMBER Nathan Laube; East Liberty Presbyte- Contact: [email protected] Nicholas Schmelter; First Presbyterian, rian, Pittsburgh, PA 3 pm University of Iowa–Iowa City or 608/634-6253 Caro, MI 12 noon Matthew Cates; Washington National + Stephen Tharp; St. John Lutheran, Cathedral, Washington, DC 5:15 pm Wheaton, IL 7 pm Christopher Houlihan; Westminster Presbyterian, Dayton, OH 4 pm 22 SEPTEMBER STEVEN EGLER Karen Beaumont; St. Hedwig Catholic JOHN FENSTERMAKER Alan Morrison, educational event; Spiv- Central Michigan University Church, Milwaukee, WI 2 pm ey Hall, Morrow GA 3 pm Kiyo & Chiemi Watanabe; Zion Luther- School of Music TRINITY-BY-THE-COVE Nathan Laube , masterclass; Basilica of an, Wausau, WI 3 pm Mt. Pleasant, MI 48859 the Sacred Heart, Notre Dame University, [email protected] NAPLES, FLORIDA South Bend, IN 10 am 9 OCTOBER Janet Yieh; St. Paul the Apostle Catholic 23 SEPTEMBER Church, New York, NY 7 pm Joshua Stafford; Church of Christ, New- Thomas Heywood; Peachtree Road Norberto ington, CT 4 pm United Methodist, Atlanta, GA 7:30 pm Choral Evensong; St. John’s Episcopal, Susan Goodson Guinaldo West Hartford, CT 5 pm 10 OCTOBER Margaret Pan, carillon; Longwood Gar- Nicholas Schmelter; Cathedral of Emanuel United Church of Christ His Music dens, Kennett Square, PA 2 pm St. John the Evangelist, Milwaukee, WI Manchester, Michigan See—Listen—Buy Katelyn Emerson; St. Peter’s Episcopal, 12:15 pm www.GuinaldoPublications.com Salisbury, MD 4 pm George Fergus; Washington National 12 OCTOBER Cathedral, Washington, DC 5:15 pm Yale Schola Cantorum, Handel, Alexan- A Professional Card in Nicole Marane, with narrator and per- der’s Feast; Trinity Lutheran, New Haven, TEPHEN AMILTON cussion, Prokofi ev, Peter and the Wolf; CT 7:30 pm The Diapason S H Peachtree Road United Methodist, Atlanta, Diane Meredith Belcher; St. Agnes Ca- recitalist–clinician–educator GA 4 pm thedral, Rockville Centre, NY 7:30 pm For rates and digital specifi cations, David Higgs; Christ Episcopal, Warren, Christopher Houlihan; First Presbyte- contact Jerome Butera www.stephenjonhamilton.com OH 4 pm rian, Lockport, NY 7:30 pm 847/391-1045; [email protected] Daryl Robinson; St. Paul’s Episcopal, Jean-Baptiste Robin; St. James Epis- Indianapolis, IN 4 pm copal, Fairhope, AL 7 pm Nathan Laube; Basilica of the Sacred Raúl Prieto Ramírez; Weidener Center for Heart, Notre Dame University, South Bend, the Performing Arts, Green Bay, WI 7:30 pm IN 8 pm David Herman 13 OCTOBER 26 SEPTEMBER Jonathan Ryan, lecture; SUNY Pots- Trustees Distinguished Professor Emeritus of Music and University Organist Robert Myers; Trinity Lutheran, Cleve- dam, Potsdam, NY 3 pm land, OH 12:15 pm Yale Schola Cantorum, Handel, Alexan- The University of Delaware Q [email protected] der’s Feast; St. Michael’s Episcopal, New 28 SEPTEMBER York, NY 7:30 pm TENET; Church of St. Joseph in Green- Bradley Hunter Welch, with orchestra; wich Village, New York, NY 7 pm First Presbyterian, Charleston, WV 1 pm & Nicole Keller; St. Paul Catholic Cathe- 7:30 pm dral, Pittsburgh, PA 7:30 pm Nicholas Schmelter; Sacred Heart Mu- Jean-Baptiste Robin; Providence Unit- sic Center, Duluth, MN 2 pm ed Methodist, Charlotte, NC 7:30 pm Lorraine Brugh, Ph.D. Craig Cramer; Stetson University, De- 14 OCTOBER Professor of Music Land, FL 7:30 pm Nathan Laube; Church of the Transfi gu- Jason Moy, harpsichord, with instru- ration, Orleans, MA 3:30 pm University Organist ments; St. Chrysostom’s Episcopal, Chi- Jonathan Ryan; SUNY Potsdam, Pots- Valparaiso, Ind. cago, IL 7:30 pm dam, NY 3 pm Simon Thomas Jacobs, with orchestra; valpo.edu 29 SEPTEMBER Rye Presbyterian, Rye, New York 4 pm 219.464.5084 Yale Schola Cantorum; Christ Episcopal, The Chenault Duo; St. Peter’s-by-the- [email protected] New Haven, CT 5 pm Sea Episcopal, Bay Shore, NY 4 pm

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Britten, Rejoice in the Lamb; Grace 27 OCTOBER New York, NY Syracuse, NY 13203-2816 Church, New York, NY 4 pm Alan Morrison; Spivey Hall, Clayton www.andrewhenderson.net David Briggs; Cathedral of St. John the State University, Morrow, GA 3 pm (315) 471-8451 Divine, New York, NY 5 pm Stephen Buzard; St. Thomas Church 28 OCTOBER Fifth Avenue, New York, NY 5:15 pm Choral Evensong; St. John’s Episcopal, Alan Morrison; St. Mark’s Lutheran, West Hartford, CT 5 pm Richard Barrick Hoskins Pennsburg, PA 3 pm James Wetzel; Cathedral of St. John the Divine, New York, NY 5 pm Brian Jones Erik Wm. Suter; Washington National Director of Music & Organist Thomas Bara; St. Thomas Church Fifth Director of Music Emeritus Cathedral, Washington, DC 5:15 pm Avenue, New York, NY 5:15 pm St. Chrysostom's Church Jean-Baptiste Robin TRINITY CHURCH ; Duke University Olivier Latry; Huguenot Memorial Chicago Chapel, Durham, NC 5:15 pm [email protected] BOSTON Church, Pelham, NY 6 pm Aaron Tan; Church of Bethesda-by-the- Elmo Consentini; Washington National Sea, Palm Beach, FL 4 pm Cathedral, Washington, DC 5:15 pm Thomas Heywood; Hyde Park Commu- ; First Presbyterian, At- nity United Methodist, Cincinnati, OH 4 pm lanta, GA 7 pm KIM R. KASLING JAMES KIBBIE Todd Wilson, silent fi lm; Stambaugh Au- D.M.A. The University of Michigan 15 OCTOBER ditorium, Youngstown, OH 4 pm Ann Arbor, MI 48109-2085 Stephen Buzard; Princeton University Nicholas Schmelter, with piano; St. St. John’s University Chapel, Princeton NJ 8 pm 734-764-1591 FAX: 734-763-5097 Paul’s Episcopal, Flint, MI 4 pm Collegeville, MN 56321 Thomas Ospital; Christ Church Cathe- email: [email protected] 16 OCTOBER dral, Nashville, TN 4 pm Alcee Chriss; Spelman College, Atlanta, GA 7 pm 30 OCTOBER David K. Lamb, D.Mus. Kenneth Stein; Campbellsville Univer- James Kennerley, silent fi lm, Nosferatu; Karen Schneider Kirner sity, Campbellsville, KY 12:20 pm Merill Auditorium, Portland, ME 7:30 pm Director of Music Nicholas Schmelter; St. Louis King of Prague Philharmonic Children’s Choir; Director, Notre Dame Handbell Choir Trinity United Methodist Church France, St. Paul, MN 12:35 pm Washington National Cathedral, Washing- Assistant Director, Notre Dame Folk Choir ton, DC 7:30 pm New Albany, Indiana Chanticleer; Peachtree Road United University of Notre Dame 812/944-2229 17 OCTOBER Choir concert; St. Ignatius Loyola, New Methodist, Atlanta, GA 7 pm York, NY 8 pm Thomas Ospital; St. Chrysostom’s Epis- Colin MacKnight; Cathedral Basilica of copal, Chicago, IL 7:30 pm the Sacred Heart, Newark, NY 12 noon 31 OCTOBER 18 OCTOBER Mark Steinback; Brown University, Prov- A.S.C.A.P. idence, RI 11:59 pm FELLOW, AMERICAN GUILD OF ORGANISTS Jennifer Pascual; St. Ignatius Loyola, New York, NY 3 pm 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 Choral Evensong; Cathedral Church of UNITED STATES (770) 594-0949 the Advent, Birmingham, AL 5:30 pm West of the Mississippi Nicholas Schmelter; St. Clement’s Episcopal, St. Paul, MN 7:30 pm 15 SEPTEMBER James Welch; Bethania Lutheran, 19 OCTOBER Solvang, CA 1 pm David Baskeyfi eld, silent fi lm; St. John’s Evangelical Lutheran, Allentown, 16 SEPTEMBER Professor Emeritus – University of Michigan – Ann Arbor PA 7:30 pm + Ken Cowan; A&M United Methodist, Professor of Organ for 67 years Virginius Barkauskas, with oboe; St. College Station, TX 6 pm MarilynThe University’s longest-serving faculty memberMason Paul Catholic Cathedral, Pittsburgh, PA Isabelle Demers; Christ Episcopal, Eu- 7:30 pm reka, CA 2 pm Jack Mitchener; Christ United Method- Nathan Laube; St. John’s Lutheran, A two-inch Professional Card in The Diapason ist, Greensboro, NC 7:30 pm Sacramento, CA 3 pm Stephen Buzard; Painesville United 21 SEPTEMBER Methodist, Painesville, OH 7 pm For information on rates and specifi cations, contact Jerome Butera: Andrew Koch; Christ Episcopal, Taco- • Durufl é, Requiem, Vierne, Messe So- ma, WA 12:10 pm [email protected] 608/634-6253 lennelle; St. Joseph Catholic Cathedral, Columbus, OH 7:30 pm 23 SEPTEMBER Thomas Heywood; Meyerson Sympho- 20 OCTOBER ny Center, Dallas TX 2:30 pm David Baskeyfi eld, class; St. John’s Ken Cowan & Bradley Hunter Welch; Evangelical Lutheran, Allentown, PA 10 am Broadway Baptist, Fort Worth, TX 7:30 pm LARRY PALMER Jens Korndörfer; St. Norbert Abbey, De- Letizia Romiti; Cathedral of St. Mary of PHILIP CROZIER Pere, WI 2 pm the Assumption, San Francisco, CA 4 pm CONCERT ORGANIST Harpsichord – Organ 21 OCTOBER 30 SEPTEMBER ACCOMPANIST Douglas Cleveland; Memorial Church, + Martin Jean; Christ Lutheran, Minne- Professor of Music, Emeritus apolis, MN 4 pm 3355 Queen Mary Road, Apt 424 Harvard University, Cambridge, MA 4 pm Hyunju Hwang; Cathedral of St. John Christoph Tietze; Cathedral of St. Mary Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas the Divine, New York, NY 5 pm of the Assumption, San Francisco, CA 4 pm Canada Brian Harlow; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm 1 OCTOBER Recitals — Lectures — Consultancies Jean-Baptiste Robin (514) 739-8696 Ken Cowan & Bradley Hunter Welch; , masterclass; Uni- versity of Oklahoma, Norman, OK 4 pm [email protected] St. Matthew’s Lutheran, Hanover, PA 4 pm [email protected] + 214.350-3628 Nathan Strite; St. John’s Episcopal, 4 OCTOBER Hagerstown, MD 5 pm Jean-Baptiste Robin, masterclass: St. Jeremy Thompson; Holy Trinity Luther- Olaf College, Northfi eld, MN 8 pm an, Lynchburg, VA, 4 pm + Bradley Hunter Welch; Episcopal Patrick Pope; Loyola University, Chica- Church of the Good Shepherd, Dallas, TX go, IL 3 pm 7:30 pm James Welch; Stanford University, Stan- The Diapason 23 OCTOBER ford, CA 7:30 pm Musica Sacra; Cathedral of St. John the Divine, New York, NY 7:30 pm 5 OCTOBER 2019 Resource Directory Jean-Baptiste Robin; St. Olaf College, 24 OCTOBER Northfi eld, MN 7 pm Kirk Rich; Cathedral Basilica of the Sa- • The only comprehensive directory for the organ and cred Heart, Newark, NY 12 noon 7 OCTOBER church music fi elds Olivier Latry; The University of the Ken Cowan; Moody United Methodist, South, Sewanee, TN 7:30 pm Galveston, TX 3 pm • Includes listings of associations, suppliers, and the James Welch; Grace Episcopal Cathe- products and services they provide 26 OCTOBER dral, San Francisco, CA 4 pm James David Christie; Old West Renée Anne Louprette, with uillean Church, Boston, MA 7:30 pm pipes; Walt Disney Concert Hall, Los An- Reserve advertising space now! Hector Olivera; Methuen Memorial Mu- geles, CA 7:30 pm sic Hall, Methuen, MA 8 pm Deadline: November 1 9 OCTOBER Todd Wilson, silent fi lm, The Lodger: A Jean-Baptiste Robin; Christ the King Story of the London Fog; Severance Hall, Catholic Church, Dallas, TX 7:30 pm To reserve advertising space, contact Jerome Butera Cleveland, OH 8 pm 608/634-6253; [email protected] Charles Kennedy, with fl ute; Cathedral 13 OCTOBER Church of the Advent, Birmingham, AL Daryl Robinson; Christ Church Cathe- 12:30 pm dral, Houston, TX 5 pm

30 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 14 OCTOBER Guy-Baptiste Jaccottet, silent fi lm, Southminster Presbyterian Church David Baskeyfi eld; First Presbyterian, Buster Keaton; Le Musée Suisse de SHORT HILLS Arlington Heights, IL 60005 Rochester, MN 4 pm l’Orgue, Roche, Switzerland 5:15 pm Letizia Romiti; St. Matthew’s by-the- Richard Pilliner; St. John the Evangelist Bridge Episcopal, Iowa Falls, IA 4 pm East Dulwich, London, UK 11 am Olivier Latry; Cathedral of the Mad- Matthew Martin; Buckfast Abbey, Dev- ANDREW SCHAEFFER, M.MUS eleine, Salt Lake City, UT 8 pm on, UK 7:30 pm DEREK E. NICKELS, DMA Raúl Prieto Ramírez. masterclass; Point First United Methodist Church Loma Community Presbyterian, San Di- Church of the Holy Comforter 16 SEPTEMBER Edmond, Oklahoma ego, CA 5 pm Gerlinde Bachinger; Jesuitenkirche, Vi- Kenilworth, IL 60043 enna, Austria 6:20 pm [email protected] 15 OCTOBER Christian Domke, with saxophone; (847) 251-6120 • [email protected] Recitals — Hymn Festivals Nicholas Schmelter; Basilica of St. Dom, Altenberg, Germany 11:45 am Mary, Minneapolis, MN 7 pm Gregor Simon; Münster, Obermarchtal, 19 OCTOBER Germany 5 pm A one-inch Professional Card Wladimir Matesic; Cathedral, Pistoia, Stephen G. Schaeffer Janette Fishell; First Presbyterian, San- in The Diapason ta Fe, NM 5:30 pm Italy 5 pm Recitals – Consultations Director of Music Emeritus For information on rates and specifi cations, 20 OCTOBER 18 SEPTEMBER Janette Fishell, masterclass; First Pres- Matthias Havinga; St. Bavokerk, Haar- Cathedral Church of the Advent contact Jerome Butera: byterian, Santa Fe, NM 9 am lem, Netherlands 8:15 pm Birmingham, Alabama [email protected] 608/634-6253 21 OCTOBER 19 SEPTEMBER + Isabelle Demers; Christ the King Holger Gehring; Kreuzkirche, Dresden, Catholic Church, Oklahoma City, OK 3 pm Germany 8 pm Jeffrey Schleff, Ed.D. Eva Wohlfarth, with clarinet; St. Marga- Olivier Latry; Davies Symphony Hall, Organist – Teacher – Consultant TEPHEN CHNURR San Francisco, CA 3 pm rethen, Waldkirch, Germany 8 pm S S Stephen Farr; Westminster Cathedral, Saint Paul Catholic Church 26 OCTOBER London, UK 7:30 pm Sulphur Public Schools, Sulphur, OK Olivier Latry; First United Methodist, United Disciples Christian Church, Richardson, TX Valparaiso, Indiana Wichita Falls, TX 7 pm 20 SEPTEMBER [email protected] Scott Montgomery; First Presbyterian, Otto Maria Krämer; Abteikirche, Brau- Santa Fe, NM 5:30 pm weiler/Köln, Germany 8 pm Carl Jackson; St. John the Evangelist ROBERT L. 27 OCTOBER Upper Norwood, London, UK 7:30 pm Scott Montgomery, masterclass; First Presbyterian, Santa Fe, NM 10 am 21 SEPTEMBER SIMPSON Mark Steinbach Janette Fishell ; California Lutheran Uni- Andrea Kumpe; Herz-Jesu-Kirche, Ko- Christ Church Cathedral Brown University versity, Thousand Oaks, CA 7 pm blenz, Germany 5 pm 1117 Texas Avenue James Welch ; St. Mark’s Episcopal, Horst Buchholz; Abteikirche, Maria Houston, Texas 77002 Palo Alto, CA 7:30 pm Laache, Germany 7 pm 28 OCTOBER

] Andrew Peters, silent fi lm; Ladue Cha- 22 SEPTEMBER pel, Ladue, MO 5:30 pm Willi Kronenberg, with oboe; Kilian- Joe Utterback Karen Beaumont; Cathedral Basilica of Kirche, Bedheim, Germany 5 pm David Wagner the Immaculate Conception, Denver, CO Johannes Krutmann; Liebfrauenkirche, www.jazzmuze.com]] ] DMA 3 pm Hamm, Germany 7 pm Philippe Lefebvre; Kiliansdom, Würz- www.davidwagnerorganist.com burg, Germany 7 pm 203 386 9992 INTERNATIONAL Harald Gokus & Ralf Borghoff; Lieb- frauenkirche, Hamm, Germany 8 pm 15 SEPTEMBER Liselotte Kunkel; Liebfrauenkirche, Ansgar Schlei, children’s concert; Willi- Hamm, Germany 9 pm brordi-Dom, Wesel, Germany 5 pm Albert Jan Roelofs; Kathedrale Basiliek Kevin Walters KARL WATSON Hans-Bernhard Ruß; Augustinerkirche, St. Bavo, Haarlem, Netherlands 3 pm Würzburg, Germany 7:30 pm Elisa Freixo; Le Musée Suisse de M.A., F.A.G.O. SAINT LUKE’S Hans-Jürgen Kaiser, Otto Krämer, & l’Orgue, Roche, Switzerland 5:15 pm Stefan Schmidt; Pfarrkirche St. Martin, Rye, New York METUCHEN Bad Ems, Germany 7:30 pm 23 SEPTEMBER Hayo Boerema; Dominikanerkirche St. Jean-Christophe Geiser; Jesuiten- Andreas, Köln, Germany 8 pm kirche, Vienna, Austria 6:20 pm Torsten Wille; Evangelische Kirche, Hans Eberhard Rufl ; Dom, Altenberg, Reutlingen, Germany 8 pm Alan G Woolley PhD Germany 11:45 am RONALD WYATT Zuzana Ferjencikova; Kathedrale Musical Instrument Research Basiliek St. Bavo, Haarlem, Netherlands Jean-Pierre Leguay; Münster, Ober- marchtal, Germany 5 pm Edinburgh Trinity Church 3 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

1836 - American Composers . . . creative talents from the S 20th and 21st centuries contribute importantly to the A two-inch Professional Card in The Diapason E repertoire of the King of Instruments. P 1837 - Out of Their Minds . . . following a centuries-old For information on rates and specifi cations, contact Jerome Butera: tradition, today’s organists create new music in the [email protected] 608/634-6253 T moment through artful improvisation. 2 1838 - Ravin’ About Raven . . . highlights from recent releases from the Raven CD catalog, with comments ArtistArtist Spotlights Spotlightspotlight s 0 from label chief William T. Van Pelt. 1 1839 - Excerpts from Iowa . . . performances recorded Artist Spotlights 8 during the North Central American Guild of Organists are available on Your professional card Regional Convention in 2017. The Diapason website and could appear here! 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 SEPTEMBER 2018 Q 31 Calendar

Ruben Sturm; St. Moritz, Rottenburg, Manuel Braun; St. Justinius, Frankfurt, Andreas Konrad; Pfarrkirche St. Georg, 18 OCTOBER Germany 5 pm Germany 5 pm Kettgau, Germany 6 pm Bernhard Haas; Dom St. Petri, Bremen, Ignace Michiels; St. Martin, Ober-Olm, Heiko Ittig; Pauluskirche, Hamm, Ger- Antonio Galanti; Cathedral, Pistoia, Germany 7 pm Germany 5 pm many 5:30 pm Italy 5 pm Christopher Herrick; St. John the Evan- Philip Scriven; St. Bartholomäus, Gack- Heinz-Peter Kortmann, with fl ute; Lieb- Matthias Mück; Farnborough Abbey, gelist Upper Norwood, London, UK 7:30 pm enbach, Germany 5 pm frauenkirche, Hamm, Germany 6:30 pm Farnborough, UK 3 pm Serenella Secchiero; Cathedral, Pis- Ulrich Pakusch, with trombone quartet; Isabelle Demers; Knox United Church, 19 OCTOBER toia, Italy 5 pm Wallfahrtsbasilika, Werl, Germany 7:30 pm Parksville, BC, Canada 2:30 pm Kalevi Kiviniemi; Jesuitenkirche St. Mi- Sophie-Véronique Cauchefer-Choplin; chael, München, Germany 8 pm St-Sulpice, Paris, France 4 pm 2 OCTOBER 8 OCTOBER Lionel Rogg; St-Martin, Dudelange, Bel- Relf Clark; Reading Town Hall, Reading, 20 OCTOBER Giorgio Parolini; Willibrordi-Dom, We- gium 8:15 pm UK 1 pm 24 SEPTEMBER sel, Germany 7:30 pm Jos van der Kooy; St. Bavokerk, Haar- Ekaterina Kofanova, with blockfl ute Francesco Finotti; Dominikanerkirche lem, Netherlands 8:15 pm 9 OCTOBER & cello; Peterskirche, Basel, Switzerland Loreto Aramendi; St-Martin, Dudelange, St. Andreas, Köln, Germany 8 pm 7:30 pm Belgium 8:15 pm 3 OCTOBER 21 OCTOBER 25 SEPTEMBER Rossini, Petite Messe Solennelle; Dom, Torben Zepke; Dom, Altenberg, Ger- Altenberg, Germany 2 pm 10 OCTOBER William Hörmann; St. Bavokerk, Haar- Johannes Trümpler; Frauenkirche, many 11:45 am Giampaolo di Rosa; Marienkirche, Lan- lem, Netherlands 8:15 pm Dresden, Germany 8 pm Jean Guillou; Jesuitenkirche St. Mi- dau, Germany 5 pm Vittorio Ghielmi & Luca Pianca; Jesu- chael, München, Germany 4 pm Markus Eichenlaub; Kathedrale, Dres- 26 SEPTEMBER itenkirche St. Michael, München, Germany Luca Massaglia; St. Laurentius, Erwitte, den, Germany 8 pm Wolfgang Kläsener; Wallfahrtsbasilika, 8 pm Germany 4:30 pm Werl, Germany 7:30 pm Nicolas Bucher, with soprano and viol de Franz Günthner; Münster, Ober- Barbara Dennerlein; Willibrordi-Dom, gamba; Radio France, Paris, France 8 pm 11 OCTOBER marchtal, Germany 5 pm Wesel, Germany 7:30 pm Stephan Leuthold; Dom St. Petri, Bre- 5 OCTOBER Samuel Kummer; Frauenkirche, Dres- men, Germany 7 pm 23 OCTOBER Markus Hinz; kulturWERKwissen, Wis- Jean-Baptiste Robin; St-Martin, den, Germany 8 pm sen, Germany 7:30 pm 12 OCTOBER Dudelange, Belgium 8:15 pm Isabelle Demers; Christ Church Cathe- 28 SEPTEMBER Peter Kofl er; Jesuitenkirche St. Michael, dral, Victoria, BC, Canada 7:30 pm München, Germany 8 pm 24 OCTOBER Barry Jordan; Dom, Magdeburg, Ger- Dörte-Maria Packeiser; Frauenkirche, many 7:30 pm 6 OCTOBER 13 OCTOBER Dresden, Germany 8 pm Matteo Messori; S. Ignazio, Pistoia, Italy Stefan Schmidt, silent fi lm; Kiliansdom, Catherine Ennis; Westminster Cathe- 6:30 pm Karl-Heinz Böhm; Stadtpfarrkirche St. Würzburg, Germany 7 pm Martin, Bamberg, Germany 5:30 pm dral, London, UK 7:30 pm Bálint Karosi; Izumi Hall, Osaka, Japan Ulrich Pakusch, with choir; Wallfahrts- Thorsten Hülsemann; Willibrordi-Dom, 7 pm 25 OCTOBER basilika, Werl, Germany 7:30 pm Wesel, Germany 7:30 pm Susanne Rühling & Ralf Gehler Björn O. Wiede; Willibrordi-Dom, Wesel, ; Muse- um für Antike Schifffahrt, Mainz, Germany 29 SEPTEMBER Germany 7:30 pm 14 OCTOBER 7:30 pm Ansgar Wallenhorst; Kiliansdom, Würz- Francesco Cera; Cathedral, Segovia, L‘ Accademia Giocosa, Bach cantatas; burg, Germany 7 pm Spain 9 pm Jesuitenkirche St. Michael, München, Ger- 26 OCTOBER Alex Fleirl; Dominikanerkirche St. An- David Gammie; St. Alphage, Edgware, many 4 pm dreas, Köln, Germany 8 pm Schola Floriana; Basilika St. Kastor, Ko- UK 7:30 pm Rolf Müller; Dom, Altenberg, Germany blenz, Germany 7:30 pm Rheinhard Jaud; Kirche Mariä Himmel- 4:30 pm fahrt, Alshelm, Germany 7:30 pm 7 OCTOBER Michael Hoppe; St. Laurentius, Erwitte, 27 OCTOBER Ton van Eck; Kathedrale Basiliek St. David Schollmeyer; Dom, Altenberg, Germany 4:30 pm Ansgar Schlei; Willibrordi-Dom, Wesel, Bavo, Haarlem, Netherlands 3 pm Germany 11:45 am Leo van Doeselaar; Heilig Geist Kirche, Germany 7:30 pm Iveta Apkalna; Jesuitenkirche St. Mi- Schramberg, Germany 5 pm 30 SEPTEMBER chael, München, Germany 4 pm Francesco Cera; Chiesa di Santa Te- 28 OCTOBER Roman Hauser; Jesuitenkirche, Vienna, Thomas Trotter; St. Laurentius, Erwitte, resa, Reggio Emilia, Italy 5 pm Andreas Meisner, with trumpet; Dom, Austria 6:20 pm Germany 4:30 pm Thierry Escaich; St-Sulpice, Paris, Altenberg, Germany 2:30 pm Michael Seibel; St. Stephanus, Hamm- Irene Roth; Kilian-Kirche, Bedheim, Ger- France 4 pm Gerhard Löffler; Dom St. Martin, Rotten- Hessen, Germany 3:30 pm many 5 pm burg, Germany 5 pm Johannes Krutmann; St. Agnes, Hamm, Hans-Eberhard Roß, organ and harmo- 16 OCTOBER Adam Brakel; Westminster United Germany 4:30 pm nium; Abtei, Marienstatt, Germany 5 pm Daria Burlak; St-Martin, Dudelange, Church, Winnepeg, MB, Canada 2:30 pm Darius Bakowski; Dom, Altenberg, Ger- Annette Arnsmeier; St. Thomae, Soest, Belgium 8:15 pm Craig Cramer; Cathedral of the Assump- many 4:30 pm Germany 5 pm tion, Ningbo, China 7 pm 17 OCTOBER Krzystof Urbanyak; Kreuzkirche, Dres- 29 OCTOBER den, Germany 8 pm Carsten Ehret; Musikhochshule, Mainz, Dorothee Oberlinger & Peter Kofl er; Germany, 7:30 pm Jesuitenkirche St. Michael, München, Ger- many 8 pm 31 OCTOBER Carmen Jauch, with alto; Klosterkirche, Holger Gehring; Kathedrale, Dresden, Alpirsbach, Germany 11:15 am Germany 8 pm

ORGAN BUILDERS Member Firm: The Associated Pipe Organ Builders of America CORNEL ZIMMER ORGAN BUILDERS RANDALL DYER & ASSOCIATES, INC. L. W. BLACKINTON FOURTH GENERATION BUILDER and associates, inc. PIPE ORGANS OF QUALITY AND DISTINCTION BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 A NEW GENERATION IN 380 FRONT ST. ◆ EL CAJON, CA 92020 [email protected] www.rdyerorgans.com EXCEPTIONAL QUALITY CREATIVITY, AND INTEGRITY

731 CROSSPOINT DRIVE Pipe Organ Builders Since 1915 DENVER, NC 28037 P : 704-483-4560 11561 Edmonston Rd. HONE Beltsville, MD 20705 WWW.ZIMMERORGANS.COM [email protected] 800/952-PIPE

Subscribers can view the digital David E. Wallace version of this issue (as well as A N D C O M PA N Y, L. L. C. selected past issues) at our website. Pipe Organ Builders New Organs Visit www.TheDiapason.com Restoration / Renovation / Relocation to experience this! www.wallacepipeorgans.com 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 SEPTEMBER 2018 WWW.THEDIAPASON.COM Recital Programs

KHRISTIAN ERICH BAUER-ROWE, Herren, BWV 648, Ach bleib bei uns, Herr über den Choral: Ein feste Burg, op. 27, Re- no. 4), Schumann; Allegro Giocoso (Sonata in Old West Church, Boston, MA, May 30: Jesu Christ, BWV 649, Kommst du nun, Jesu, ger; Angelus, Rosaces (Esquisses Byzantines), E-fl at), Bairstow; Harpe de Marie, Florentz; Grave, Fugue Libre, Postlude (L’orgue Mys- vom Himmel herunter, BWV 650, Concerto Méditation Religieuse, Mulet; Toccata, op. Te Deum, op. 11, Demessieux. tique Dominica V post Pascha), Fantaisie in C, BWV 595, Bach; Jesus bleibet meine 104, Jongen. (L’orgue Mystique Dominica XV Laetare), Freude, BWV 147, Bach, transcr. Durufl é; DANIEL ROTH, Church of the Trans- Tournemire; Moderato (Symphonie Romane, Concerto in d, BWV 596, Bach; Final (Ich JOYCE JONES, Markham Organ Studio, fi guration, Orleans, MA, April 13: Gloria Patri op. 70), Widor. hatte viel Bekümmernis), BWV 21, Bach, Baylor University, Waco, TX, May 15: Varia- (Livre d’orgue pour le Magnifi cat), Roth; transcr. Liszt. tions on America, Ives; Herzlich tut mich Schmucke dich, o liebe Seele, BWV 654, Bach; MATTHEW BULLER, Warner Hall, verlangen, BWV 727, Nun freut euch, liebe Interlude symphonique (Redemption), Franck; Oberlin Conservatory of Music, Oberlin, OH, JOHN GOUWENS, Culver Academies, Christen g’mein, BWV 734, Bach; Concerto Impromptu (24 Pièces de Fantaisie, op. 54), Vi- April 24: Toccata in d, FbWV 102, Toccata da Culver, IN, April 15: Toccata in F, BuxWV156, in a, Vivaldi; Chorale Prelude on Seelenbrau- erne; Prelude and Fugue in f, op. 7, no. 2, Du- sonarsi alla leuatione, FbWV 105, Froberger; Buxtehude; Erbarm’ dich mein, o Herre Gott, tigam, Rhumba, Elmore; Song of Peace, Lan- pré; Deposuit (Livre d’orgue pour le Magnifi - Toccata tertia (Appartus Musico-Organas- BWV 721, Schmücke dich, o liebe Seele, BWV glais; Variations on a Noël, op. 20, Dupré. cat), Roth; Symphonie Romane, op. 73, Widor. ticus), Muffat; Gelobet seist du, Jesu Christ, 654, Bach; Rákóczy March (Damnation of BuxWV 188, Toccata in d, BuxWV 155, Bux- Faust), Berlioz, transcr. Busser; Symphonie I, CHRISTINE KRAEMER, Loyola Univer- JOHN SHERER, Fourth Presbyterian tehude; Sonata in e, BWV 528, Bach; Zeuch op. 14, Vierne. sity, Chicago, IL, May 20: Kyrie, Gott heiliger Church, Chicago, IL, April 27: Emperor’s ein zu deinen Toten, Krebs-WV 556, Krebs; Geist, BWV 671, Bach; Le Jardin suspendu, Fanfare (Double Concerto VI), Soler; Sheep Christ, unser Herr, zum Jordan kam (Musae THOMAS GOUWENS, Fourth Presby- JA 71, Alain; Elevation, Couperin; Pastorale, May Safely Graze, Bach, arr. Rawsthorne; O sioniae, Vol. 7), Praetorius. terian Church, Chicago, IL, May 11: Toccata op. 19, Franck; Diptyque, Messiaen; Varia- Sons and Daughters, Let Us Sing, Dandrieu; in e, Pachelbel; Suite No. 1, Clérambault; tions on Veni Creator Spiritus, Ferko. O Sons and Daughters, Let Us Sing, Guilmant; SAMUEL BUSE, Lawrence Memorial Gaitilla de mano izquierda, Durón; Petite Four Quiet Voluntaries, Thiman; Imperial Chapel, Appleton, WI, May 28: Batalha de 5o fugue sur le Chromhorne, Dialogues sur les CHRISTIAN LANE, Old West Church, March, Elgar, arr. Martin; Meditation, Yuki; Tom, da Conceição; Tiento de medio registro Trompettes, Dialogue en trio du Cornet et Boston, MA, May 9: Prelude and Fugue in Toccata (Symphonie V, op. 42, no. 1), Widor. de dos tiples de 2o tono, de Arauxo; Salamanca de la Tierce (Messe pour les Paroisses), Cou- C, BWV 545, Bach; Andante (Sonata VI in (Trois Préludes Hambourgeois), Bovet; Vater perin; Berceuse (24 Pièces en style libre, op. d, op. 65, no. 6), Prelude in G, op. 37, no. 2i, HAROLD STOVER, Cathedral of St. unser im Himmelreich, BWV 636, Wer nur 31), Vierne; Deux Danses à Agni Yavishta, Andante tranquillo (Sonata III in A, op. 65, John the Divine, New York, NY, April 15: The den lieben Gott läßt walten, BWV 642, Bach; Litanies (Trois Pièces), Alain. no. 3), Mendelssohn; Prelude and Fugue in a, Starry Night, Stover; Night, a Fantasy, Foote; Lullaby (Suite No. 2), Hampton; Agitato (So- BWV 543, Bach. There’s Not a Friend Like the Lowly Jesus, nata XI in d, op. 148), Rheinberger. WILLIAM GUDGER, St. Luke’s Cha- Thomson; Oriental Sketch, Foote; Heliotrope pel, Medical University of South Carolina, WILLIAM JAMES LAWSON, Main Street Bouquet, Joplin, arr. Chauvin; Trumpet Tunes, MINSUNG CHUNG, Old West Church, Charleston, SC, April 3: Largo (Winter), Baptist Church, Binghamton, NY, April 18: Hampton; Blue Prelude, Feria, Stover. Boston, MA, May 16: Toccata in F, BWV Vivaldi, transcr. Wolf; Elegy, Thalben-Ball; Fantasy, Chorale, and Fugue on Engelberg, 540i, O Lamm, Gottes, unschuldig, BWV 656, Solemn March to the Holy Grail (Parsifal), Berceuse, Carol-Prelude on Greensleeves, A DAVID TROIANO, Trinity Anglican Bach; Wer nur den lieben Gott lässt walten, Wagner, transcr. Liszt/Gudger; Larghetto, Latvian Mosaic, Prelude on Brother James’s Church, St. Thomas, ON, Canada, March 21: Walcha; Fugue in F, BWV 540ii, Bach. Allegro (The Cuckoo and the Nightingale), Air, Meditation on St. Columba, Lyric Rhap- Herzliebster Jesu, Walcha; Aria, Wesley; O Handel; My Shepherd Will Supply My Need, sody, Fantasy on Wareham, Wright. Mensch bewein dein Sünde groß, BWV 622, CAROLYN CRAIG, St. Luke’s Episcopal arr. Gudger; This Joyful Eastertide, arr. Bach; O Sacred Head Surrounded, Thomas; Church, Anchorage, KY, Aprl 22: Prelude and Clarke; Herzlich tut mich erfreuen, op. 122, RENEE ANNE LOUPRETTE, Holy Prelude and Fugue in C, Bach; All Crea- Fugue in E-fl at, BWV 552, Bach; Adagio in no. 4, Brahms. Cross College, Worcester, MA, March 18: tures of Our God and King, op. 100, Peeters; E, Bridge; Sonata III, op. 65, no. 3, Mendels- Pedaliter works, Clavier-Übung III, Bach. Christ lag in Todesbanden, Manz; O Love sohn; Toccata Settima, Muffat; Prelude and STEPHEN HAMILTON, with Schery That Wilt Not Let Me Go, Diemer; Toccata Fugue in B, op. 7, no. 1, Dupré. Collins, fl ute; St. Thomas Church, Abingdon, BRUCE NESWICK, Cathedral of St. Phil- on Hyfrydol, Pardini. VA, May 8: Te Deum (Trois Paraphrases Gre- ip, Atlanta, GA, May 20: Komm, Gott Schöp- St. Clare of Montefalco Catholic Church, BRYAN DUNNEWALD, Cathedral of St. goriennes), Chant de Paix, Langlais; Prelude, fer, heiliger Geist, BWV 667, Bach; Sonata II, Grosse Pointe Park, MI, April 3: Christ lag in Philip, Atlanta, GA, April 8: Sonata III in A, Fugue, and Variation, Franck; Trois Mouve- Howells; Fanfares to the Tongues of Fire, King. Todesbanden, Scheidt; Christ lag in Todesban- op. 65, no. 3, Mendelssohn; Innig (Six Studies ments pour Orgue et Flute, JA 74B, Litanies den, Zachau; Christ lag in Todesbanden, Bach; in Canonic Form), op. 56, no. 4, Schumann; (Trois Pièces), JA 119, Alain; Passacaglia in c, JASON ROBERTS, Cathedral of St. Phil- Christ lag in Todesbanden, Manz; Hymn to Sonata I, Hindemith. BWV 582, Bach; Three Preludes on American ip, Atlanta, GA, April 15: Symphonie Romane, Joy, Burkhardt; Lasst uns erfreuen, op. 100, Folk Hymns, Coe; Prelude and Fugue in B, op. 73, Widor. no. 2, Peeters; Elevazione, Paolucci; Partita on JEAN-CHRISTOPHE GEISER, Cathe- op. 7, no. 1, Dupré. Hyfrydol, Callahan. dral, Lausanne, Switzerland, April 1: Con- CAROLINE ROBINSON, Cathedral of certo in a, BWV 593, Wachet auf, ruft uns JEAN HERMAN HENSSLER, United St. Philip, Atlanta, GA, May 13: Prelude and PATRICK WALKER, Old West Church, die Stimme, BWV 645, Wo soll ich fl iehen Presbyterian Church, Binghamton NY, May Fugue in g, WoO 10, Brahms; Trio super Al- Boston, MA, May 23: Gloria (Messe pour les hin, BWV 646, Wer nur den lieben Gott lässt 20: Finale (Symphonie VIII, op. 42, no. 4), lein Gott in der Höh’ sei Ehr, BWV 664, Bach; couvents), Couperin; Sonata II, Hindemith; walten, BWV 647, Meine Seele erhebet den Widor; Est-ce Mars, Sweelinck; Phantasie Innig (Six Studies in Canonic Form, op. 56, Vivace (Sonata in G, BWV 525), Bach.

  0LOQDU2UJDQ 035DWKNH,QF 3LSH2UJDQ%XLOGHUV &RPSDQ\   3RVW2IILFH%R[

1HZ,QVWUXPHQWV²8VHG3LSHV²5HVWRUDWLRQV 6SLFHODQG,QGLDQD86$ • +LOO5RDG(DJOHYLOOH71 610-970-9817 pjmorgans.com ZZZPLOQDURUJDQFRP 7HO)D[ [email protected] ZZZUDWKNHSLSHRUJDQVFRP

sound INSPIRATION Check your listing in DIAPASON Student Rate Acoustical Design & Testing • Organ Consultation & $20 one year Inspection • Organ Maintenance & Tuning • Sound & Video The Diapason 847/954-7989 System Design, Evaluation & Training WOW! www.riedelassociates.com • (414) 771-8966 [email protected] email: [email protected] Resource 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Directory Don’t just tell people what you _ If changes are needed in your have for sale. Show them! listing, contact Jerome Butera Own a piece of history! 608/634-6253 The cover of the 100th Anniversary [email protected] Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 33 Classifi ed Advertising

POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Morel and Associates, Organ Builders of Den- New from Fruhauf Music Publications: Johann Certified appraisals—Collections of organ Pipe Organs of the Keweenaw by Anita ver, Colorado, is seeking an experienced pipe Sebastian Bach’s Fanatasia and Fugue (frag- books, recordings, and music, for divorce, Campbell and Jan Dalquist, contains his- organ technician to join our company to assume ment) in C-minor, S. 562, is featured in two paired estate, gift, and tax purposes. Stephen L. tories, stoplists, and photos of some of the position of Service Manager. Please mail or complimentary online publications. Presented Pinel, Appraiser. 629 Edison Drive, East Wind- the historic organs of the Keweenaw Pen- email résumé to: Rick Morel, 4221 Steele St., in letter-sized PDF booklets that include notes, sor, NJ 08520-5205; phone: 609/448-8427; insula, the northernmost tip of Michigan’s Denver, CO 80216; email: [email protected]. music scores and appendices, the fantasia’s email: [email protected]. Upper Peninsula. Organs include an 1899 notation has been clarifi ed in a performance edi- Barckhoff and an 1882 Felgemaker. The booklet tion, and the fugue fragment includes a specula- ($8.00 per copy, which includes postage) is Wanted: Organists visiting Maui. Lahaina’s tive realization. Visit www.frumuspub.net and Rheinberger Organ Sonatas, Vol. 5, a new available from the Isle Royale and Keweenaw Holy Innocents Episcopal Church invites visit- scroll down to the Bulletin Board to access both Raven CD. Bruce Stevens plays three 19th-cen- Parks Association, 49445 US Hwy 41, Hancock, ing organists to play its Beckerath Positiv organ fi les for download. tury American organs. Sonatas No. 7 in F minor, Michigan 49930. For information: 800/678-6925. at Sunday services. Built in 1972 by Rudolf von op. 127; No. 9 in B minor, op. 142; No. 13 in E-fl at, Beckerath and then-apprentice Hans-Ulrich op. 161. The organs are: 1860 E. & G. G. Hook 3m, Erbslöh for Honolulu’s Lutheran Church, the 408- Organa Europae calendars featuring famous op. 288, St. John’s Church, Bangor, Maine; 1898 HYBRID ORGANS FOR SALE pipe Shrankpositiv has a 54-note “split” manual, pipe organs of Europe; years 1969 to 1977. Geo. Jardine & Son, op. 1248, St. Peter’s Church, 30-note pedal, 11 stops, 8 ranks, and 6 registers. $10.00 each. 219/662-0677, [email protected]. Pipe/digital instrument available. Wicks/Allen Holy Innocents acquired the instrument in 1977 Haverstraw, New York; 1868 E. & G. G. Hook 3m, 2008 with custom English console and façade. and moved it to Maui. The instrument is extremely op. 472, Christ Episcopal Church, Charlottesville, 11 pipe ranks; 64 digital ranks. Mint tonal and responsive and fi lls the worship space beautifully. The Tracker—The Organ Historical Society quar- Virginia, relocated in 2012 by Andover Organ physical condition. Immediately available. Com- The parish community is “exemplary in its hospi- terly journal includes news and articles about the Co. to the organ’s fi fth location. Raven OAR-993 plete brochure email [email protected] or tality to all visitors,” and that especially includes organ and its history, organ builders, exemplary $15.98 postpaid. Raven, Box 25111, Richmond, visiting organists. For information: 808/661-4202; organs, and regional surveys of instruments. Both VA 23261; 804/355-6386, RavenCD.com. call 803/359-6352. holyimaui.org. American and European organ topics are dis- cussed, and most issues run 32 pages with many The new Nordic Journey series ELECTRONIC ORGANS FOR SALE illustrations and photographs. Membership in the of CD record- PUBLICATIONS / RECORDINGS OHS includes a subscription to The Tracker. Visit ings reveals premiere recordings of symphonic the OHS Web site for subscription and member- organ music—much of it still unpublished—from Rodgers model 578, two manuals and pedals. Nordic composers, played by American organist For Your Halloween Concert this year, con- ship information: www.organsociety.org. Six years old, like new; medium dark fi nish; used James Hicks on a variety of recently restored sider the “Second Toccata in C Minor” by James in my home. Google this model and discover its Swedish organs. It’s a little bit like Widor, Reger, H. Rogers. It’s virtually unknown, and its twisting many features. Located in Shorewood, Illinois. Organs of Oberlin chromatic passages are perfect for Halloween. chronicles the rich history of and Karg-Elert, but with a Nordic twist. Check it 815/531-9558. michaelsmusicservice.com 704/567-1066. organs at Oberlin College, the Conservatory of out at www.proorgano.com and search for the Music, and the town of Oberlin, Ohio. The hard- term “Nordic Journey.” bound, 160-page book with many illustrations is PIPE ORGANS FOR SALE ChicAGO Centenary Anthology, by Alan J. the most comprehensive study of traceable organs ″ ″ Ed Nowak, Chicago-area composer, arranger, Hommerding, Paul M. French, Richard Proulx, et from 1854 to 2013. The book measures 8½ x 11 Circa 1860 Pfeffer eight-rank organ, available al. This joint effort of the Chicago Chapter of the and features a dust jacket with colorful illustra- and church musician, announces his new web- rebuilt and custom fi nished. Also 1884 choir American Guild of Organists and World Library tions not found in the book. Organs by the Skinner site, featuring Nowak’s original choral works, organ by Louis Debierre. Both are pictured on the Publications presents specially commissioned Organ Company, Aeolian-Skinner, C. B. Fisk, Inc., hymn concertatos, chamber and orchestral Redman website: www.redmanpipeorgans.com. organ works by Chicago composers, as well Flentrop, Holtkamp, Roosevelt, and many others works, organ hymn accompaniments, organ as rare or unpublished pieces by earlier organ- are featured. Text by Stephen Schnurr, foreword and piano pieces, electronic music, and psalm ists from the city including Leo Sowerby. Also by James David Christie; photographs by William settings. The website offers scores and recorded Historic 1859 ROBJOHN, II+Ped, 11 ranks. includes a jubilant Bailado Brasileiro by Richard T. Van Pelt, Trevor Dodd, Halbert Gober, as well as examples that are easy to sample and can be Drop dead gorgeous rosewood case, 14′-2″ tall. Proulx, the AGO’s 2006 Composer of the Year! rare vintage examples. $50, plus $5 shipping. Visit purchased in downloaded (PDF and MP3) or Lovely for chapel, large residence, or museum. 003074, $25.00, 800/566-6150, Wlpmusic.com. www.organsofoberlin.com. printed form. Visit ednowakmusic.com. www.bigeloworgans.com. Click on News.

TOTAL PIPE ORGAN RESOURCES

2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com

Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, contact Jerome Butera, For advertising information contact: 608/634-6253 THE DIAPASON [email protected] 608/634-6253 voice Send a copy of THE DIAPASON to a friend! [email protected] e-mail Contact THE DIAPASON at 608/634-6253; [email protected]

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 PIPE ORGAN BUILDERS, LTD. Phone (515) 964-1274 Fax (515) 963-1215 LAKE CITY, IOWA 51449 (712) 464-8065

Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

3030 W. Salt Creek Lane ph 847/954-7989 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

34 Q THE DIAPASON Q SEPTEMBER 2018 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES

Five stop triple transposing Positiv Organ by 26-rank Casavant pipe organ for sale. Orgues Residence instrument available, Douglasville, Releathering all types of pipe organ actions James Louder. Designed and built by James Létourneau is offering a 22-stop Casavant Georgia. Four manual, six division, hybrid instru- and mechanisms. Highest quality materi- Louder to serve as either a large continuo organ Frères pipe organ (Opus 2295 from 1955) for ment built in 2010. Short montage on YouTube by als and workmanship. Reasonable rates. or a small chapel organ, the organ has fi ve sale. This electro-pneumatic instrument is cur- entering “HDG residence organ” in the browser. Columbia Organ Leathers 800/423-7003. registers, all divided into bass and treble. The rently in storage at the Létourneau shops and Complete stoplist and pictures available. Contact www.columbiaorgan.com/col. manual compass is 50 notes (C, D–d′′′) and the is available for purchase in “as is” condition for M. Proscia, 770/258-3388 or 770/361-2485. keyboard may be transposed from A440 to A415 US $45,000 with its original three-manual con- sole. Likewise, Létourneau would be pleased Do you have a pipe organ that you would and to A392. The natural keys are of bone and 1968 Wicks, one divided manual and AGO the sharps of padouk, capped with ebony. The to provide a proposal to rebuild this instrument, like to interface with an electronic or digital taking into account any desired changes to the pedalboard. Excellent condition. Self contained; casework is of solid white oak with pipe-shades organ? We can interface any digital organ or stoplist as well as installation costs, voicing, direct electric action; chiffy, open toe voicing, of rock maple. The organist may play comfortably any organ console with any pipe organ. For more casework as required, and rebuilding the three- 85 unenclosed pipes. Ideal for small church or while standing, or while seated at the tall bench ′ information e-mail [email protected] (not manual console with a new solid-state switch- home. Fits under 8 ceiling. $4,000 or best offer. provided. Removable panels shield the façade ing system. The organ requires approximately [email protected]. Comcast) or call 215/353-0286. pipes during transport, as well as a fi tted, padded 360 sq. ft. with 15′ ceilings. For more details, cover for the whole instrument. The upper part of visit www.letourneauorgans.com, email info@ Aeolian/Robert Morton-style maroon the organ can be removed from the base, which letourneauorgans.com or call Andrew Forrest at MISCELLANEOUS FOR SALE leather is now available from Columbia Organ contains the wind system. The organ can be eas- 450/774-2698. ily transported in the back of a mini-van. Because Deagan tubular tower chime, pre-1936, 15 Leathers! Highest quality. 800/423-7003, a continuo organ in regular use needs to be note, E3 chromatic to G4, except omitting F#4. www.columbiaorgan.com. tuned frequently, the open metal pipes are fi tted Votteler-Holtkamp-Sparling Organ, built in 1941 Old action bases and actions available; no frame, with tuning collars. This also allows the organ to for Kulas Recital Hall, Baldwin-Wallace College, nor additional equipment. Asking $19,000. Prefer be put into various temperaments. The instru- Berea, Ohio: three manuals and pedal, 30 stops, pick-up, located Southwest Ohio. Can ship at ANNOUNCEMENTS ′ 41 ranks. With the exception of the 16 Subbass additional charge; rebuilding services avail- ment is tuned in Kellner temperament. Stoplist: ′ Bourdon 8′, Principal 4′, Flûte à cheminée 4′, and 16 Quintaton, it is entirely slider chests with able. Contact [email protected], or call THE DIAPASON E-Newsletters are e-mailed electro-pneumatic key action and stop action. Dessus de Nasard 2-2/3′, Flûte à bec 2′. Price: 937/378-2355. monthly to subscribers who sign up to receive Dimensions are roughly 11′-0″ wide, 16′-0″ deep, $60,000 (U.S.), seller pays shipping. Contact: them. Don’t miss the latest news, featured artists, and 16′-0″ high. Ideal for a moderate-sized wor- David Schrader, [email protected], and classifi ed ads—all with photos—some before ship space, or a large studio. It has served faith- Excellent used pipes, like new Austin cell: 312/560-2968. they appear in print! Visit www.TheDiapason. fully in Kulas Hall for the past 77 years. Due to actions half price, and all sizes of re-leathered com and click on Subscribe to our newsletter. For a hall renovation, it is now for sale. In pristine bellows. Milnar Organ Company, 615/274-6400, assistance, contact Stephen Schnurr, 847/954- Walter Holtkamp, Sr., Opus 1695 (1957), Christ condition, ready for restoration; currently in [email protected]. Please visit our web- 7989, [email protected]. storage. Asking price is $34,000.00. Contact: site for information on available inventory: www. Church Cathedral, Cincinnati. One of the last, 216/403-2020, [email protected]. milnarorgan.com. and largest, to be built by Walter Holtkamp, Sr. Postal regulations require that mail to THE 54 stops in fi ve divisions over three manuals and DIAPASON include a suite number to assure a pedal, plus a horizontal trumpet in the Spanish 1874 Hutchings-Plaistead. 2 manuals, 11 stops. Consoles, pipes and numerous miscellaneous delivery. Please send all correspondence to: style, totaling roughly 4,000 pipes. Contact John Good restorable condition. Free to a good home. parts. Let us know what you are looking for. THE DIAPASON, 3030 W. Salt Creek Lane, Suite Bishop, the Organ Clearing House, john@organ- Boston area. Contact John Bishop, the Organ E-mail [email protected] (not comcast), 201, Arlington Heights, IL 60005. clearinghouse.com. Clearing House, [email protected]. phone 215/353-0286 or 215/788-3423.

Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 608/634-6253, [email protected]

Like THE DIAPASON on Facebook:

www.Facebook.com/ TheDiapason

3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 CLASSIFIED THE DIAPASON 608/634-6253 • [email protected] ADVERTISING RATES

Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): Regular classifi ed advertising is single T January T February T March T April T May T June T July T August T September T October T November T December paragraph “want ad” style. First line only of each ad in bold face type. Category ______T Regular T Boldface Display classifi ed advertisements are set PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website T of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 30.00 ______Display Classifi ed, per word 1.40 Display Classifi ed minimum 35.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 25.00 ______($40 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $5.00 per issue desired with their payment. Name ______Phone ______

THE DIAPASON reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2018 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

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

Chelsea Chen Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois*

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Katelyn Emerson Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood*

Choirs Available

Saint Thomas Church New York City (March 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole New College Oxford (March/April 2019) Trinity College Cambridge United Kingdom (September 2019) Notre-Dame Cathedral Paris (April 2020) Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

Celebrating Our 98th *=Artists based outside Season! the U.S.A. Jonathan Ryan Todd Wilson Christopher Young