THE DIAPASON DECEMBER, 2009
100th Anniversary Issue
Dec 09 Cover-C.indd 1 11/12/09 1:57:28 PM Dec 09 pp. 2-22.indd 2 11/12/09 1:59:30 PM Arthur Lawrence – editor, September 1976– March 1982 THE DIAPASON David McCain – managing editor, A Scranton Gillette Publication April 1982–August 1983 One Hundredth Year: No. 12, Whole No. 1201 DECEMBER, 2009 Jerome Butera – editor and publisher, September 1983 to present Established in 1909 ISSN 0012-2378 An International Monthly Devoted to the Organ, Longtime DIAPASON subscribers the Harpsichord, Carillon, and Church Music As part of The Diapason’s 100th an- niversary celebration, I have noted, in my “Editor’s Notebook” column, our longtime subscribers—those who have CONTENTS Editor & Publisher JEROME BUTERA subscribed for more than 50 years. The [email protected] 847/391-1045 longest subscription is that of Malcolm FEATURES Benson: 70 years! We salute these sub- The Diapason, December 1909 23 Associate Editor JOYCE ROBINSON scribers for their many years of faithful support. Our most up-to-date list in- The Diapason: The First Hundred Years [email protected] by Michael Barone, Jack M. Bethards, Michael 847/391-1044 cludes the following: D. Friesen, Orpha Ochse, Barbara Owen, Frederick Swann, and John Weaver 31 Contributing Editors LARRY PALMER Fred Becker, Crystal Lake, Illinois, Harpsichord 1959 Mario Castelnuovo-Tedesco’s English Suite Bruce P. Bengtson, Wyomissing, Penn- for Harpsichord at 100 by Larry Palmer 36 JAMES MCCRAY sylvania, 1958 Choral Music Malcolm D. Benson, San Bernardino, Paul Manz: May 10, 1919–October 28, 2009 Siegfried E. Gruenstein, founder of THE California, 1939 In Memoriam BRIAN SWAGER DIAPASON Gordon Betenbaugh, Lynchburg, Vir- by Scott M. Hyslop 38 Carillon ginia, 1957 From the Dickinson Collection: Music and the next decade bring? If the past is any Byron L. Blackmore, Sun City West, JOHN BISHOP Worship by Clarence Dickinson indication, the pipe organ will continue Arizona, 1958 Compiled and edited by Lorenz Maycher 40 In the wind . . . to be built, played, and enjoyed, perhaps Gene Boucher, Annandale, Virginia, in ways we cannot envision. There will 1957 NEWS & DEPARTMENTS GAVIN BLACK always be a need and a market for the George Bozeman, Deerfi eld, New Editor’s Notebook 3 On Teaching quality, beauty, and artistic expression Hampshire, 1951 Here & There 4, 5, 6, 8, 10, 12 that the organ represents. Keep reading John M. Bullard, Spartanburg, South Reviewers David Herman Appointments 6 as The Diapason embarks on its next Carolina, 1953 Charles Huddleston Heaton Nunc Dimittis 12 hundred years. Merrill N. Davis III, Rochester, Minne- Looking Back 14 sota, 1955 A word of thanks From the classifi ed advertising archives 14 Douglas L. DeForeest, Santa Rosa, Cali- THE DIAPASON (ISSN 0012-2378) is published monthly That The Diapason has not only fornia, 1955 In the wind . . . by John Bishop 15 by Scranton Gillette Communications, Inc., 3030 W. Salt survived but fl ourished over this fi rst Harry J. Ebert, Pittsburgh, Pennsylva- On Teaching by Gavin Black 18 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 century is due to its many faithful sub- nia, 1946 REVIEWS MSG RLY. E-mail:
DECEMBER, 2009 100th ANNIVERSARY ISSUE 3
Dec 09 pp. 2-22.indd 3 11/12/09 2:01:23 PM soprano Julianne Baird, tenor William and Propers at a special Mass on Friday Ferguson, bass Kevin Deas, and coun- afternoon. Chant Master Scott Turking- Here & There tertenor Anthony Roth Costanzo. Musi- ton (Stamford Schola Gregoriana) has an ca Sacra’s tradition of presenting Messiah international reputation, with specializa- in New York began in the 1960s under tion in the Solesmes tradition, and is a St. Luke in the Fields, New York the choir’s founder and music director co-author of The Gregorian Chant Mas- City, continues its music series: Decem- Richard Westenburg. For information: terclass. For information: 334/444-5584; ber 3, “Christmas in the British Isles,”
The Choir of Men and Girls, Christ Church, Grosse Pointe, Michigan
The Choir of Men and Girls of Cathedral, Dublin; Christ Church Ca- Christ Church, Grosse Pointe, Michi- thedral, Dublin; Christ Church Cathe- gan, Scott Hanoian, director of music, dral, Waterford; and St. Mary’s Parish, sang Evensongs and concerts during a Killarney. Their repertoire included two-week trip to Ireland this past sum- music of Gary Davison, Herbert How- mer. The choir performed in St. Co- ells, Benjamin Britten, William Byrd, lumb’s Cathedral, Derry; St. Patrick’s and others.
Martin Jean, Lorraine Brugh, and Philip Gehring at Valparaiso University
The year 2009 marks the fi ftieth anni- University organist Lorraine Brugh was versary of the dedication of Valparaiso the organist for the service; Professor University’s Chapel of the Resurrec- Emeritus Philip Gehring played the tion and the Reddel Memorial organ. same prelude music that he had played Both were dedicated on September at the 1959 dedication. That afternoon, 27, 1959 at an afternoon service. That Dr. Brugh and two other faculty organ- same evening, E. Power Biggs played ists, John Bernthal and J. B. George, the dedicatory recital on the Schlicker recreated the same recital program that organ of four manuals and 74 ranks to Biggs had played 50 years earlier. Sever- an audience of 3,500. The organ was al members of this year’s audience had renovated in 1996 by Dobson Pipe Or- been present for the Biggs recital. gan Builders, with a new console and The second major event of the cel- several ranks added, bringing the total ebration was a recital on October 11 49th annual Montréal Boys Choir Course to 103 ranks. The occasion was marked by Martin Jean, director of the Yale by a recital by John Scott. Institute of Sacred Music and a former The 49th annual Montréal Boys ells and the Missa Brevis in D of Mozart. On Sunday, September 27, 2009, fi fty Valparaiso faculty member. Dr. Jean’s Choir Course took place July 26–Au- The 50th annual course will be directed years to the day from the original dedi- program included Bach’s Komm, hei- gust 2. The director of the course this by Malcolm Archer, Director of Music at cation, the anniversary was marked with liger Geist, BWV 651; Durufl é’s Pre- year was Andrew Lumsden, Organist and Winchester College, UK, and will take two events. At the morning service the lude, Adagio, and Chorale Variations Master of the Choir at Winchester Ca- place August 1–8, 2010. Further infor- presider was the Rev. Daniel C. Brock- on “Veni, Creator Spiritus”; Bolcom’s thedral, UK. Music performed by the 71 mation is available at the course website, opp, dean emeritus of the chapel, and What a Friend We Have in Jesus; and boy/teen/adult participants from choirs
4 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 2-22.indd 4 11/12/09 2:01:45 PM The National Association of Pas- by mail to NPM Mass Setting Competi- Carolyn Skelton. This was followed on toral Musicians (NPM) is sponsoring tion, 962 Wayne Avenue, Suite 210, Sil- March 27 by a concert with John Skel- a competition for new Mass settings ver Spring, MD 20910. Deadline for all ton playing works of Heiller and Bach. using the new translation of the Order submissions is January 31, 2010. On May 15, Marion Ruhl Metson per- of Mass. Judges will choose as fi nalists formed works of Bach, Heiller, and four settings from among the submis- The Haarlem Organ Festival 2010 Planyavsky (the Fantasie in Memoriam sions. Selected movements from the invites young composers from all over A.H.). On September 22, Peter Plan- four fi nalists will be sung and evaluated the world to submit new compositions yavsky offered a lecture, entitled “A by participants during the 2010 NPM for the organ. Two works will be selected Talk about Anton Heiller.” The Power- convention in Detroit, Michigan, July for discussion in the Summer Academy Point presentation was based on Prof. 12–16. The winning entry will be cho- workshop directed by Zsigmond Szath- Planyavsky’s recently released Heiller sen by a poll of those attending the con- máry, and for performance during a fes- biography, Anton Heiller: Alle Register vention, and its composer will receive a tival recital at St. Bavokerk on July 23. eines Lebens. cash prize of $1,500. Composers must be under the age of The texts may be found at
Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Organist/Lecturer/ Organist/Conductor/Lecturer Organist/Lecturer/ Cauchefer-Choplin Organist/Harpsichordist/ Recording Artist Organ Faculty and Chair Recording Artist Interpreter/Improviser/ Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Lecturer/Recording Artist Music Director and Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Titular Organist First Congregational Church East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Jean-Baptiste de la Salle Toledo, Ohio School of Music Director, International Organ Festival St. Maria della Speranza Deputy Titular Organist Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy St. Sulpice, Paris, France
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Catherine Ennis Interpreter/Improviser/ Organist/Lecturer Organist/Pianist/ Organist Organist/Lecturer/Recording Artist Recording Artist College Organist Recording Artist Associate Professor of Director of Music Titular Organist Assistant Professor of Organ Professor and Chair Organ and Carillon St. Lawrence Jewry, London UK St. Benigne’s Cathedral and Music Theory Frostburg State University University of Florida Trinity Laban Organ Professor Faculty Converse College Frostburg, Maryland Gainesville, Florida Irish Piper & Organ Duo National Conservatory Spartanburg, South Carolina The Reduced Handel Company Dijon, France London, England
Henry Fairs Faythe Freese Johan Hermans Michael Kaminski Angela Kraft Cross Organist Organist/Lecturer/ Organist/Lecturer/Recording Artist Organist Organist/Pianist/Composer/ 2007 International Recording Artist Conservatory of Music Director of Music Ministries Recording Artist Competition Winner Associate Professor of Organ Cathedral Organist Saint Francis Xavier Church Organist Odense, Denmark School of Music Artistic Director Brooklyn College Faculty The Congregational Church Head of Organ Studies University of Alabama International Organ Festival St. Francis College Faculty San Mateo, California Birmingham Conservatoire Tuscaloosa, Alabama Civic Organist Brooklyn, New York England Hasselt, Belgium
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
DECEMBER, 2009 100th ANNIVERSARY ISSUE 5
Dec 09 pp. 2-22.indd 5 11/12/09 2:02:05 PM Works for Advent and Christmas for Or- Appointments gan Solo, has been published by Wayne Leupold Editions (WL610005). Ms. Decker wrote the collection “In celebra- tion of The Diapason on the Occasion of Its Centenary.” This set is of moderate diffi culty and is intended to offer sub- stantial Advent and Christmas music that can be learned by professional organists within one to three weeks. For informa- tion:
James Hammann David Fienen at St. Jacobi in Lübeck Chelsea Chen
David Fienen has been appointed exhibiting unusual talent and promise Provost and Vice President for Academic for the future. She has also received fi rst Affairs at Gustavus Adolphus College, St. prizes in several competitions, includ- Peter, Minnesota, for 2009–2011. This ing the 2005 Augustana/Reuter National appointment follows 36 years of service Undergraduate Organ Competition, the at the college as professor of music and 2003 Region IX AGO RCYO competi- organist/cantor at Christ Chapel. Fienen tion, and the 2005 Musical Merit Foun- previously served as interim Dean of dation competition. In 2006 she was an Faculty/VPAA (2000–2001), Associate Aspen Music Festival full scholarship Dean of the College (1993–1996), and recipient for piano. Chair of the Music Department (1983– In the past year, she has performed at 1986, 2005–2009). Singapore’s Esplanade, Hong Kong’s Cul- A graduate of Indiana University, tural Centre, Philadelphia’s Kimmel Cen- Concordia Seminary, and the University ter, and Los Angeles’s Disney Hall. Other of Minnesota, Dr. Fienen has performed appearances include the 2006 AGO Re- widely throughout the U.S., Germany, gion IX conclave and the 2006 and 2004 and central Europe. He was an Art- national conventions of the guild, as well Theo J. M. Elbertse ist/Fellow with the Bach Aria Group in as performances with the Juilliard Percus- 1990, played an Orgelvesper at St. Ja- sion Orchestra in Lincoln Center’s Alice Theo J. M. Elbertse celebrated his cobi in Lübeck and an organ recital at Tully Hall and the Musica Sacra Chamber 40-year anniversary at Jacques Stink- the Schlosskirche in Lutherstadt-Wit- Orchestra in Colorado. ens Orgelpijpenmakers b.v., the Neth- Hook organ, St. John’s Episcopal tenberg (2004), and has performed with Also an accomplished composer, Chen erlands. In 1969, Elbertse, the son of Church, Quincy, Illinois the Gustavus Brass and Gustavus Wind is broadening the classical organ reper- an organ builder, joined the Stinkens Orchestra throughout central Europe toire with her own Asian-inspired compo- company. Having fi rst learned the art Variations, op. 23; Rondo-Caprice, op. (1989, 1994, 2006, and January 2010). sitions. She premiered her own Taiwanese of pipe making through experience in 35; and Sonata No. 2, op. 77. Fienen is the keyboardist for the Manka- Suite (2003) and Taiwan Tableaux (2007) the workshop, he became a member of Hammann has recorded three previ- to Symphony and has soloed with them at the Spreckels Organ Pavilion in San the board in 1974. Because of his great ous Raven CDs: an all-Guilmant program in the Saint-Saëns Organ Symphony, the Diego. Her CD/DVD, entitled Live at enthusiasm and knowledge of many played on the four-manual E. M. Skinner Poulenc Concerto, the Salieri Concerto, Heinz Chapel, was recorded at the 2005 different styles in both reed and fl ue (1926) at Jefferson Avenue Presbyterian and will play the Bach Brandenburg convention of the American Institute of pipes, Stinkens Orgelpijpenmakers be- Church in Detroit; Mendelssohn organ Concerto V with them this May. Organ Builders. Her playing has also been came one of the leaders in the inter- works recorded on the Stumm organ at aired on CNN.com, Pipedreams from national fi eld of organ pipe manufac- St. Ulrich Church in Neckargemünd, American Public Media, Hawaii Public turers—Stinkens pipes are delivered Germany; and a recreation of Guilmant’s Radio, and Taiwan’s Good News Radio. all over the world. The company itself fi rst U.S. recital (1893, World’s Colum- Here & There Chelsea Chen currently serves as Artist- is looking forward to celebrating its bian Exposition in Chicago) recorded on in-Residence at Emmanuel Presbyterian 100th anniversary in 2014. a restored Farrand & Votey organ similar Church in Manhattan. For booking infor- to the F&V organ he played at the Expo- Karen McFarlane Artists announces mation, contact Karen McFarlane Artists James Hammann plays organ music sition. He also has made recordings on the addition of Chelsea Chen to its at
6 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 2-22.indd 6 11/12/09 2:02:29 PM Anything Goes?
Not really. Good fashion choices aren’t random and neither is proper organ design. Allen Organ Company’s Tonal Director, Randy Miller, spends months on each stop list, meticulously selecting and scaling samples so that they complement and balance one another, creating cohesive ensembles. Randy believes that Allen customers deserve instruments designed to exacting ideals and well-defined tonal philosophies. We agree.
Creating a world-class instrument is a demanding process. Randy Miller, Allen Organ Company and thousands of Allen owners think it’s worth the effort. You will, too, when you hear the results of our work.
Fashion and organ design might not have a lot in common, but a mix ‘n match approach doesn’t produce the best results in either one.
www.allenorgan.com 150 Locust Street, P. O. Box 36, Macungie, PA 18062-0036 USA Phone: 610-966-2202 • Fax: 610-965-3098 • E-mail: [email protected] organ at the Shepherd of the Sierra Lu- conceived as an eclectic three-manual theran Church in Carson City, Nevada organ, with special emphasis on some of on October 18. She was joined by the the timbres that Bach would have known Shepherd of the Sierra Choir directed on central German organs. Kimberly by Robert Ruppel. On October 17, she Marshall currently holds the Patricia and led a workshop sponsored by the church Leonard Goldman Endowed Professor- and the North Nevada AGO chapter. For ship in Organ at Arizona State University information: 541/905-0108; and has recently been appointed direc-
Jeannine Jordan
Jeannine Jordan, with visual artist David Jordan, presented From Sea to James Kibbie Shining Sea on September 5 in Pacifi c City, Oregon. The concert, sponsored by James Kibbie continues his annual the Nestucca Valley Presbyterian Church holiday tradition of offering free down- and the Pacifi c City Arts Association, was loads of a recording on his house organ, held as a benefi t for two local charities: a seven-stop Létourneau tracker, as an Habitat for Humanity and the North “audio holiday card.” This year’s record- County Food Bank. ing is Jehan Alain’s Adagio, available in Dr. Jordan presented the dedication MP3 and streaming audio formats at concert of the new Rodgers Trillium
William Ness with Synergy Trio
William Ness, part of the group “Synergy Trio” (with Debbie Franks, fl ute, and Lira Cady, harp), presented a concert on October 18 at First Bap- tist Church, Worcester, Massachusetts. The concert celebrated the addition of Kimberly Marshall fi ve ranks by Russell & Company Organ Builders, Cambridgeport, Vermont, to Kimberly Marshall is featured on the church’s sanctuary organ, with as- a new recording, A Fantasy through sistance from Theodore Gilbert, long- Time—Five Centuries of Organ Fanta- standing organ curator. Four additional sies, on the Loft label (LRCD-1108). Re- ranks complete the Positiv division, and corded on the Richards, Fowkes & Co. the English Horn 8′ is a new reed stop in organ at Pinnacle Presbyterian Church, the Choir division. Installed in 1961, the Scottsdale, Arizona, the program in- organ received a new console in 1998. cludes works by Bach, Ferrabosco, The new stops in the Positiv comprise 2 Sweelinck, Newman, Mozart, Franck, Quintadena 8′, Nazard 2 ⁄3′, Blockfl öte 3 and Alain. The recording includes a free 2′, and Tierce 1 ⁄5′. bonus DVD, which features an in-depth The program included works by Erik video interview about the organ and the Satie, Harold Friedell, William James music on the audio disc. Ross, Peter Mathews, Gary Schocker, The new Richards, Fowkes & Co. or- Robert Speed, Marcel Tournier, Louis gan at Pinnacle Presbyterian Church was ³ page 10
8 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 2-22.indd 8 11/12/09 2:02:56 PM
Marchand, Felix Mendelssohn, and verse of Poetry, on the Pro Organo label Lynn Trapp. (CD 7235). A native of Canada, Unger Future musical events at First Baptist has taken graduate studies in organ and Church include December 13, Christ- harpsichord at the Eastman School of mas Choral Evensong (Lessons & Car- Music. Recorded on the 3-manual Opus ols); 12/18, Handbell Extravaganza, with 26 Paul Fritts organ at Sacred Heart Ca- three handbell choirs from First Bap- thedral in Rochester, New York, the pro- tist Church of Holden, Wesley United gram includes works by Bach, Sweelinck, Methodist Church of Worcester, and Brahms, Rheinberger, Buxtehude, Fleu- First Baptist Church of Worcester. For ry, Bancroft, and Jongen. For informa- information:
Exquisite PIPE ORGAN COMPANY Continuo Organs 800.382.4225/Bedientorgan.com St. Peter’s Square London E 2 7AF • England [t] 011 44 20 7739 4747 RONALD CAMERON BISHOP [f] 011 44 20 7729 4718 Consultant [email protected] Pipe Organs Digital Enhancements www.mander-organs.com All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Imaginative Reconstructions Tel 716/326-6500 Fax 716/326-6595
10 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 2-22.indd 10 11/12/09 2:03:26 PM Dec 09 pp. 2-22.indd 11 11/12/09 2:03:55 PM recordings, he was interested in radio and The Pittsburgh Compline Choir Nunc Dimittis was given a part-time job as an announcer announces the release of its latest com- for a Rochester classical music station. pact disc featuring music for Compline. Entitled Blessed, Heavenly Light, the Paul Manz died October 28 in St. disc was recorded in January 2009 and Paul, Minnesota. See the “In Memori- represents the choir’s work between am” article by Scott M. Hyslop on pages 2006–2009 under the direction of An- 38–39 of this issue. drew Scanlon. A large portion of the recording is dedicated to music of the Tudor period; it also incorporates new works by three Pittsburgh-based com- Here & There posers: Alastair Stout (the choir’s com- poser-in-residence), Joyce Moon Stro- bel, and John W. Becker, the founding “Houli Fan” cap The Church Music Association of director of the Pittsburgh Compline America has announced new books on- Choir. For information: An on-line store has been added to the line and in print. Offertoriale with Offerto-
Atlanta First United Methodist Church A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church are pleased to announce the recent com- pletion and dedication of their new pipe organ.
This instrument features a 5-manual console and 93 ranks of pipes in 9 divisions. The complete specification is available at www.pipe-organ.com for this and other pro- jects. A.E. Schlueter Pipe Organ Co.
P.O. Box 838, Lithonia, GA 30058 800-836-2726 www.pipe-organ.com
12 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 2-22.indd 12 11/12/09 2:04:31 PM
Supply Corporation, Reisner, Reuter, ATTENTION ORGANISTS! Not every congrega- Looking Back Schantz, Schlicker, Schulmerich Caril- tion is blessed with great preaching. And even EMMA LOU DIEMER lons, Spencer Turbine Company, Tellers, the best sermons can be too long, especially on a Sunday when you’ve got a pressing engage- Wicks, and others. ment after the last service. What to do? Install Organ and Choral Music pub- One hundred years ago, THE DIAPA- our new Sermon Override Toestud! This handy lished by Zimbel Press/Subito SON published its fi rst edition. The Twenty-fi ve years ago, from the De- accessory uses ultra-high-tech black box tech- December 1909 issue included the cember 1984 issue of THE DIAPASON: nology to induce feedback into the sound sys- Music, The Sacred Music Press, tem. When sermons stretch on a bit too long, a Augsburg Fortress, Dixon-Broyles following (see the reprint of Volume The Diapason celebrated its 75th subtle tap on the Sermon Override Toestud will 1, Number 1 on pp. 23–30): anniversary. provoke enough speaker squawk to get even the Productions, MorningStar, Oxford Wilhelm Middelschulte played the Bradley Brookshire was named win- most long-winded homilist to wrap it up quickly. University Press. Can be turned on and off when you wish, so that dedication recital on a new Hann-Wan- ner of the Magnum Opus Harpsichord you won’t accidentally use it during an impor- gerin-Weickhardt organ at First Baptist Competition. tant recital! Easily installed using ordinary sac- website: Church, Milwaukee, Wisconsin. Organbuilders Reil, the Netherlands, risty tools. Box Mitchell-Con, THE DIAPASON, The Auditorium Theatre in Chicago commemorated their 50th anniversary. [email protected]. emmaloudiemermusic.com denied rumors that the Frank Roosevelt The Dobson Organ Company cel- organ was to be torn out in the process ebrated their 10th year with 28 instru- Attention Church Organists! New service—Mis- of remodeling the building. ments completed. sion Statement Writing. These days, it’s not enough to be a superb player and decent hu- Hook & Hastings, in issuing a new Charles Callahan gave the fi rst perfor- man being. Sooner or later you will be required Fruhauf Music Publications catalogue, was described as the oldest mance of Clarence Watters’ Versets on to produce a mission statement. Your mission, of Fruhauf Music Publications organbuilding fi rm in the United States, Adoro Te Devote at Trinity College Cha- course, is not to be a skillful musician and effec- Compositions, Historical Transcriptions, tive, personable choir leader who produces qual- Hymn Tune Settings & Liturgical Music having begun in 1827. pel in Hartford, Connecticut. Scores for Organ, Voices, Carillon & Ensembles ity music—it is to be a Spirit-fi lled team player, www.frumuspub.net William E. Curtis described the Salt John Scott Whiteley announced a re- problem solver, and consensus builder who D P.O. Box 22043 E Lake City Tabernacle organ. Chief or- cital tour of the United States. knows what’s on the radar screen and who can Santa Barbara, CA 93121-2043 ganist was John J. McClellan. John Fenstermaker was appointed reach for the low-hanging fruit on the faith jour- ney. Our exclusive new service will create a mis- organ conservator for the San Francisco sion statement for you that will keep the commit- Seventy-fi ve years ago, from the De- Symphony. tee members off your back for a long time. Let us cember 1934 issue of THE DIAPASON: Munetaka Yokota was commissioned describe how you can light the fi re of excellence, develop your tool kit and core competencies, and Palmer Christian would play in Chi- to build a new organ entirely on site for alleviate fallout to empower the paradigm shifts. 401.348.8298 cago at the invitation of the National As- California State University, Chico. Bonus: With every mission statement, receive sociation of Organists. “The Pedal Piano, Part III,” by Kar- our free booklet, “Talk Like a Pro,” an easy-to-use PO BOX 56 guide showing you how to pepper your speech STONINGTON, CT 06378 Firmin Swinnen played at the Atlantic rin Ford City Convention Hall during the general “The Organ Historical Society Na- with phrases that let ‘em know you can think out- WWW.SLHORGANS.COM side the box. A snazzy mission statement and the convention of the Episcopal Church. tional Convention, Chicago, IL 20–23 right verbal buzzwords let the praise band sup- Organs built in 1933 were valued at August 1984,” by George Bozeman porters think you’re one of them, thereby freeing you up to actually do your job. Order yours today! $1,291,247. The severe decline was one “Astronomy in Buxtehude’s Passaca- Box Buzz, [email protected]. third the output in 1931 ($5,710,028), glia,” by Piet Kee which in turn was one-half that of 1929 New organs by Andover, Bedient, ($11,322,736). Casavant, Gress-Miles, Visser-Rowland NEW! Society for Historical Toasters. Join the newest association for the “organ” devoted Specialists in Choral Carl Weinrich, Charlotte Lockwood, to the preservation of non-pipe instruments. and Organ Music E. Power Biggs, Charles Courboin, Ten years ago, from the December Now you can be among like-minded individuals, Palmer Christian, and Winslow Cheney 1999 issue of THE DIAPASON: instead of being scorned by elitist pipe-biased 2209 Crestmoor Road, Suite 220 Nashville, TN 37215 colleagues. This new organization will defend 615-386-3542 § 800-851-9023 § 615-297-4291 Fax were heard in the series at St. Mary the John Ayer released his fi rst solo re- your right to prefer virtual organ sound instead www.loisfyfemusic.com Virgin in New York. cording, The Art of the Chorale, on the of that old-fashioned, Neanderthal, wind-pro- Arthur Dunham and Renee Nizan Pro Organo label. duced pipe sound. You can freely enjoy the per- were heard at the University of Chicago. Delores Bruch was honored on the fect tuning and inexpensive, low-maintenance lifestyle you desire. And you can nominate his- Thomas H. Webber, Jr., began his fall occasion of her retirement from the Uni- toric tube-type toasters for the society’s “Historic series of recitals at Stambaugh Audi- versity of Iowa. Certifi cate,” bestowed upon deserving examples torium, Youngstown, Ohio, on its four- Gregory Gyllsdorf was appointed di- of the electronic art. Join now and receive a free t-shirt, plus a subscription to the offi cial journal, manual Aeolian-Skinner organ. rector of music, Trinity-by-the-Cove TOASTER NEWS. Reply to Box SHT, THE DIA- Advertisers included Aeolian-Skin- Episcopal Church, Naples, Florida. PASON, [email protected]. ner, Austin, Casavant, Estey, Gott- Gerre Hancock was featured on a new fried, Hillgreen, Lane & Co., Hinners, recording, Christmas Improvisations. ATTENTION ORGANISTS! Do you ever play an Kilgen, Kimball, LaMarche, Möller, Justin Hartz played the dedicatory re- instrument with a healthy en chamade trumpet? Organ Supply, Pilcher, Reuter, Verlin- cital on the Biltmore Estate’s Opus 248 And do you ever get carried away?—perhaps us- den, Weickhardt, Dornoff, and Wicks, E. M. Skinner organ in Asheville, North ing it on too many hymn stanzas, and the post- lude, or on too many pieces in your recitals. If among others. Carolina. self-control is not your strong suit, you need our Boyd Jones played the dedication latest accessory: the Non-Chamade Control Fifty years ago, from the December recital on Taylor & Boody’s Opus 35 at System. This ingenious device uses the latest 1959 issue of THE DIAPASON: the Presbyterian Church of Danville, ultra-high-tech black box technology to calculate how long you’ve already used the trumpet (will The golden anniversary issue was Kentucky. also work with other high-pressure reeds), and dedicated to the memory of Siegfried E. James Kibbie was on sabbatical leave when you’ve reached your limit, will engage an- Gruenstein, founder of The Diapason, from the University of Michigan to com- other stop (of your choosing) instead. Simple-to- use dial lets you set the amount of minutes, just who served as editor and publisher for plete preparations for his series of the like using a kitchen timer! Easily installed with 48 years. complete Bach organ works. ordinary sacristy tools. So stop tormenting those A crowd of 7,000 jammed the new Vernon de Tar died October 7 in Ken- little old ladies (who, admittedly, sit right where auditorium of the Reorganized Church nett Square, Pennsylvania, at age 94. the organ is loudest), and end Chamade abuse the easy way. Box Non-Chamade, THE DIAPA- of Jesus Christ of Latter Day Saints to Robert Rayfi eld died October 18 in SON, [email protected]. hear Catharine Crozier play the dedi- Bloomington, Indiana, at age 79. catory recital on the 110-rank Aeolian- “Firmin Swinnen: An American Leg- ATTENTION ORGANISTS! New historically Skinner organ. end,” by Jon Spong informed pedal technique instruction method: Pierre Cochereau announced his New organs by Buzard, Harrison & “Stomp Your Way to Pedal Virtuosity.” Learn fourth transcontinental tour of the U.S. Harrison the secrets of Baroque all-toe pedaling. No more and Canada. fussy toe-and-heel fannying about. Get down and stomp on those pedals! Also available: E. Power Biggs was elected to mem- BarockMeister OrgelShoes, with heels already bership in the Audio Engineering Soci- removed—ideal for use with this new pedal ety of America. method book! Choose from your favorite liturgi- From the classifi ed cal colors. Order yours today! Box Pedal-Con, Emerson Richards addressed a dinner THE DIAPASON, [email protected]. meeting of the American Organ Play- advertising archives— ers’ Club at First Presbyterian Church, Philadelphia. the whimsy fi le ATTENTION ORGANISTS! Are you concerned about historically correct performance? The Vernon de Tar marked the completion proper temperament gives the right fl avor to of 20 years as organist and choirmaster at Do you long for the days of the Orgelbewegung? a particular style. Make the dream of the right the Church of the Ascension, New York Are you nostalgic for the poofy sound of chiff? If temperament a reality with our new HyperTUNE it’s missing from the pipe organ you play, then temperament system! Using ultra-high-tech City. black-box technology along with artifi cial intel- “Organ Teaching of 50 Years Surveyed you need Chiff in a Jif! This amazing new kit uses ultra high-tech, black box technology to ligence, HyperTUNE automatically selects the by Master Teacher,” by Mildred Andrews provide authentic-sounding attack where previ- correct temperament based on the style of the “Appreciation of Ernest Skinner,” by ously there was only sludge. This top secret new music you’re playing. Causes little or no damage to pipe cutups. Box Hyper-Con, THE DIAPA- William H. Barnes technology developed by the CIA takes digital SON, [email protected]. “Leading Composer Writes of sampling to the next level, and will turn the fat- Changed Standards,” by Leo Sowerby test Diapason into a spitting, svelte Prinzipal, and transform Doppelfl utes into Quintadenas. Use at Wind-Emitting Diodes now supersede all other “Inveterate Recital Goer Remembers your discretion by means of its inconspicuous re- organ actions. Eliminate bulky windchests— Five Decades,” by Herbert D. Bruening mote control (batteries not included). 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14 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 2-22.indd 14 11/12/09 2:05:06 PM from the library—some organ contracts more Americans attended performances of comparison to Möller producing fi ve or included extensive “complimentary” live classical music than professional sports six thousand organs in fi fty years earlier In the wind . . . library rights. It made sense to have a events. Today the pressure for ice time has in the twentieth century. (Fisk has built by John Bishop showroom every twelve blocks. decimated youth choir programs, as it their organs with around twenty-fi ve The Estey showroom was at Fifth seems more important to many families (at workers—Möller had hundreds.) and 51st, and the Los Angeles Art Or- least here in New England) that the kids be By the time I caught the pipe organ gan Company was at Fifth and 34th, the playing hockey at six on a Sunday morning bug, the revival was in full swing. Grow- same intersection as the southernmost rather than getting ready for choir practice. ing up in Boston, I heard E. Power Biggs Aeolian showroom. M. P. Möller was a Non-profi t organizations are struggling to play many times, most often at the Busch- block east in the Waldorf-Astoria Hotel survive. Countless technologies have been Reisinger Museum. I was surrounded by at 49th and Park, no coincidence as there created and evolved to distract the public the new organs of Fisk, Noack, Bozeman, was a Möller theatre organ in the hotel’s from the fi ne arts. And technologies have and Andover. There were new tracker or- ballroom. Each of these showrooms had been created and evolved to supplant the gans by foreign builders such as Casavant, at least one organ.3 You could walk past pipe organ. It’s a pretty grim picture. So Flentrop, and Frobenius. And of course all these addresses in half an hour. what’s to celebrate? there was the nineteenth-century heri- tage of organs by Hook, Hutchings, and A trusted companion A mid-century renaissance Johnson, among many others. I was men- The Diapason has chronicled a very I have written frequently about the tored and encouraged by the people who active century. Its history spans almost Revival of Classic Principles of Organ- built, played, and envisioned all those The Centennial Sentinel the entire lives of both E. Power Biggs building (caps intended), which roughly instruments. There was one fascinating America’s heaviest president, William (1906–1977) and Virgil Fox (1912–1980), parallels my lifetime. The year of my restaurant dinner (at The Würsthaus, Howard Taft (cousin of Frank Taft, art who together personifi ed the two sides birth saw the founding of the Organ formerly in Harvard Square) at which it director of the Aeolian Organ Compa- of a great twentieth-century debate. It Historical Society and the death of G. was noted that nine of the people present ny), was inaugurated on March 4, 1909. includes the last fi fteen years of Hook & Donald Harrison. The Flentrop organ in were organists at churches with new Fisk Apache Chief Geronimo died on Febru- Hastings, almost all of Skinner and Aeo- the museum formerly known as Busch- organs. My lessons and all my after-school ary 17. Isaac Albéniz died on May 18, lian-Skinner, the last eighty-three years Reisinger at Harvard was installed in practice were on Fisk organs, and my fi rst and organist Dudley Buck died on Oc- of Möller, the entire history of the Organ 1958. At the same time, Charles Fisk was real job as a church organist placed me at tober 9. Giacomo Puccini was fi fty-one Historical Society (founded 1956), and working with Walter Holtkamp as Holt- a three-manual Hook built in 1860. years old, Claude Monet was sixty-nine, all but thirteen years of the American kamp installed an organ with a Rück- Ironically, it wasn’t until I was a student and Camille Saint-Saëns was seventy- Guild of Organists (founded 1896). positif (on a pitman windchest) at the at Oberlin that I played regularly on an four (he would live twelve more years). In the last century, the American pipe school formerly known as the Episcopal organ with electro-pneumatic action (a Author Eudora Welty was born on April organ industry has gone from building Theological School in Harvard Square. Holtkamp practice organ and the Aeolian- 13, and inventor of the electric guitar Leo more than 2,000 new instruments a year Since then C. B. Fisk, Inc. has complet- Skinner in Finney Chapel, since replaced Fender was born on August 10. George to fewer than one hundred. Attendance ed more than 130 organs, many of them by Fisk). But at Oberlin I was exposed Gershwin, Louis Vierne, and Charles- at Christian churches has plummeted. monumental in scale. Sounds like a lot to the international movement of early Marie Widor still had twenty-eight years E. Power Biggs spoke of the time when for a half-century of work, but it pales in performance practice that was breathing of life ahead of them—all three died in 1937. Gustav Mahler wrote Das Lied von der Erde, Richard Strauss wrote Elektra, ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
and Will Hough and Frank Adams wrote DOBSON CASAVANT FRERES I Wonder Who’s Kissing Her Now. The City of San Francisco banned the residen- tial ownership of cows.1 And on December 1, 1909, the fi rst edition of The Diapason took news- stands by storm. The lead article praised the new Casavant organ at Northwest- ern University: “Canada has shown that if it is in any way behind United States BOODY TAYLOR enterprise, it is not in the fi eld of organ- building. . . . Casavant Brothers claim the proud distinction of never having built an unsatisfactory instrument in the fi fty years they been in business.” (Wow! I wonder what Ernest Skinner thought when he read that! “Dear Editor: Please cancel my subscription.”) Butter
Twelve hundred issues. The October DYER R. 2009 issue is on my desk. The masthead proclaims “One Hundredth Year: No. 10, Doesn’t Claim Whole No. 1199.” The heritage of the pipe organ covered in the magazine’s ear- ly days is the stuff of today’s legends. On to page twelve, I read snips from seventy-fi ve years ago (1934) under the heading “Look- GARLAND FISK ing Back.” The death of Edwin Lemare Taste Like is mentioned, as is the work of T. Tertius Noble, David McK. Williams, and Pietro Yon. I suppose one had to choose between Margarine! Sunday Evensongs at St. Thomas’s, St. FRITTS Bartholomew’s, and St. Patrick’s, those great New York churches where Noble, Williams, and Yon held forth. After church you could have dinner at Alexandra (8 East 49th Street: serves a champagne cocktail with dinner; price $1.10 to $1.50), something a little fancier at The Tapestry Room (Ritz Tower, Park Av-
enue at 57th St.: a small, intimate, charm- GOULDING & WOOD ing place to lunch or dine; dinner $2.50 to $3), or go whole hog at Iridium Room and Maisonette Russe (Hotel St. Regis, Fifth Ave. at 55th St.: home of “High-class en- tertainment”; dinner $3.50 to $4).2 Note the convenience of my travelogue—all It’s not about fooling your ears. three churches and all three restaurants are within fi ve blocks of each other. In three weeks you could attend each service It’s about thrilling your soul! and eat at each restaurant. You’d be out less than ten dollars a head, not counting what you put in the offering plate. QUIMBY REDMAN SCHANTZ SCHOENSTEIN & What about the organbuilders? It HENDRICKSON seemed that all important American or- To receive information about pipe organs ganbuilders had showrooms in midtown and recognized pipe organ builders Manhattan. Leave St. Thomas Church and fi nd the Skinner Organ Company AP write or call toll free 1-800-473-5270 showroom across the street (Fifth Ave- or on the web @ www.apoba.com nue at 53rd Street). One block north was PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America Welte-Mignon (Fifth and 54th, across BO from the Hotel St. Regis). The Aeolian A P.O. Box 155 • Chicago Ridge, Illinois 60415 Organ Company had three Fifth Avenue
addresses (at 54th across from Welte, at OTT PARSONS 42nd, and at 34th), which allowed easy access to the famed Aeolian Music Li- NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP brary. Aeolian patrons could borrow rolls
DECEMBER, 2009 100th ANNIVERSARY ISSUE 15
Dec 09 pp. 2-22.indd 15 11/12/09 2:05:39 PM new life into the music of J. S. Bach and Version of the Bible, who stated, “If the Of close to 1,100 violins built by An- public organs in the Wanamaker store in his seemingly countless predecessors. We King James Version was good enough for tonio Stradivari, some 650 are still in Philadelphia (now Macy’s) was regaining practiced scales using the middle three fi n- Jesus, it’s good enough for me!”4 use, inspiring modern players and thrill- its deserved status as one of the great gers of each hand. We limited registration As we passed from the 1980s into the ing modern audiences. But not one is in organs in the world, even though it has changes to follow the major architecture ’90s and watched attendance at organ original condition. Each has been given eleven expression pedals. of the music. We didn’t think twice about recitals dwindle, it seemed to me that a new stronger neck, each has modern Wrong. This passionate plea for hon- the absence of expression shutters. And organists and organbuilders were fi nding strings, each has been boosted to sound esty and unanimity in the organ business we played the masterworks of Romantic themselves in ivory towers. I believe it forth in the cavernous rooms in which was published on the front page of the organ music on unequal temperaments. was by default rather than intention. Our we listen to music, and not one plays seventh issue of The Diapason, June pride in our newly acquired corporate at its original pitch. Why should organ- 1, 1910, the same issue that announced May the force be with you knowledge blinded us to the pleasures ists and organbuilders limit themselves that the annual meeting of the American I’ve alluded to the “Organ Wars” of the of our audiences: “You will sit there and to sounds of the past, sounds that are Guild of Organists elected Frank Wright twentieth century. Vitriol was common- listen to this historically informed recital curious to the ears of modern listeners, as Warden, William C. Carl as Sub-War- place in the pages of The Diapason and played correctly on this historically in- ears that are jaded by stadium roars, jet den, and Clarence Dickinson as one of The American Organist (the magazine formed instrument. You will not applaud airplanes, steel wheels on steel rails, and the councilors. In that issue, the AGO formerly known as Music/AGO—we all unless or until I say so. It is through my honking horns on Fifth Avenue?5 membership committee reported 1,000 said Music-A-go-go). The battle could enlightenment that you will enjoy your- I was encouraged to fi nd support for members, and the treasurer reported a roughly be described as “Biggs vs. Fox,” self. Y’all come back now . . .” this thought in an editorial letter pub- balance of $551.87. or the light side versus the dark side—and This idea developed in my mind over lished in The Diapason: The year The Diapason fi rst pub- your version of chiaroscuro depended several years, and I knew I was treading lished an editorial calling on organ- on your point of view. On one side were on dangerous ice, or was it thin ground? Dear Sir: After many years’ association builders to lighten up was the year the those musicians devoted to the new wave In essence, I was criticizing three decades with the trade, the writer is inclined to the Boy Scouts of America was founded, of old styles (tracker actions, early fi nger- of the thought and work of every one of belief that pipe organ manufacturers, as a when the U.S. Senate granted former class, err in taking themselves seriously. ings, crystal-clear registrations); on the my colleagues, not to mention myself. To listen to the tales of our adventures President Teddy Roosevelt a pension of other, the “comfortable” world of elec- With care I began expressing it. I would in this fi eld of labor one might easily be $10,000, when the Union of South Africa tro-pneumatic organs (multiple expres- lob it in the air between sips of brandy convinced that all the knowledge of the was founded as a union within the Brit- sion boxes, sliding thumbs soloing inter- at the end of a long lubricated dinner. I past ages had become focalized upon our ish Empire, when German bacteriologist nal melodies). What one called bright, would share it with those I was sure would respective intellects, and that upon our de- Paul Ehrlich announced a defi nitive cure clear, and cheerful, the other called shrill agree. I would share it with people I sup- mise the building of organs would become for syphilis, and when Alva Fisher pat- and screechy. What one called smooth posed I could sway. Each time I knew I one of the lost arts . . . ented the fi rst complete, self-contained and expressive, the other called mushy was expressing something controversial. Now, it is because of this, and the un- electric washing machine. responsive attitude naturally following, and lugubrious. Cross-the-aisle name- When I realized that no one was disagree- that the commercial status of the trade as calling was commonplace and nasty. ing with me I grew bolder, sharing my a whole is not resting upon a higher level. Back toward the middle But it was a true renaissance. The thoughts and watching eyebrows arch. We have managed badly in many respects. Shortly after I graduated from Ober- entire industry was being renewed. Ev- A performance is enhanced by the his- Each has assumed that he is the only person lin, I was involved in releathering a large ery tenet and tenon, every principle and torical awareness of the performer, just in the world who can build a perfectly good organ by Aeolian-Skinner. I was intrigued Principal was being examined and ques- as we understand more about a Renais- pipe organ. We have ‘knocked’ each other, by its expressive capabilities, but didn’t tioned. We worked hard to develop his- sance painting valued at ten million dol- and have at least permitted our represen- understand them and certainly didn’t toric justifi cation for everything we did. lars when we realize that the artist died tatives to educate the public in the gentle know how to use them. And shortly af- art of ‘knocking.’ [The public’s] reaction we We relearned the value of craftsmanship penniless and destitute. But it’s the audi- refuse to recognize as our own . . . ter that graduation, I was involved in the over mass production. We programmed ence’s response that matters the most, as Every organbuilder knows that, com- installation of a large Flentrop organ—a recitals for scholarship over musician- it is the audience’s response that creates pared with other industries of like respon- glorious looking thing with polished fa- ship. And we installed pipe organs for the the ten-million-dollar value of that old sibilities and risks, this is about the least re- çade, gilded pipe shades, and of course sake of the music rather than the liturgy. picture. We rely on a large and apprecia- munerative. Started in a monastery, a work mechanical action. A shipping container As a large tracker organ with a clas- tive audience to inspire our expression, of love and devotion, it has never risen (arriving in Cleveland on a Greek ship sic French specifi cation was installed to ask us back to play again, to fund the above that level suffi ciently to classify the delightfully named Calliope) was deliv- in an important Episcopal church, the frightfully expensive organs on which we owners of factories as ‘capitalists.’ ered to the church. It was a full day’s We really desire a remedy, and to most organ committee wrote that their study rely, and yes, even to appreciate our un- of us the nature of the remedy is obvious, work to unload the container, each piece convinced them that the Classic French usual skills. Our audiences are thrilled but up to this time not one of us has taken of the organ being carried up the large organ was ideal for the leadership of An- when we give them music they know and the initiative. . . . The other builder, whose stone stair from the street, and I’ll not glican worship. It reminds me of a pa- love, and tunes they can whistle and sing work we decry, can build a good organ—he forget the signifi cance of noticing that rishioner in my home parish upset over as they make their way home, as well as probably does—and he would gladly build the hundredth or so load I carried was a the introduction of the Revised Standard music that will expand and inspire them. a better one if the conditions imposed by stack of Swell shutters. A few trips later, committees whom you have helped edu- a box of pipes labeled Celeste. cate to demand almost impossible things Thirty years later, I’ve realized that did not prevent. The trade CAN unite to PERMIT clean, the real reason we worked so hard not to remunerative business. No one should use our thumbs when we played was that desire a union for the enforcement of any- we’d need them to push pistons. thing. Let’s celebrate good organs. Good or- Eloquence and Artistry Let’s get together. Who will make the gans are machines that have wind sup- fi rst move? plies and beautifully voiced pipes. They have valves that allow musicians to run in Organ Building This sounds like a time when the or- air through those beautifully voiced gan world started to come to its senses. pipes. I don’t care if those valves are It sounds like about 1988, when the opened by levers, magnets, pneumatic Organ Historical Society held its con- motors, or sheer will power. What goes vention in San Francisco and featured around comes around. Never throw out electro-pneumatic organs by Murray a necktie. Harris, Austin, and Skinner (but no What will they write on the fi rst page cows). Thomas Hazleton played music of issue 2400 of The Diapason, De- of Tchaikovsky, Guilmant, Howells, and cember 2109? If there are pipe organs to William Walton on the four-manual Skin- celebrate in 2109, it will be because we ner at Trinity Episcopal Church, and the got it right today. Q OHS presented the church with a plaque honoring the historic organ. A cross-sec- Notes tion diagram of a complex electro-pneu- 1. http://timelines.ws/20thcent matic action was published on the front 2. http://lostnewyorkcity.blogspot. cover of the convention booklet, taking com/2009/04/where-to-eat-in-new-york-cir- the place of the ubiquitous ten-stop ca-1934.html tracker organ. 3. http://www.nycago.org/Organs/NYC/in- It sounds like about 1992, when the dex.html 4. The Authorized King James Version is monumental Fisk organ was inaugurated an English translation of the Christian Bible at the Meyerson Symphony Center in begun in 1604 and completed in 1611 by the Dallas, an instrument universally cel- Church of England. (Doubt that Jesus ever ebrated as a successful orchestral power- saw it.) http://en.wikipedia.org/wiki/Autho- house in spite of its tracker action. rized_King_James_Version It sounds like about 2004, when the 5. Toby Faber, Stradivari’s Genius, Ran- indescribable masterpiece of commercial dom House, 2004, p. 9
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16 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 2-22.indd 16 11/12/09 2:06:02 PM Dec 09 pp. 2-22.indd 17 11/12/09 2:07:22 PM many decades before the establishment in church music in Chicago and taught at known as a composer. The Woolsey Hall of these institutions. the University of Michigan.) organ at Yale had been built in 1901. On Teaching In 1899, the Guilmant Organ School And, more specifi cally, the Guilmant The President’s Report of Yale Uni- by Gavin Black was founded in New York City, using School points to the large infl uence that versity for the 1908–09 school year states the facilities of the First Presbyterian French organ teaching came to have that twenty-nine students were taking Church on Fifth Avenue, in particular its in the United States in the twentieth organ lessons out of a total of 126 stu- Teaching in 1909 new Roosevelt organ. The founder of the century. Untold numbers of Ameri- dents taking “applied music” at the uni- This month, as part of the commemo- school was William C. Carl, the organist can organists studied with Guilmant, versity. This was third in number behind ration of the one-hundredth anniversary at First Presbyterian, and—as the name Widor, Vierne, Bonnet (who taught in students studying piano and those study- of The Diapason, I will take a break of his school rather strongly suggests—a the United States for a couple of years ing voice. Of course these were not all from trying to teach about teaching, di- former student and great admirer of Al- shortly after the time we are primarily organ (or even music) majors. rectly, and instead write a little bit about exandre Guilmant. He was also a friend concerned with here), Durufl é, Langlais, (Here I will mention a small personal the state of organ teaching in 1909, the of Guilmant, and was in part responsible and, especially, Marcel Dupré. Both the connection. Yale awarded an organ-play- history of teaching, and the role of teach- for bringing him to the United States for Widor/Schweitzer edition and the Dupré ing prize in 1911 to Pauline Voorhees, ing in shaping history, especially per- several concert tours. Guilmant gave his edition of the organ music of Bach were for a performance of Mendelssohn and sonal history. Since one column cannot permission to use his name for the new standard in the United States for most Vierne in Woolsey Hall. Later, she was possibly accommodate a comprehensive school, and the premise of the school was of the twentieth century. These editions organist at United Church on the Green history of these matters, I will not even indeed that it would follow Guilmant’s both include performance suggestions in in New Haven. The organ installed in attempt to be comprehensive. Rather, approach to organ teaching. the French tradition, the Dupré includ- that church in the mid-1960s was named I will give a few glimpses into organ This institution was celebrated as the ing those suggestions in the text of the in her honor. This was the fi rst organ that teaching in the early twentieth century, fi rst school in the country to focus specif- music itself, the Widor/Schweitzer in the I ever played, and the organ on which I with a mention of some teachers and in- ically on the organ. It highlights several extensive prefatory material. Some of took my fi rst organ lessons.) stitutions, and of some ideas that were themes or trends in the world of organ the organ methods that were prominent In 1909, the organ teacher at Oberlin current at that time. I will also discuss teaching. The fi rst of these was just a in American organ teaching during the was George W. Andrews, who was also some of what that year or that era held general trend towards identifying teach- twentieth century were fi rmly rooted in a founder of the AGO. At Cornell, the in store for the future, and I will talk ing organized through and carried out in the French organ playing and teaching teacher was Edward Johnson, and at about connections: the kind of connec- institutions as being more important or tradition. The most prominent of those Peabody, Harold D. Phillips of England, tions between people of different times in some way more valid than teaching was the famous Gleason Method. Harold who had studied with C. Hubert H. Par- and places that the whole phenomenon conducted in other settings. Of course, Gleason studied with Bonnet in Paris, ry, among others. of teaching can create. this trend also manifested itself in the and then invited Bonnet to found the or- In most of these schools, and others, Incidentally, I should mention that founding of the music schools mentioned gan department at the Eastman School there were, in 1909, active organ recital some of the information I have found for above. The Guilmant School was the fi rst in 1922. series. These always included regular this column comes from early issues of in the United States to focus this notion Of course, in twentieth-century Unit- student performances. They also typi- The Diapason. As you can see from the on organ playing specifi cally. ed States other organ teachers and other cally featured recitals by (of course) the reprinted fi rst issue, the magazine was (This trend is a long-term one. After all, organ schools also played a major role. school’s own organ faculty and recitals by mostly concerned, in the beginning, with we don’t expect to hear that Bach or Ti- Helmut Walcha, Günther Ramin, Finn faculty from other universities. the instrument as such and with build- telouze or Frescobaldi or Balbastre went Viderø, Michael Schneider, Harald Vo- ers and building. However, with each to university. Mendelssohn did, but his gel, and others have drawn students from Organs in high schools passing issue, there were more and more principal musical studies were with Zelter the United States, and in some cases At the same time, the years around articles or brief mentions of matters con- and Moscheles, well before he enrolled done some teaching in the United States. 1909 were marked by a growing interest cerning schools and teaching. at the University of Berlin. Nowadays we Alec Wyton from England and Wolfgang in organ on the part of high schools. The This column centers almost entire- assume that most virtuoso performers, Rübsam from Germany, among others, Diapason reported on the project to ac- ly on the United States, since that is composers, and teachers will hold gradu- have lived and taught extensively in the quire an organ for Trenton, New Jersey where The Diapason is based. Many ate degrees in their specialties.) States. However, the French infl uence in the following terms: of the connections that I will mention was probably the most enduring, and the are to Europe, which is not surprising, European leadership and infl uence years that we are examining were crucial Trenton, NJ, is about to have its high since that is where the organ was born The second trend exemplifi ed by the in the development of that infl uence. school organ. This valuable addition to the and where the repertoire originated. Guilmant School was looking to Europe equipment . . . is expected to serve as an example to many other high schools in the It should not be assumed, however, for musical instruction. In the late nine- Organ study at U.S. universities country and perhaps will lead to a partial that no interesting things were going teenth century and even more so in the At about this same time, organ pro- cure for the lack of musical training which on with organs and organ teaching twentieth century, many aspiring Ameri- grams at American universities were marks general education in the United elsewhere in the world. For example, can organists went to the great teach- growing. At the New England Conser- States. newspapers from the early twentieth ers of Europe for their most advanced vatory there were, in 1909, three organ century in both New Zealand and Aus- training. William C. Carl was a part of professors: Henry M. Dunham, who had The article goes on to quote the princi- tralia have many classifi ed ads for or- this story. His founding of the Guilmant studied with John Knowles Paine; Wal- pal of the high school, William Wetzel, gan-teaching studios. School was intended explicitly to bring lace Goodrich, who had studied with as saying that European training to the United States. Rheinberger and Widor in Europe; and The rise of conservatories (Around this time The Diapason re- Homer C. Humphries. our purpose in securing this organ is to de- It was the mid-nineteenth century ported fi rst that Palmer Christian, hav- Yale University had appointed Harry velop a taste for music . . . We have many that saw the beginnings of professional ing earlier studied with Karl Straube, Benjamin Jepson as its fi rst university foreigners in our city who . . . lament the fact that there is not in this country the conservatory-based music education in was about to go to France to study organ organist in 1896. He ended up serving same opportunity for hearing good music the United States. The fi rst such school with Widor, and then later that he had for about forty years, and was succeeded as in their home country . . . I should add was Oberlin, founded in 1865. Other returned from studying organ in France by Luther Noss, Frank Bozyan, Charles that the money for this organ was raised schools followed, such as the New Eng- with Guilmant. It sounds like Mr. Chris- Krigbaum, and Thomas Murray. In 1909, entirely by the pupils themselves. land Conservatory in 1867 and the Yale tian had hoped to study with Widor, but the other organ teacher at Yale was Seth School of Music in 1894. Of course, discovered only when he got there that Bingham, who had studied with both The principal also mentioned that the various musical subjects had been Widor at this point taught composition, Guilmant and Widor, as well as with Vin- organ would have “the automatic play- taught at universities and colleges for not organ! Palmer Christian later worked cent D’Indy, and who is probably best er attachment.” At about this same time, The Dia- pason reported on organ acquisition projects at Boy’s Central in Philadelphia, and at the high schools in Paterson, New Log On and take the tour! Jersey; Oak Park, Illinois; and Auburn, New York. The Brooklyn Manual Train- ing High School complained, in late 1911, that it had been the fi rst in New ANNUAL AND ONE-TIME COPYRIGHT York City to request an organ, but that schools in Manhattan had received their PERMISSIONS WITH THE instruments fi rst. Perhaps this is an early manifestation of a tendency to favor CLICK OF A MOUSE Manhattan over the outer boroughs, or at least a fear on the part of some that this is taking place! And organ teachers Finally, a very incomprehensive look at where a few of the mid-twentieth century organ teachers—some of whom some of us can remember having known in person—were in December 1909: Lynnwood Farnam was twenty-four years old, having recently become or- ganist of Christ Church Cathedral, Mon- tréal. He was several years away from a position as a teacher at a university. • EASY—online permission and reporting Helmut Walcha was two years old, • ECONOMICAL—based on average weekend attendance living in Leipzig. He was more than ten • THOROUGH—your favorite songs years away from losing his sight. Marcel Dupré was twenty-three years • CONVENIENT—includes a growing list of publishers old. He was a (very advanced) student, primarily of composition. He had already won the First Prize in both piano and or- gan at the Paris Conservatory. LOG ON TODAY! WWW.ONELICENSE.NET Alexander McCurdy was four years old, about fi fteen years away from begin-
18 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 2-22.indd 18 11/12/09 2:08:09 PM
ning his studies with Lynwood Farnam convict, becomes a minister to the poor; I Come with Joy to Meet My Lord, music is packed with emotion, but never and his extremely long association with he faces numerous trials of life and with Carl Schalk. SATB and organ, Agape grows above a pp dynamic level. Stun- the Curtis Institute. each makes promises to God that he will (Hope Publishing), AG 7293, $1.90 ning music. Jean Langlais was two years old. This return to faith. It is an inspiring compari- (M). was the year in which he lost his sight. son of how a Jew and a Christian employ This communion anthem is warm and The Lord Is My Shepherd, John Rut- E. Power Biggs was three years old, faith, and is recommended to the readers tender. The melody, fi rst sung in unison ter. SATB and organ, Oxford Univer- and living on the Isle of Wight. We do of this column. by women, is then treated in various ar- sity Press, 94.216, $3.20 (M). not think of him primarily as a teacher, How we approach faith is important rangements for the other four verses, in- First written and composed as a sin- since he only did a little bit of teaching. for all of us. As church choir directors cluding one that is unaccompanied. Only gle work, then later added as a separate I am pleased, however, by a small con- we often lose sight of our purpose. Ask half of the anthem is in a full four-part movement to his very popular Requiem, nection that I have with his teaching life, yourselves this question: What is my role setting. Highly recommended. this early version uses only organ ac- namely that there is one person out there as a church musician? When you fi nd companiment. There are brief passages (Harriet Dearden) who studied both the answer, then your direction will be Give Me Jesus, arr. Howard Helvey. of divisi for the men, but generally the with Biggs and with me. revealed. Clearly, a major part of our role SATB, fl ute, and keyboard, Becken- choral phrases fl ow in unison. It is slow Arthur Poister was eleven years old. is to enhance worship, to make it deeper horst Press, BP 1725, $1.75 (M). and highly charged with emotion. The André Marchal was fifteen years and more meaningful—in other words, Incorporating the slow melody of this organ part, on three staves, makes it very old and beginning organ study with to increase faith. traditional spiritual, Helvey’s arrange- usable for church choirs, although the Adolphe Marty. Giving our congregations music whose ment is elaborate in detail. The fl ute part, version for strings, harp, and oboe that Vernon de Tar was four years old and effect lingers long after the service has which is included on the back cover, has is also available from Oxford has a serene living in Detroit. ended, instead of producing only a quick, solo passages, and is important to the set- beauty that is intoxicating to listeners (it Harold Gleason was eighteen years old. immediate response, should be a high ting. The keyboard part uses arpeggios really lingers!). Highly recommended. Mildred Andrews, Catharine Crozier, priority for us. The general anthem is a throughout. The choral music is not dif- and Robert Baker were all to be born type of setting that can fi t comfortably fi cult and is printed on two staves. There Blow Ye The Trumpet, Kirke soon. And there are many, many more. Q into a weekly service; its message is broad is a dramatic key change in the middle; Mechem. SATB and keyboard, G. enough to relate to a wide variety of top- the work ends quietly. Schirmer, distributed by Hal Leon- Gavin Black began teaching in 1979, when ics spun by the sermon. Most churches’ ard, HL 50481534, $1.80 (M). by coincidence three different friends asked music libraries are fi lled with these prag- In This Very Room, Ron Harris. SAB Taken from Mechem’s opera, John him for lessons, as they were embarrassed to matic settings; however, the music’s ef- and keyboard, Carl Fischer (Theo- Brown, this slow, free work calls on trum- go to a “real” teacher. He is Director of the Princeton Early Keyboard Center and can be fect may not endure longer than the time dore Presser), RH 0239, $1.50 (M-). pet phrases to paint the text on “blow.” reached by e-mail at
To Everything There Is a Season, Ed A Baroque Sampler— Transcriptions Harris. SATB and keyboard, Hin- for Organ in Five Volumes, by Ennis shaw Music Inc., HMC-778, $1.55 Fruhauf;
20 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 2-22.indd 20 11/12/09 2:08:46 PM Dec 09 pp. 2-22.indd 21 11/12/09 2:09:42 PM 1. These have excellent musical tex- ally in order to make the melodic line Clarke’s A Ground (the English equiva- BWV 565; Prelude and Fugue in D, BWV tures: not too thin, not too thick. The clearer and easier to play); and Vom lent of a passacaglia). To try your French 532; Passacaglia in c, BWV 582; Toccata, music’s fabric conveys the essential lines Himmel hoch with its interpolated ornaments, turn to François Couperin’s Adagio and Fugue in C, BWV 564; Fan- and harmony, while still being manage- trumpet fanfares. Finally, for the “un- elegant Passacaille or Louis Couperin’s tasia and Fugue in g, BWV 542. able at the organ. daunted virtuoso” referenced above: an Prélude, curious in that the original is in The laudable purpose of this record- 2. The editing was accomplished with arrangement of the sinfonia from Can- unmeasured notation. This is followed ing, at which it well succeeds, is to docu- musical integrity and faithfulness to the tata 29—a “clean” and playable edition, by that composer’s attractive Sarabande ment the sound of the von Beckerath at original text. but a challenge nonetheless. and a Chaconne—not his “famous” one its 50th-year mark and before restoration. 3. The music was printed in excellent in G Minor, but something new. Pittsburgh’s large von Beckerath in St. notation and format, and on good quality II: Music of George Frideric Handel Paul Cathedral has recently undergone paper, bright and easy to read. Who doesn’t enjoy Handel? His mu- IV. Composers of the Continent and extensive (and successful) restoration as 4. There are interesting and useful sic is energetic and engaging. But what the British Isles (continued) well. The somewhat puzzling title refers notes about the music, composers, and Handel is there for the organist to The volume opens with a D’Aquin Noël to fugues, during which voices “chase” their times. These assist the organist in play? There are the organ concerti, of (Suisse), and then follows an interesting each other around. Get it? Because this accomplishing one of the most important course, but there are obstacles: fi nding and engaging suite (in fi ve movements) historic instrument has no combination goals when playing transcriptions: mak- the necessary instrumentalists and good by J.-H. Fiocco, an unjustly ignored action (how many present-day students ing the music sound like organ music. transcriptions for solo organ can be dif- Belgian composer of the 18th century. would know what to do?), Glen Loeffl er Here are some specifi cs. fi cult. Handel’s relatively few original Other winners: a rhapsodic Praeludium assisted as registrant. works for solo organ are rather insignifi - and Chaconne by J.K.F. Fischer; the ex- A chief aim of this recording obvi- I: Music of Johann Sebastian Bach cant, and not representative of his skills hilarating Sonata (con trompeta real) on ously is to document the sound of the The fi rst volume contains some old and imagination. More than half of this Mode I by José Lidon—the ideal piece USA’s fi rst contemporary large me- friends along with a few “new” pieces, Handel volume comprises transcriptions for spotlighting a large reed—can be dif- chanical-action organ. The Bach, of opening with a version of the Orgel- of arguably his two most famous instru- fi cult to fi nd in print. Here it is—let ‘er course, is ideal for this historic instru- büchlein setting of Alle Menschen, with mental works: Water Music and Music rip! There are attractive pieces by Ber- ment. Everyone has his/her own idea added ornaments. Here is an illustrated for the Royal Fireworks. Upon looking nardo Pasquini (for when you’re seeking of how Bach’s music should be played. lesson in Baroque keyboard ornamen- at the fi rst work, the player sees at once an early Italian work) and three move- I found the D-major Fugue (BWV 532) tation: appropriate, and always grow- something signifi cant: this looks like or- ments of an organ Mass by André Raison to be too slow for my taste—not much ing out of the lines. Throughout these gan music, and it plays that way, as well. (known especially for his noëls). thrill in that chase. volumes, if there seem to be too many Everyone will have favorite movements This variety of Bach’s major pieces ornaments, or if they appear diffi cult, within these two great suites; the player V. Composers of the Continent and does give opportunity to hear the histor- delete some. Recall that ornamentation can, of course, select among them, with- the British Isles (continued) ic organ in nearly every guise. Florence should grow naturally from the musi- out an obligation to play them all. Some If your library is short on passacaglias Mustric exercises restraint in the use of cal line. As Peter Hurford wrote, “Or- of the movements abound with sug- and chaconnes, A Baroque Sampler of- full organ, with various combinations of naments must marry with the music.” gested manual changes; if these become fers many, including the excellent one stops throughout. I particularly enjoyed (Making Music on the Organ, Oxford too complicated, simplify them. Of par- from Purcell’s King Arthur. Next is the the Toccata, Adagio and Fugue and the University Press, 1998.) ticular interest is the famous Hornpipe, best edition I know (musically faithful wonderful Fantasia and Fugue in G The setting of Bist du bei mir, a deli- given here in its entirety. Additional and reasonable to play) of the famous Minor, although all are well played and cate trio, is additionally useful for its in- gems are the Sarabande with two varia- Rondeau from Abdelazer (the tune give a lasting account of the sound of this clusion of the song’s text. The sinfonia tions, and the fl ashy Entry of the Queen Benjamin Britten selected as the basis landmark instrument. from Gottes Zeit ist die allerbeste Zeit is of Sheba—challenging, but here made for his Young Person’s Guide to the Or- especially interesting for its echo effects. quite playable. chestra). Stirring music, especially for Andrew Bryden Plays Organ Music As with many of Fruhauf’s registrational/ weddings or service music. More Pur- from Ripon. Harrison & Harrison manual suggestions (always very clearly III. Composers of the Continent and cell follows (the famous trumpet tune), organ with additions, 4 manuals, indicated), if they occasionally seem too the British Isles then another gem: his Voluntary on the approximately 60 ranks. Regent Re- complex, simplify. Some highlights: Fugue (Paso) in D 100th Psalm Tune. In addition to being cords, The English Cathedral Series, Additional treasures include the fa- Minor by Narcís Casanoves (Spanish, a fi ne edition of an important piece, this Vol. XII, REGCD224, miliar Largo from the Clavier Concerto 18th century); Clarke’s Duke of Marl- is one of relatively few settings of that
THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET the first Sunday of each month at wrti.org
22 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 2-22.indd 22 11/12/09 2:10:12 PM Dec 09 pp. 23-30 .indd 23 11/12/09 2:11:32 PM Dec 09 pp. 23-30 .indd 24 11/12/09 2:11:54 PM Dec 09 pp. 23-30 .indd 25 11/12/09 2:12:17 PM Dec 09 pp. 23-30 .indd 26 11/12/09 2:12:41 PM Dec 09 pp. 23-30 .indd 27 11/12/09 2:13:02 PM Dec 09 pp. 23-30 .indd 28 11/12/09 2:13:18 PM Dec 09 pp. 23-30 .indd 29 11/12/09 2:13:39 PM Dec 09 pp. 23-30 .indd 30 11/12/09 2:13:58 PM THE DIAPASON: by Michael Barone, Jack M. Bethards, Michael D. Friesen, Orpha The First Hundred Years Ochse, Barbara Owen, Frederick Swann, and John Weaver
more noise pollution, something of which while still a teen, but then let the sub- Refl ections on THE DIAPASON we have too much already.” scription lapse (money was tight and I I wonder how many others were as I expect and hope that The Diapa- could access the journal at the library). guilty as I of spending far too much study son will be an active participant in, con- Sooner than later I wanted to reinstate time in high school and college poring duit of, and catalyst for those processes my connection, and have been a regular over old issues of The Diapason? Those that will keep the organ alive in the 21st reader for longer than seems comfort- pages, fi lled with news of the ups and century, as it has for the past 100 years. able to confess. downs of the organ industry and all of the If so, this Centennial Celebration will be Obviously, others are in the same boat, colorful characters in lofts and factories, a new beginning. else we’d not be celebrating a cente- were an irresistible lure to daydream Anyone who is interested in the pipe nary here. Heaven knows that the organ, about the past and what the future might organ has, at some point or another, which itself has enjoyed the passage of hold for a young man who also spent far been introduced to The Diapason. The numerous centennials, generates more too much time sketching stoplists during combination of this magazine’s sleek, copy than any one publication can em- lectures. When I joined Schoenstein & non-standard proportions and its effi - brace. I applaud The Diapason for do- Co. in 1977, the opportunities for such ciently packaged and engaging content ing its part while maintaining its quality of fun increased: the company archive start- proved irresistible, particularly to the reportage—and quirky but charming for- ed with the April 1911 issue. young neophyte. mat—with élan and grace through these What I liked then, and still do today, But once the curiosity value had faded, many decades. Bravo! Now, bring on the is that the format of The Diapason has The Diapason—this rare and informa- second hundred years! changed only slightly over all these years tive ‘inside passage’ to the realm of the —Michael Barone (not even as much as The New Yorker)! Michael Barone King of Instruments—continued to be- Michael Barone, a native of Kingston, What other magazine in business since guile with its news (and gossip), the im- Pennsylvania and graduate (Bachelor of Mu- 1909 can say that? In fact, how many Centennial Celebration: portant discoveries, and the thoughtful sic History) of the Oberlin Conservatory, has magazines that old are still in business? A new beginning musings on historical and philosophical been employed by Minnesota Public Radio The constancy of The Diapason, which Early in the 20th century, the organ organ-related topics. since 1968. His Pipedreams program entered stuck to its guns through the great boom functioned as a community resource. I fi rst subscribed to The Diapason national radio syndication in 1982. of factory organ building during its fi rst 20 Municipal instruments proliferated, or- gan concerts were attended by throngs, and competition for popular attention was relatively minimal. Organ installa- If our founder had been as prescient as Robert Hope-Jones, who could tions garnered plenty of press, people see the advertising power that THE DIAPASON would achieve over the next enjoyed the effects of which the organ was capable, and famous recitalists (Le- century, he would have bought an ad, too! It might have looked like this: mare, Guilmant, Dupré, Bonnet) drew huge crowds. But things change, always, and for the organ, the post-war (WWII) cultural shifts were monumental. Radio and tele- vision offered easy ‘entertainment’, and, NOTICE: We are still engaged in the task of repair- along with the proliferation of symphony orchestras, undercut the civic organ’s ne- ing organs damaged in the great fire of three years past. cessity as a musical means and medium. And an increasingly intellectual direc- Many organs were destroyed. We have been putting in tion in concert-giving (and music appre- ciation) stratifi ed audiences. Even when some of us were growing new organs made by the large factories in the east who up (1950s-plus), the organ had two piv- otal superstars whose prominence (and could build replacements with dispatch. This year, my PR savvy) positioned them prominently in the minds of the general population. son, Louis, returned from his apprenticeship with Ernest In those days, players still were the fo- cus, instruments second, and the music Skinner and has joined my firm. With our mechanics he simply the conduit. But the fascination with organ history, will help me return to the normal pattern of business as period instruments, repertoire, and per- formance practice has taken the focus off stated here below. of the virtuoso, and while we have learned a great deal about many things organic, —Felix F. Schoenstein along the way the cult of the performer has faded, and with it the audience. Still, it could be argued that at this Q Pipe organs of deep, full, and sweet tone for: present time we are in a ‘golden age’ for the organ. The number of astonishingly talented young players is amazing, with Mortuary Chapels, Lodges, Churches and Residences. more skilled youngsters on the way. New instruments of superb quality, in an in- credible array of styles and venues, are Q Repair, setting up, and tuning. being built, while historic organs repre- senting every possible era and national- ity have been carefully refurbished. We Q Electric blowers fitted. know more about and play more reper- toire than ever before, and contempo- rary composers continue to be attracted — to the instrument. For further particulars enquire to: Yet the general public seems unin- volved. Even concerts on the big, new organs in our concert halls generally do not generate crowds of a size in any way Felix F. Schoenstein & Son comparable to their counterparts in the 1920s and ’30s. Pipe Organ Builders So, unlike 50 years ago when the scene was lively and fun and the person-in-the- Established 1877 street was engaged by organ activity, these days we struggle to demonstrate relevance and can’t simply go along for 2306 Bryant Street the ride. Though in so many ways the sit- uation is better than ever, the challenges San Francisco, CAL. for the future are as great as they have ever been (and there have been plenty of Telephone 5132 challenges in past centuries). As one colleague recently refl ected: “We must enhance the quality of life of our listeners, and reach out to communi- cate the emotional aspects of our music to our audiences, or else all just becomes
DECEMBER, 2009 100th ANNIVERSARY ISSUE 31
Dec 09 pp. 31-35.indd 31 11/12/09 2:14:47 PM silly. The Diapason makes room (liter- and when it was installed and dedicated; ally) for both. It is a place for lengthy, often, readers could fi nd snippets of academic articles on arcane subjects and work-in-progress news as well. The jour- also for lighter fare—just check out the nal also promoted the activities of or- classifi ed ad section! [See examples from ganists, publishing summaries of recital the whimsy fi le, page 14.] programs, and tracking their careers and I hope The Diapason will continue travels. To amass such detail, and then to stay the course, amid shifting cur- publish it regularly every month, must rents, in its second century. As our cul- have been a herculean task for Gru- ture evolves more and more quickly, the enstein, but he did it. Advertisers and organ world will value a familiar friend— subscribers fl ocked to The Diapason The Diapason. in droves, and he effectively was able to —Jack M. Bethards “corner” the market, because no other Jack Bethards is president and tonal direc- general-purpose organ periodical exert- tor of Schoenstein & Co. Organ Builders, San ed signifi cant competition. The Ameri- Francisco, California. can Organist, in its original incarnation as the “house journal” of the American Guild of Organists, was no match for Siegfried E. Gruenstein’s success The Diapason until T. Scott Buhrman’s When Siegfried E. Gruenstein began editorship from the 1940s to the 1960s. publication of The Diapason in Chi- Regardless, even in spite of the lean cago in December 1909, he was the fi rst years of the Great Depression and World person to create a general-purpose jour- Wars I and II, The Diapason has held nal devoted to the organ since Everett E. its own to the present. Jack M. Bethards Truette’s effort in Boston in the 1890s. That Gruenstein’s business model was Truette’s journal, The Organ, unfortu- Michael D. Friesen successful is shown by The Diapason years, the tough times of depression and nately lasted only through two volumes, today, which still largely follows the for- war, the second big boom in the 1950s, from May 1892 to April 1894. Truette’s ful of journals throughout American mat he established. In general, as read- and then the controversies that occurred precedent, in turn, was Eugene Thayer’s history. Publishing is a hard business, ership demographics change, periodicals about all aspects of organ design, while The Organists’ Journal and Review, it- and one fraught with constant tension must adjust in order to survive, but a the structure of the industry changed self also a short-lived publication issued over printers’ deadlines, obtaining and loyal following by organists, organbuild- from predominantly large manufactur- in Boston from March 1874 to January editing copy from multiple contribu- ers, and friends of the organ has contin- ers to a mix of large and small—a kind of 1877. (Both the Thayer and the Truette tors, keeping advertisers and subscribers ued to ensure The Diapason’s success. cottage industry turning out every kind of have been reprinted in complete sets, happy, and the like. It is also not usually And of course, today’s “gossip” becomes tonal and mechanical style imaginable— which are available from the Organ His- highly profi table because of the relative tomorrow’s “primary source material” for gave me the feeling that no matter how torical Society.) mismatch between overhead and operat- historians, and in that sense, The Dia- much things changed, there would always The Diapason, however, was to have ing expenses versus what advertisers and pason’s rich store of back issues, which be a pipe organ culture in America. a different fate. Here it is, still being subscribers are willing to pay for distri- is often plumbed for information about A delightful recent aspect of The published a hundred years later, a feat bution and content, respectively. Cost the twentieth-century organ, is priceless. Diapason is its mixture of serious and that has been matched by only a hand- issues were the factors in the demise of With adaptation to changes in technology the above-mentioned journals, undoubt- and electronic publishing, here’s to hop- edly also affected by the fact that the ing that it will continue to be published organ world was, and still is, very “thin” indefi nitely, and therefore also prove to compared to circulation numbers pos- be a gold mine for information about the sible for mass-market publications. organ in the twenty-fi rst century as well. However, Gruenstein’s effort was —Michael D. Friesen timely. The organ market in the United Michael Friesen, of Denver, Colorado, is an States was reasonably affl uent and grow- organ historian who specializes in the history ing, and by 1909 was entering a period of organbuilding in America in the 18th and of signifi cant technological change, with 19th centuries. He was president of the Organ increasing demand for instruments built Historical Society from 2003 to 2007. with forms of electric action to replace traditional mechanical-action organs. (Tubular-pneumatic action, a transi- tional form of technology, had obtained a foothold in the market beginning in the 1880s, but it was not destined to survive much longer.) Thus many organbuild- ing fi rms entered the fi eld, and existing ones grew substantially, in the decade after The Diapason was founded. (To give some sense of numerical perspec- tive about this period, M. P. Möller, Inc., for one example, gradually expanded its factory to the point that it could produce an organ every day; the combined annual output of the ten largest manufactories in peak years before the Great Depres- sion began has been estimated at around 1,000 instruments.) Soon there was plen- ty of publicity about new organs and the activities of organbuilders to go around. The Diapason became known as the journal where one could fi nd multiple stoplists, descriptions, and pictures of new organs each month, and of course for organists, reading such material is almost akin to an addiction. Usually, an Orpha Ochse instrument was guaranteed publicity twice—when a contract was announced, Celebrating a Centennial The Diapason—what a treasure trove of American organ history! I have leafed through all its pages, discovering not just the facts I was particularly interested in, but also the broad contexts surrounding those facts. For the person who really wants to understand the “ups and downs”
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The Rev. Bruce McK. Williams AAGO, MusM, PhD Canon The Cathedral Church of St. John Albuquerque, New Mexico 87102
32 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 31-35.indd 32 11/12/09 2:15:04 PM of the past century’s organ world, I sug- gest a decade-by-decade prowl through old issues of The Diapason. Of course, such a process is by its nature leisurely, but it compensates for ineffi ciency with its revelations about the evolution of Congratulations at style, and changing opinions regarding the essential nature of the organ. THE Facts are also there in abundance. One particularly thorough example of journalistic reporting is a blow-by-blow 100 years! description of the 1936–1937 Federal Trade Commission trials to determine if the electronic instrument developed by Diapason the Hammond Clock Company was in- deed an organ, and if it could produce effects equal to those of a pipe organ. At one point in the trials, block and tackle were used to raise a Hammond instru- ment to the top of a pole for some outdoor acoustical tests. Well, you’ll just have to read the whole story in those old Dia- pasons. Then in the 1940s there were the chronicles of World War II: young organists and organ builders drafted into the armed forces; organ shops converted to war work; restrictions on the use of materials essential for the war effort. So many stories! One wonders how our own time will appear to the reader half a century or more in the future. However complex and uncertain our present time may seem as we experience it, that lucky reader will be able to see the big picture—where we’ve been, where we’re going—by leaf- ing through the pages of volume 100 and succeeding volumes of The Diapason’s Second Century. —Orpha Ochse Orpha Ochse is Professor of Music Emerita at Whittier College, Whittier, California, and author of several books on the history of the organ and organ playing.
THE DIAPASON at the century mark I fi rst encountered The Diapason as a teen-aged baby-sitter. The youngsters were the offspring of my organ teacher, and I minded them in exchange for organ lessons. The latest issue of The Diapa- son was usually on her coffee table, and after the kids had been tucked into bed, I would read it from cover to cover, soak- ing up all that arcane information about organ recitals, organists, and the latest new organs in each monthly issue as only a young person newly introduced to the fascinating world of the organ could. By the time I was off to college I had my own subscription, which continues to this day. While various general musical periodi- cals had carried news and occasional ar- ticles pertaining to organs and organists during the 19th century, it was only near the end of that century that any English- language journals dealing exclusively with the organ made their appearance, the earliest in North America being Eugene Thayer’s Organist’s Quarterly Highland Park United Methodist church Journal and Review, 1874–1876. Oth- ers, equally short-lived, would follow. Dallas, Texas But it would appear that it was not until the fi rst decade of the 20th century that a large enough potential readership had evolved to sustain a substantial national organ periodical. Thus in 1909 Siegfried Emanuel Gruenstein, a journalist for the Chicago Evening Post and organist of the Lake Forest Presbyterian Church, meld- DOBSON ed his two professional interests and es- tablished The Diapason, the fi rst issue Pipe Organ Builders Celebrating of which appeared in December 1909. Over the years, The Diapason has served at various times as the offi cial 200 North Illinois Street th journal of the Organ Builders Associa- our 35 tion of America, the National Associa- Lake City, Iowa 51449 tion of Organists, the Canadian College of Organists, the Hymn Society, and the Phone 712 464-8065 Anniversary American Guild of Organists. Eventually these organizations either ceased to exist Fax 712 464-3098 or produced their own periodicals, and for the last several decades The Dia- November pason has stood on its own feet. Today, www.dobsonorgan.com having outlived various later competitors, it still stands as the only independent or- 2009 gan-related periodical still published in America. And, having reached the cen- tury mark, it is also the oldest, and still going strong. To browse through back issues of The Diapason is to watch the entire history of the American organ in the twentieth
DECEMBER, 2009 100th ANNIVERSARY ISSUE 33
Dec 09 pp. 31-35.indd 33 11/12/09 2:15:30 PM recital programs, and contemporary THE DIAPASON: composers of every period critiqued or 100 years and counting interviewed. We can trace the rise and My sincere congratulations on the fall of residence and theatre organs, 100th anniversary of The Diapason! and the evolutionary history of the or- This historic journal—the longest-lived chestral, American classic, neo-Baroque of its type in the world—has faithfully and eclectic movements in tonal design chronicled the history of organs, organ- through stoplists and commentary, as ists, church music, and related fi elds in an well as opinionated give-and-take in informative, interesting, and educational the Letters to the Editor. Even the ad- manner. Further, it has done so fairly and vertisements (including the classifi eds) without bias as ideas and fads of organ have a story to tell. And this tradition of culture have changed over the years. chronicling the American organ scene I received my first issue of The continues into the 21st century. Diapason in 1946 when, as a young Read any book about an organist, or- teen-ager, I joined the American Guild gan composer, or organ builder of the of Organists. To me, at that age, the 20th century, as well as many books and primary benefit of AGO membership articles concerning organs, organ music was the monthly arrival of this fasci- and organists, and one is more likely nating publication, which was then the than not to fi nd The Diapason cited in official journal of the Guild. It imme- footnotes and bibliography. Researchers diately enlarged my view and knowl- (including this writer) love its inimitable edge of a profession that was to be- Barbara Owen resources—and earnestly hope that all come the focus of my life. I devoured 100 years of it will one day be digitized every word of each issue, and over this Frederick Swann century unfold in print and picture. The in keyword-searchable form. But we period of nearly 63 years have saved lives of numerous organists, well known read it too as the denizens of our little all 750 copies, thinking that someday ters related to the organ world, and was or obscure, are chronicled from their organ world have always read it, to keep when I was old I’d sit on the porch and especially encouraging to young organ- debut recital or fi rst church position to up with what is going on among our con- reread them. That hasn’t happened ists. Over the years his successors have their obituaries. Organ builders come to temporaries and to benefi t from their yet, but I have on numerous occasions continued to update and enlarge the prominence, change leadership, merge, scholarship in worthwhile articles. And consulted back copies for news and journal. The look and the content have and fade away or close. Organs for ma- yes, I still read every issue cover to cover specific articles. continued to grow and have reached a jor churches, colleges and cathedrals when it arrives! Soon after I entered Northwestern high standard of excellence. are featured, many of them to be later —Barbara Owen University in 1948, I was introduced to The longevity of The Diapason af- replaced by newer organs that are like- Barbara Owen is Librarian of the AGO Or- S. E. Gruenstein, the founder, editor and fi rms that it continues to reach many wise featured. Changing tastes in organ gan Library at Boston University and author publisher of The Diapason. He was a organists and enthusiasts who believe literature are refl ected in reviews and of several books on the organ and its music. kindly gentleman, interested in all mat- in the quality and value of its offerings. I am certain that others join me in ex- pressing the hope that the advent of a new century of publication will herald its indefi nite continuation. —Frederick Swann Frederick Swann has been a church and concert organist for nearly seven decades. He is the immediate past president of the Ameri- can Guild of Organists, and although semi- retired he maintains a full schedule of teach- ing, recording, and performing activity.
John Weaver
Recollections of THE DIAPASON When I started reading The Diapa- son I was about 10 years old—it was probably 1947. I remember the many pages of tiny print listing dozens of or- gan recital programs from around the county. I assume that they were all set by hand with individual pieces of type. I also recall that there were lots of ad- vertisements for organ pipes for sale. I responded to several of these with let- ters, which I hoped would not reveal my age or inability to pay. I had visions of buying some ten ranks and building an organ with them. Congratulations on 100 great years. —John Weaver John Weaver lives in West Glover, Vermont, having retired from three long-term positions as Director of Music at New York’s Madison Avenue Presbyterian Church and head of the organ departments at the Curtis Institute of Music and the Juilliard School. He has honor- ary Doctor of Music degrees from Westmin- ster College and the Curtis Institute.
Additional copies of this 100th an- niversary issue of THE DIAPASON are avaiable for six dollars each (post- paid). Contact editor Jerome Butera: 847/391-1045, [email protected].
34 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 31-35.indd 34 11/12/09 2:16:04 PM Dec 09 pp. 31-35.indd 35 11/12/09 2:16:32 PM Mario Castelnuovo-Tedesco’s English Suite for Harpsichord at 100 Larry Palmer
Mario Castelnuovo-Tedesco (photo courtesy of Robin Escovado)
ifteen years ago, on November 5, least, to realize that I had not noticed F1994 to be exact, I fi rst encoun- the 1909 date for the English Suite, right tered the work that, thus far, appears to there in bold print in Frances Bedford’s win the sweepstakes as the fi rst 20th- Catalog of 20th-Century Harpsichord century solo harpsichord piece. It was and Clavichord Music (embarrassing, featured in Igor Kipnis’s Spivey Hall even, considering that I had written the recital, the culminating event of the Foreword to Fran’s invaluable tome, and Southeastern Historical Keyboard Soci- had failed to cite Castelnuovo’s work). ety’s conclave at Clayton State College Kipnis wrote an extensive (and deserv- in Morrow, Georgia. edly complimentary) review of Bedford’s Igor and I shared an abiding curios- volume for the Early Keyboard Studies English Suite for Piano (or Harpsichord) ity about these earliest works for our Newsletter of the Westfi eld Center (Vol- instrument. My fi rst encounter with the ume VIII/3, July 1994). He chose to cite cause of Bedford’s information—fi rst, that published at that time, but [C-T] contin- earliest known harpsichord composition this English Suite as a working model for the piece was to be found in the [Ralph] ued to play one of his pieces in particular, by a post-baroque or post-classic-era some ways in which to utilize the catalog. Kirkpatrick archives of the Yale University a three-movement ‘English suite’ based composer, Francis Thomé’s Rigodon, His research concerning the early history Music Library and, secondly, that it had on Thomas Arne that he had intended for opus 97, came from Kipnis’s recording of Castelnuovo-Tedesco’s composition been published by Mills [Music]—I was harpsichord (or piano). After settling in of the piece; rather than asking him for appears in endnote fi ve. I am quite cer- able to consult the manuscript (there is the United States, Castelnuovo-Tedesco a “copy,” I instituted a search for it, and tain that not every reader of The Dia- no evidence that Kirkpatrick ever played transcribed the seven-to-eight-minute was rewarded with a yellowed original, pason has perused this material, so here it), contact the composer’s two sons, and piece onto music paper, and he may have from the stock of the venerable music are Igor’s discoveries: obtain from the Castelnuovo-Tedesco ar- sent it to Kirkpatrick. (Bedford writes ‘re- store, Noten Fuchs, in Frankfurt. But chive other copies of the manuscript plus vised,’ but, in fact, the composer set the Thomé’s charming pastiche dates from “As an example of how valuable Fran- the out-of-print Mills publication of 1962, music down from memory in 1940. A few the fi nal decade of the 19th century! In ces Bedford’s catalog can be, a personal now reading ‘for piano or harpsichord.’ range modifi cations in his own hand may my 1989 book Harpsichord in America, experience: leafi ng through the volume “The reconstructed story, based on facts be found in the manuscript, possibly a re- pride of place for the FIRST 20th-centu- for examples that I might not know . . . contained in the composer’s unpublished sult of his having talked with Kirkpatrick.) ry composition was given to the Sonatina I came across the name of Mario Castel- biography, several pages of which were The neo-classic English Suite, therefore, ad usum infantis by Ferruccio Busoni nuovo-Tedesco, a composer born in Italy most helpfully translated for me by Dr. stands as the earliest solo harpsichord (1915/1916). So, hearing a work that pre- (1895–1968). I became curious about Pietro Castenuovo-Tedesco, is that the piece of our century, as well as a remark- dated Busoni’s was an exciting discovery. the 1909 composition date attached to fourteen-year-old composer, then in Flor- ably mature work for a fourteen-year-old Musical history intrigues me; search- his English Suite for harpsichord. Seem- ence, had been assigned to study and imi- student. It . . . will fi gure on my 1994–95 ing for unusual repertory delights me; ingly, it had been revised in 1940, shortly tate various baroque suites by his teacher, recital programs.” thus it was a bit humbling, to say the after his arrival in the United States. Be- Gino Modona. None of that output was My recollection of Igor’s performance is that it did not immediately impel me to Custom builder of pipe, combination play the piece. But being the conscien- tious academic that I try to be, I resolved and all-digital organs to obtain a copy for use in a 20th-century harpsichord course. Finding the work proved to be ridiculously easy, since, for once, I remembered to check our own local library holdings. And there it was, on the shelf of the Hamon Arts Library at Southern Methodist University in Dallas! Pristine pages, apparently never Wicks placed on a music desk! I made a copy for reference, and returned the original score to the library.1 Organ Company Occasionally I would pull down my copy of the English Suite from the shelf; gradually, with each re-reading of the score, I became somewhat more in- terested in playing the piece in public. There are, as Kipnis noted, several notes 1100 5th St. that exceed the range of the harpsichord. (A similar problem occurs in the Busoni Sonatina. That seems especially un- Highland IL 62249 wonted given that Busoni owned a Dol- metsch-Chickering double harpsichord, quite evident in photographs taken in his personal library in Berlin, and thus one might expect him to have been aware of 877-654-2191 the instrument’s ambitus.) Nevertheless, with only minor adjustments, Castelnuo- vo-Tedesco’s work proved to be playable on the harpsichord. Now that I have performed the piece Opus 3047 www.wicks.com repeatedly in recitals, I have not shied Basilica of St. Mary Minneapolis, MN away from revising those passages that seem too pianistic to be performed as
36 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 36-37.indd 36 11/12/09 2:17:40 PM Example 1. Preludio, quasi un improvvisazione Example 3. Andante, ms. 37–39
Example 4. Giga
Example 2. Andante
This latest installment of the very occa- antiquarian music shop: Stephen Dodgson’s sional series “Harpsichord Repertoire in the Suite Number One for Clavichord and Kurt Hessenberg’s Zehn Kleine Präludien, both written (especially several spots in the ovo-Tedesco’s latter years will help to 20th Century” is dedicated to THE DIAPASON as a special tribute for its 100th birthday. Harp- with the same stamped signature and copi- lyrical second movement during which rekindle some current interest in his ously annotated with fi ngerings, dates of the young composer could have benefi t- earliest essay from those pioneering sichord editor since 1969, Larry Palmer has performance, and critical comments. SMU’s ed from “tying his right leg to the bench” days of the harpsichord’s revival. From written for the magazine under every editor, score was unmarked, thus almost certainly as another composer once promised he such efforts the modern harpsichord except for founder S. E. Gruenstein. unperformed by Lofthouse. Apparently this would do when I criticized his reliance repertory has blossomed exponentially. addition to the library collection was quite on the damper pedal, although ostensi- Each of the thousands of new composi- Notes a bargain—a pasted-on price sticker reads 6 bly he was writing for a harpsichord!). tions for our instrument doubtless has 1. The library’s copy had on its front cover shillings; the penciled, antiquarian price, only the rubber-stamped signature of English 80 pence. Examining the ten-page score as pub- its unique story, but I suspect that few harpsichordist C. Thornton Lofthouse (1895– 2. Letter to Nick Rossi (3 November lished by Mills Music, movement one, of these are as unusual as this tale of a 1974), who obviously kept up with 20th-cen- 1964), from the Mario Castelnuovo-Tedesco Preludio, quasi un improvvisazione [Ex- student work transcribed from memory tury publications for the harpsichord. In my Collection (Series III [Correspondence, A, ample 1], shows a distinct similarity to by a mature, politically displaced Italian own personal collection, I have several other 102], Columbia: University of South Carolina the arpeggiated fi rst movement of Arne’s neo-classic composer. Q scores from his estate, purchased at a London Music Library Special Collections). Sonata III in G Major. Probably it should be performed in a manner suggested by the 18th-century Englishman in prefatory words engraved above the fi rst staff of his publication: “In this, and other Preludes, The era of virtual economy which are meant as Extempore Touches before the Lesson begins, neither the Composer nor the Performer are oblig’d is past. It’s time to invest to a Strictness of Time.” Castelnuovo- Tedesco’s broken chords and scales lead to a thrice-presented perky motive, pre- in traditional values. sented the last time as a duet. Five mea- sures, combining running passages and a hint of the lively motive lead to seven block chords that serve as a bridge to the second movement. When performed on the harpsichord, perhaps these chords are best played arpeggiando (an indication not found in the 20th-century work, but specifi ed in Arne’s, where the number of unadorned chords is the same). Completely of its own time, the fol- From centuries past comes the lowing Andante movement [Example 2], a passionate aria comprising 62 mea- tradition and experience for the hand-crafting sures, is the most extended of the three. of pipe organs that are truly musical, Indeed its purple chromatics [Example 3] presage the bluesy, Gershwinesque well-designed, and reliable. harmonies of Frederick Delius’s 1919 Dance for Harpsichord (another work needing judicious rescoring if one is to make musical sense of its left-hand oc- Whether mechanical or electric, taves and oom-pah-pah accompanimen- tal fi gurations). Fratelli Ruffatti pipe organs Movement three, Giga [Example 4], is a compact, vigorous fugue, to be played are the choice of hundreds of churches “in a mechanical way.” Several further Italian adjectives indicate the compos- and auditoriums around the world. er’s concepts for a proper performance: “burlesque, bassoon like,” or “drily, in the manner of a marionette.” Biographies of those fi rst associated with the new-old harpsichord often con- tain illuminating anecdotes. A descrip- Make a sound investment tion of Castelnuovo’s living conditions at the time he was creating his fi rst pub- lished work Cielo di Settembre (Septem- for your future generations. ber Sky) (composed in the same year as the English Suite) is found in this 1964 letter to his cataloger Nick Rossi:
. . . really, up to that time, I had written music which was, more or less, ‘derivative’. I also remember, almost physically, how I felt . . . all alone in that huge old Floren- tine palace where we lived, with the big Builders of Fine Pipe Organs to the World rooms and the high ceilings. . . it was so cold! (there was no central heating) and my hands were frost-bitten: I had to wear wool half-gloves, to be able to play . . .; and Visit our new expanded website sometimes my fi ngers ached so much that I cried . . .2 www.ruffatti.com September Sky, for piano, was praised several years later by the composer Al- fredo Casella (who was, incidentally, Via Facciolati, 166 • 35127 Padova, Italy for several years the harpsichordist with Henri Casadesus’ early music en- Telephone (39-049) 750-666 • [email protected] semble, the Société des Instruments In the United States: 330-867-4370 Anciens). Perhaps such site- and mood- evoking words written during Castelnu-
DECEMBER, 2009 100th ANNIVERSARY ISSUE 37
Dec 09 pp. 36-37.indd 37 11/12/09 2:17:57 PM Paul Manz: May 10, 1919–October 28, 2009 In Memoriam Scott M. Hyslop
Paul Otto Manz, widely celebrated organist, dean of American church mu- sicians, and composer of the interna- tionally acclaimed motet E’en So, Lord Jesus, Quickly Come, died October 28 in St. Paul, Minnesota, at the age of ninety years. Manz’s life and career were fi lled with the honors and accolades that many per- forming musicians strive for yet seldom attain. With a lengthy list of performanc- es at such venues as the Kennedy Center in Washington, D.C., with the National Symphony; Symphony Center in Chi- cago, with the Chicago Symphony; and Orchestra Hall in Minneapolis, with the Minnesota Orchestra, Manz was able to perform the canon of major works for organ and orchestra—a feat that few organists can claim. His charisma at the console made him a favorite of such con- ductors as Leonard Slatkin, Charles Du- Ruth and Paul Manz toit, and Henry Charles Smith. While his career as a soloist took him nesota, where he was a student of Arthur around the world to splendid cathedrals B. Jennings, and in 1952 he received his and thrilling concert halls, his charisma master’s degree in organ performance as a musician and a servant of the church from Northwestern University in Evan- found its fullest expression in the action ston, Illinois. of leading people in congregational song. In 1956 Manz received a Fulbright Through his work as an organist and grant for study with Flor Peeters at the composer, Manz reinvented the classic Royal Conservatory of Music in Ant- organ chorale of Buxtehude and Bach, werp, Belgium. An extension of the giving it a new voice, which spoke clearly Fulbright provided Manz with the op- and unapologetically with a fresh Ameri- portunity to work with Helmut Walcha can accent. His work in this genre led at the Dreikönigskirche in Frankfurt, him to play thousands of hymn festivals Germany. Manz would subsequently around the world—playing that excited return to Belgium for three more sum- and invigorated countless organists, mers to study with Peeters. The bond church musicians, and lay people who between Peeters and Manz grew so close came to hear him play. Manz’s work in over the ensuing years that the Belgian congregational song and liturgy can be government invited Manz to be the offi - viewed as the spark that eventually be- Paul Manz cial United States representative in state came a bonfi re in which the standards ceremonies honoring Flor Peeters on his for service playing and church music in The only child of Otto Manz and Hul- entered Concordia High School in River 80th birthday and his 60th year as titular this country were recast. da (nee Jeske) Manz, German-Russian Forest, Illinois, eventually matriculating organist of the Cathedral of St. Rombaut Even with an enviable career as a con- immigrants who had come to America to into their teacher training program. in Mechelen, Belgium. At that time, Flor cert organist, Manz’s heart was deeply make a better life for their family, Paul While a student at Concordia, he Peeters referred to his former student as rooted in his work as a parish church mu- Otto Manz was born on May 10, 1919, in also began private organ studies at the “my spiritual son.” sician. “Love the people you have been Cleveland, Ohio. At age fi ve, Manz be- American Conservatory in Chicago with In 1943, Manz married Ruth Muel- called to serve” was the surprising answer gan piano lessons. Two years later, upon the eminent American organist Edward ler, a union that was blessed with four Manz gave when asked what one piece the advice of his fi rst piano teacher, Em- Eigenschenk, a student of Bonnet and children: David, who died at birth; Mi- of advice he would offer to an individual ily Dinda, Manz began studying piano Vierne. Manz would go on to further chael, who died unexpectedly in 2006; starting out in the fi eld of church music and organ with Henry J. Markworth at study with the eminent Bach scholar John, and Peter. Following the deaths of today. This seemingly simple response Trinity Lutheran Church in Cleveland. Albert Riemenschneider at Baldwin- Ruth’s brother, Herbert Mueller, in 1961 belies a depth of experience, wisdom, In order to study with Markworth, Manz Wallace College in Berea, Ohio, and Ed- and his wife Helene, in 1964, the Man- and faith, which was formed and molded had to agree to take two lessons at the win Arthur Kraft at Trinity Cathedral in zes took in their four orphaned children, in the crucible of service to the church piano for every lesson at the organ. Upon Cleveland. Manz pursued formal gradu- Mary, Anne, Sara, and John, increasing over the course of a life well lived. completion of the eighth grade, Manz ate-level studies at the University of Min- their family number to nine. Through all of life’s vicissitudes, Ruth was Paul’s part- ner in every sense of the word, and he has been quoted as saying, “Without her I would probably be playing piano in a /44/ (%533 /2'!. 0!243 bar somewhere. Ruth has been the can- tus fi rmus in our home and for our chil- dren, whom I treasure, while I practiced, 4RADITION AND 0ROGRESS taught, played and wrote.” Through the course of their 65 years of marriage, Paul and Ruth shared an exceptionally close &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN relationship until her death in July of CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND 2008. Her infl uence on his work and ca- ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS reer cannot be underestimated. Upon graduation from Concordia in 1941, Manz fi lled positions as teacher, /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY principal, and musician with several par- MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR ishes in Fond du Lac, Wisconsin and St. EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP Paul, Minnesota. In 1946, Manz received MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES a call to Mt. Olive Lutheran Church in Minneapolis, where he served as full- time director of Christian education and 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING music, an affi liation that would last for 37 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS years. Over the course of his service at Mt. Olive, Manz’s job description would %VERYWHERE AND AROUND THE WORLD change several times as the congregation made every effort to nurture and share /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING his gifts with the church-at-large. A man of many sought-after talents, Manz served on the faculties of the University of Minnesota and Macalester College in St. Paul before he accepted a call in 1957 /44/ (%533 'MB( n 'ERMANY to serve as professor and chair of the Di- vision of Fine Arts at Concordia College 0HONE n s &AX n E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE in St. Paul. Rather than lose him, Mt. Ol- ive arranged for Paul’s duties to be pared down, allowing him to share his gifts at both institutions.
38 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 38-39.indd 38 11/12/09 2:18:46 PM Manz family tree
Paul Manz in 1986
Award”; and the Lutheran Institute of Sarah Bode Selden (Dave), Katherine Washington, D.C. honored him with the Edmonds, Erin Klinge Eftink (David), fi rst “Wittenberg Arts Award.” Jessica Klinge Hemmann (Scott), Laura Paul Manz’s organ and choral works Klinge, Peter Forsberg, Anna Forsberg, are internationally known and are per- and fi ve great grandchildren; many trea- formed extensively in worship services, sured friends, colleagues, former stu- recitals, and teaching, and by church and dents, and legions of people in the pews. college choirs. His motet E’en So, Lord Through the example of his life, through Jesus, Quickly Come, having sold over the legacy of his family, and ultimately one million copies, is regarded as a clas- through the music that he graced us with sic and has been performed and recorded to stir our souls, to excite our imagina- Paul Manz, second grade Hulda and Paul Manz in the United States and abroad. Manz’s tions, and to enable our prayer and proc- life and work is the subject of a doctoral lamation, we hear Paul Manz say, Manz would serve for many happy tion. In May 2000, while in North Caro- dissertation, published in 2007 by Morn- years at Concordia. Noteworthy among lina preparing to dedicate a new organ at ingStar Music Publishers in St. Louis, Thank you for the grace of singing with his numerous accomplishments dur- an Episcopal church in Hendersonville, Missouri as The Journey Was Chosen: me across the years in good times and in bad, when our words have stuck in our ing his tenure was his establishment of Manz was stricken with sepsis. While The Life and Work of Paul Manz. throats and when our eyes have overfl owed a solid program of music studies with a Manz’s life was spared, his hearing was Composer, recitalist, teacher, minis- with joy. It has ever been a Song of Grace: well-trained and distinguished faculty. greatly compromised. After months of ter of the Word, clinician, author, organ ‘Love to the loveless shown that we might His ultimate achievement at Concordia diffi cult recuperation, it became apparent consultant, faithful servant—all facets lovely be.’ was the fulfi llment of the dream that the that he would not be able to play again. of Paul Manz’s life shone as sure and I have just been the organist. Thank you Fine Arts Division of the school would The esteem and respect with which faithful refl ections of the hope, joy and for letting me play. Q have its own facility replete with rehears- Paul Manz was regarded is seen in the peace that God has promised to us. Paul al rooms, classroom space, and an audi- numerous honorary doctorates and hon- is survived by his children, daughter-in- Scott M. Hyslop is the Director of Par- torium complete with a concert pipe or- ors he received over the course of his ca- law Patricia Manz (Michael, deceased) ish Music at St. Lorenz Lutheran Church in gan—designed by Manz (1974 Schlicker reer. Northwestern University, his alma of Spokane, John Manz (Ellen Anderson Frankenmuth, Michigan. He holds the doctor III/43)—as well as well-designed studios mater, presented him with the presti- Manz) of St. Paul, Mary Mueller Bode of musical arts degree in organ performance for the art department. Shortly after the gious “Alumni Merit Award”; Trinity (Joel, deceased) of St. Paul, Peter Manz and sacred music from the University of Mich- realization of this dream, Manz would Lutheran Seminary of Columbus, Ohio (Stephanie Cram) of Portland, Anne igan, the master of church music degree from fi nd himself caught in the whirlwind and bestowed the “Joseph Sittler Award for Mueller Klinge (David) of St. Louis, Concordia University, Chicago, and bachelor of music degree from the University of Wis- cruel chaos that enveloped the Lutheran Theological Leadership”; the Lutheran Sarah Mueller Forsberg (Dale) of Min- consin–River Falls. He had the privilege of Church–Missouri Synod at that time. School of Theology, Chicago presented neapolis, and John Mueller of Spokane; studying with Paul Manz for three years in His own convictions, coupled with deep- him with the distinguished “Confessor of twelve grandchildren: Erik Manz (Kim- Chicago, and is the author of a biography on ly personal connections to the fray, left Christ Award”; the Chicago Bible Soci- berly), David Manz (Caitlin), Rachael M. Paul Manz, The Journey Was Chosen, pub- Manz with little choice but to resign his ety presented him with the “Gutenberg Manz, Rachel C. Manz, Rebekah Manz, lished by MorningStar Music Publishers. position at Concordia. He returned to full-time parish service, this time as Can- tor at Mt. Olive, with a specifi c mandate from the parish to use his many gifts in the service of the church catholic. In 1983, after 37 years of service at Mt. Olive, Paul and Ruth Manz pulled up stakes and began a new chapter of min- istry in Chicago, where Manz received a double call to serve as Christ Seminary- Seminex Professor of Church Music and Artist in Residence at the Lutheran School of Theology at Chicago, and as Cantor at the Evangelical Lutheran Church of St. Luke. Manz retired from LSTC in Sep- tember 1992, but this retirement was merely a change of direction that provided an opportunity for friends and colleagues to encourage him to share his wealth of knowledge through workshops and mas- terclasses throughout the country. The sharing was formalized with the creation of the Paul Manz Institute of Church Music based at the Church of St. Luke in Chica- go. The Institute enabled him to continue to give lavishly and selfl essly to others in the church, drawing from his own wealth of education and experience. After a lifetime of faithful service as a church musician, in 1999, at age 80, Paul Manz retired from the Paul Manz Institute of Church Music and St. Luke Church The Manzes moved back to Minneapolis to be closer to family and friends. Although it was Manz’s intent to keep performing from his base in Minneapolis, his life would soon take another direc-
DECEMBER, 2009 100th ANNIVERSARY ISSUE 39
Dec 09 pp. 38-39.indd 39 11/12/09 2:19:02 PM From the Dickinson Collection: Music and Worship by Clarence Dickinson Compiled and edited by Lorenz Maycher
The fi rst installment in this series, the past, in most churches, the music “From the Dickinson Collection: Remi- just happened; it was not chosen with niscences by Clarence Dickinson, Part any particular idea in mind. Something 1: 1873–1898,” was published in the was sung, something was played. Now July 2008 issue of THE DIAPASON; next ap- this has in large measure been changed; peared “From the Dickinson Collection: a great deal of thought is being given to Memorizing Controversy,” September the subject. 2008; “From the Dickinson Collection: The sermon naturally gives the theme Reminiscences by Clarence Dickinson, to a church service; that is to say, it gives Part 2: 1898–1909,” February 2009; and “direction” to the worship. The great most recently, “From the Dickinson Col- Swiss theologian, Karl Barth, once said, lection: Speech to the St. Louis Chapter “The sermon is an extension of God’s of the American Guild of Organists, by revelation of Himself in His Word, and Clarence Dickinson,” June 2009. is in truth, a sacrament.” The music must reinforce the message of the sermon, Introduction must imbue it with appeal and with an “Music and Worship” is the fi fth in- emotional quality which will win the stallment in The Diapason’s “From heart when the mind does not follow. the Dickinson Collection,” a series of As that old Dean of Bristol said 300 articles featuring items from Clarence years ago, “A song may fi nd him who a Dickinson’s personal library, housed at sermon fl ies.” But music must do some- William Carey University in Hatties- thing more: it should create the spirit or burg, Mississippi. We are very grateful the atmosphere for the whole service. It to Patricia Furr and Dr. Gene Winters, should lift up the hearts of those pres- of William Carey University, for so gen- ent into the very spirit of worship, be so erously providing access to this collec- sensitive to the signifi cance of meeting tion and granting permission to publish in the house of God that the intellectual these important historical documents, and spiritual illumination of the sermon Clarence Dickinson at the Möller organ, Union Theological Seminary preserving the legacy of Clarence and shall be intensifi ed into a message from Helen A. Dickinson. the Most High. to which a service achieves this is a mea- of His holiness. As we stand in the white —Lorenz Maycher A service is held for the purpose of sure of its value. With this as its purpose, light of that holiness, we are conscious of Laurel, Mississippi bringing the people consciously into the the service must build up a sort of cre- our own littleness, our earth-bound out- presence of God. They should feel that, scendo of interest; it must have, fi rst, a look; we see with appalling clarity of just • as Martin Luther said, “Here, God speaks pictorial or dramatic quality, and second, how entirely we “have left undone those to us through His Word,” and further, movement toward a climax. things which we ought to have done, Whether we belong in the pulpit, the “The people speak to Him in prayer and We are coming around to the idea that and have done those things which we choir loft, or in the pews, the music in song.” This bringing of men into the very a church service ought to be a unifi ed, in- ought not to have done,” and we cry out the church service is bound to be a mat- presence of God, awakening in them the tegrated whole. As the Federal Council’s for mercy; and God, the loving Father, ter either of interest or of concern to us, consciousness that He is in their midst, is Commission on Worship said some years always hastens to meet penitence with since it is a constant part of worship. In the ideal of every service; and the degree ago in a report, “We have at last come forgiveness. For this we thank Him, re- to realize that a miscellaneous collection membering also His many past mercies, of devotional items does not constitute in Psalm or Hymn or Anthem. a service.” A service should be a perfect The realization of God’s love and com- and united whole, and, to ensure this, the passion strengthens our desire to know The OHS Catalog music must not be hit and miss, chosen Him better, to learn something of His according to the mood of the director or will and His purposes for mankind, and SHEET MUSIC ¡ BOOKS ¡ RECORDINGS to the repertory of the choir. It must be how best to requite His great love by perfectly integrated with the service in serving Him. This we learn through the A New Book and a Wonderful Gift! an inner unity; the texts must be in the Scripture lessons and the sermon, which thought of the service, the music in its is, as we have said, “an extension of God’s mood. And this thought and this mood revelation of Himself in his Word.” As we Magnum Opus are determined by its center and climax, thus come to know Him, we needs must which is the sermon. adore; and we offer to Him all we are and by John Longhurst For the opening of the service, a song have, consecrated to His service. This is of praise seems to be most fi tting: as the the Offertory, which therefore, with the The Schoenstein organ built Psalmist sings, “Enter into His courts sermon, should constitute the high point with thanksgiving and into His gates of the service, a part of “the sacrament.” for the LDS Conference Center with praise.” Praise was one of the earli- Such a service has climax, and possess- in Salt Lake City is presented est worship-emotions which stirred the es the dramatic elements of movement heart of man when he began to realize and direction toward that climax. But the beautifully in this new book. the majesty and glory and power and music can only heighten the climax and might of God. The early church opened lend defi niteness to the direction and Hardbound, 210 pages, with its services with praise. There is in a great emotional intensity to the movement if it many color pictures and a dem- opening song of praise an emotional ex- is integrated with the service, in perfect hilaration which lifts us out of every-day- inner unity. onstration CD, the book tells ness, out of petty thoughts and cares, and Upon the consecration will follow the the story of the organ, from into a mood of worship. return, in joy, to everyday living, ready to With the consciousness that we are do the will of God as servants in His eter- concept to completion, and in the House of God, that we are come nal kingdom. The expression of this lies in into His presence, comes the realization the closing hymn, in the benediction, and, spells out the many challenges not only of His power and majesty, but at the very end, in the organ postlude. of this unique location. Book 1995 $32.99 Visit Us Online: Organmaster Shoes www.organmastershoes.com Fast Service · Ship Worldwide IN STOCK FOR IMMEDIATE SHIPMENT! 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40 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 40-42.indd 40 11/12/09 2:19:45 PM Clarence and Helen A. Dickinson at work in the library of their New York apartment Clarence Dickinson at the Skinner console, Brick Presbyterian Church, New York City, preparing for a service came to signify overwhelming love and should express the theme of the ser- self-sacrifi ce; how can we realize that mon, there are times, in my opinion, more convincingly than in the sacred when it is wise not to have all the mu- songs of Charles Wesley? sic, especially the anthems, follow the Now, out of my long experience, I themes too closely. It may be an advan- should like to offer you a few suggestions: tage to have them different in senti- First: Good music should not be re- ment so that some hearts that may not garded as synonymous with diffi cult be attuned to the sermon that day may music, and put aside as unattainable by perhaps receive a message through the small church choir. Many beautiful the music. I have in mind a story, told anthems, lovely old carols, breathing to me by a minister, of a day when a beauty and love and consecration, may heartbroken member of his congrega- be had in very simple arrangements. tion came to church for the fi rst time Second: What may be called expressive after much illness and suffering in her music is best confi ned to choir singing. own person and bereavement of those Only on occasion, under special religious dear to her. The sermon and all the exaltation, will a whole congregation sin- hymns (save the opening one of praise) cerely pour out its soul in words; but it bore on some such theme as the peace will be moved to such an attitude by the movement, but the offertory anthem, devout, noble singing of such a solo as “If “Ye shall have a song in the night—The with all your hearts,” from Elijah, or “O love that it revealeth—All earthly sor- God, have mercy,” from St. Paul. row healeth—Ye shall have a song in Third: In spite of my earlier recom- the night,” brought the calm and solace mendation that the music of a service that she sought.
Clarence Dickinson standing in the Union Seminary Quadrangle, near the Chapel entrance
Often I have heard ministers and mu- I was deeply impressed by a sentence sicians alike regret that the postlude is in an address given by that great mis- practically lost in the movement of the sionary, the author of “The Christ of the congregation. It can indeed be a beauti- Indian Road,” Stanley Jones, recently ful and uplifting thing when, at the close at Columbia University: “Beauty is as of a vesper service, for instance, minis- necessary to the soul as light to the eye, ters and congregation resume their seats truth to the conscience.” Such beauty silently for a short, lovely organ number. is not mere superfi cial ornamentation, But this is not the function of the organ but deep vision and thrilling impulse, postlude to the morning service; its func- through the perception of things of the tion is to say to the departing congrega- Spirit, unseen, eternal. As William Pier- tion, “Go forth into the world in peace son Merrill wrote of it, “Music is not a and in joyful readiness for service. You garnishment of the service, but a part are glad to have been in the House of the of the food for the soul;” or as Walford Lord; it was good to be here. And now, Davies has expressed it, “Music is not an recharged by the dynamic power com- ornament to the service, it is not even a municated by the service, go forth to means of inducing the mood of worship; make His ‘Kingdom come and His will it is worship.” be done on earth as it is in Heaven’.” That we may bring to God, the Cre- There are three great avenues of life ator of all beauty, our perfect worship, and thought, as I feel it—three doors we must enrich it with beauty. That we that make up the triune gateway to may create and foster in men that spirit Heaven: Truth, Goodness, and Beauty. of worship, we must reveal the beauty of The scientists concern themselves with the Most High; as Ecclesiasticus has it, truth, and the scholars and the literalists. we must “put on the comeliness of the The chief interest of the church’s minis- glory that cometh from God.” try since Puritan days in this country has Every great movement in the church, been goodness, or morality. But there is every signal victory or triumphant asser- a third door, and many who “become as tion of faith, every widespread renewal little children and enter the kingdom of of trust and love, has found spontaneous Heaven” enter through the gate of pure expression in music. The almost pas- beauty. And this is largely what we are sionate revival of religion in Italy led by called upon to do as musicians in the Francis of Assisi can hardly be under- church. The beauty of music is not an or- stood unless we know how all Italy burst nament to the building we call worship; forth into passionate songs of love and it is a portal. It awakens man’s sensitivi- praise to the God whom Francis had, as ties to the highest and loveliest things, it were, brought down again to man, that it lifts him out of and above himself to man might be reunited to God. their contemplation; it unites him with Again, think of Luther. How shall we the things that are pure and holy through realize the effect of his great fi ght for its emotional power. For this reason, we spiritual emancipation of the people, un- must have music that is worthy to be the less we hear them join “with heart and portal to worship, and as beautifully and soul and voice” in the chorales of Luther truly interpreted as possible, that it may and of the great Johann Sebastian Bach? not fail to be a gateway open to the pres- In the Wesleyan movement, the atone- ence of God. ment ceased to be only a dogma, and
DECEMBER, 2009 100th ANNIVERSARY ISSUE 41
Dec 09 pp. 40-42.indd 41 11/12/09 2:20:02 PM Clarence Dickinson with students of the School of Sacred Music at Union Theological Seminary, New York City Clarence Dickinson in a studio portrait Fourth: The organist and choirmaster to the stately dignity, the noble sincerity, should endeavor constantly to raise the the glorious exaltation of inspired words I have never found it necessary to have not succeeded, because I brought standards of the music in his church. If a set to harmonious music, with a resultant play down to any age. If they are ac- myself with me.” congregation has been in the habit of using gain in the virility and dignity of the re- customed to good music, they come to He who has known what it is to lose commonplace music, it is unwise to break ligious conceptions of the congregation. expect it. I can still hear the choirboys himself wholly in listening to a great sym- away from it at one fell swoop. It takes A hymn new to the congregation, or an at St. James Church, Chicago, when we phony, or any great music, knows what I patience and repetition. But gradually a unfamiliar tune to an old text, should be had to sing the school hymn of a young mean: the sense of entire oblivion to self group may be led away from trivial music sung several times in close succession. In man for his wedding. It was rather and the material world, the sublimation joined with words of no spiritual import, time it may become a favorite. waltzy for an anthem, and the boys, of a sort of translation to another plane accustomed to good church music, ex- of being. In Koussevitzky’s address upon claimed, “Huh! Cheap!” receiving an honorary degree at Harvard, One can express adoration and praise he said, “We belong to those promoters in any musical language, but is it inspira- of the ideal who lift men out of the gray- tion and exaltation put there naturally, or ness of their everyday living into a world is the composer just trying to do some- of beauty and vision.” Thoreau describes thing not done before and hanging it on it, “What is the prospect such strains of sacred words? The church service is not music open up to me? My life becomes the place for experimentation. The ex- a boundless plain, glorious to tread, with treme modernists are making us familiar no death or disappointment at the end of with new combinations of harmony; in it.” This is the redeeming power of mu- fact, they overdo the use of certain com- sic. It can give us release from self and binations, so that one can become bored, from time, and make us realize our kin- not startled, with their use. Musicologists ship with the infi nite. of today publish many dull, uninspired But, if these greatest messages in the pieces from the past without troubling world are imperfectly given, if the peo- themselves with anything but perfection ple do not get them because we do not of technique. It is our job to fi nd music communicate, we are failing in our duty inspired by faith and love. to God. You cannot “put over” something We must keep ever in mind the pow- you only half know; you are too busy with er of music to lift the individual per- the notes to bring out the meaning. This son out of his self-centered existence. means rehearsal for all of us; faithful, When he joins in singing a hymn or constant, regular rehearsal; and having listens to an anthem, he ceases to be something to say in our work, to know wholly individual; the congregation be- perfectly what we are going to say, and comes one, and he a part of it. Person- say it with all our heart. It is a big job we al differences of creed, questionings, have before us, and it is up to us to work doubt, disbelief are forgotten as hearts with might and main, beside the minis- and voices unite in gratitude, joy and ter, to do our part through our messages aspiration. Music is a redeeming force of sacred song—messages of courage, in that it can free us from ourselves cheer and faith, of hope, and love, and by setting us within a vision of beauty the certainty of Eternal Life! which unfolds all about us, and by giv- “Whether there be tongues, they shall ing us a glimpse of something which, cease; whether there be knowledge, it while immaterial and non-corporeal, shall vanish away; but there shall be mu- is yet eternal and infi nite. A large el- sic forever in the presence of God and ement in Salvation, or redemption, is His saints.” Q just this release from the tyranny of Lorenz Maycher is organist-choirmaster self and its demands, its smallness and at First-Trinity Presbyterian Church in Lau- its limitations. St. Chrysostom wrote to rel, Mississippi. His interviews with William a friend after a time of terrible trial and Teague, Thomas Richner, Nora Williams, Al- strain, “I came up here to the moun- bert Russell, and Robert Town have appeared tains to get rest and refreshment, but I in THE DIAPASON.
42 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 40-42.indd 42 11/12/09 2:20:15 PM New Organs
Parkey OrganBuilders, 8′ Trompette 61 pipes Duluth, Georgia, Opus 10 8′ Oboe 61 pipes Holy Trinity Lutheran Church, 4′ Oboe Clarion 12 pipes Marietta, Georgia Tremulant Holy Trinity Lutheran Church made Swell 16–Unison Off–4 the commitment to a pipe organ in the CHOIR late 1970s as part of the construction of 8′ Geigen 61 pipes their new sanctuary. Though a new pipe 8′ Flute 61 pipes organ was not in the plan, the church 8′ Ludwigtone 61 pipes purchased a Votteler-Holtkamp-Sparling 8′ Dulciana 61 pipes 8′ Unda Maris TC 49 pipes organ from First & Calvary Presbyterian ′ Church in Springfi eld, Missouri. A dedi- 4 Fugara 61 pipes 4′ Chimney Flute 61 pipes cated group of members aided by a con- 2 2⁄3′ Nazard 61 pipes sultant/organbuilder moved the organ to 2′ Flautino 24 pipes 3 Marietta, Georgia, and completed the 1⁄5′ Tierce 61 pipes installation of the organ in late 1980. III Mixture 183 pipes By 1980, the organ had been moved, 8′ Clarinet 61 pipes altered, and enlarged. During the mid- 8′ Trumpet Gt 1990s, Tim Young, the current organist, Tremulant took the job as parish musician and be- Choir 16–Unison Off–4 gan to evaluate the instrument and bring PEDAL it into line with the needs of the church’s 32′ Contra Bourdon 32 notes music program. Over time it was realized 16′ Diapason 32 notes that the organ was far too large in sound 16′ Subbass 32 pipes to balance the room, and, unfortunately, 16′ Violone 32 pipes some of the additions had not been as 16′ Lieblich Gedeckt Sw 8′ Octave 32 pipes successful as originally hoped. ′ We were invited to look at the organ in 8 Flute 12 pipes 8′ Gedeckt Sw 1997 and make a proposal to replace the 4′ Choral Bass 32 pipes console and relay switching system. In 4′ Open Flute 32 notes 2000, our fi rm completed a new three- III Mixture 32 notes manual drawknob console complete with 16′ Bombarde 32 pipes new relays and capture system by Solid 8′ Trumpet 12 pipes State Logic (now Solid State Organ Sys- tems). This vastly improved the control Couplers of the organ, and the movable console Great to Pedal 8, 4 allowed some changes of the choir space Swell to Pedal 8, 4 and chancel area. Choir to Pedal 8, 4 MIDI to Pedal In 2004, we made a number of chang- The Great division features a princi- SWELL es, with new pipework to improve the pal chorus of American heritage found 16′ Lieblich Gedeckt 61 pipes ′ Swell to Great 16, 8, 4 diapason/principal choruses for a better in organs of the mid to late 1800s. The 8 Violin Diapason 61 pipes Choir to Great 16, 8, 4 8′ Stopped Diapason 61 pipes balance in the room. Part of our tonal Swell division is based on an American ′ MIDI to Great work included the addition of mutations Classic design that became prevalent 8 Salicional 61 pipes 8′ Voix Celeste 61 pipes to the Choir division in place of some in the 1930s. The Swell division starts ′ Swell to Choir 16, 8, 4 ′ ′ 4 Principal 61 pipes MIDI to Choir of the redundant 8 stops added in the with the backbone of an 8 Violin Diapa- 4′ Flute Harmonic 61 pipes ′ 1950s by the Kilgen Organ Company. son and builds through to mixture. The 2 Flute 61 pipes Choir to Swell 8 The changes worked very well and were strings and fl utes retained in the Swell III Plein Jeu 183 pipes well received by the membership. division promote a bit of romantic fl air 16′ Basson 12 pipes Choir/Great Transfer By 2005, the church was discussing a not lost in the history of the organ. The major renovation of the sanctuary. The Choir division features many nuances of organ was showing its age in the me- an English Choir division, again hosting chanical/windchest department. Due its own diapason chorus through to mix- to immediate need, chestwork was con- ture. The Choir principal (called Gei- structed and installed in the Great divi- gen) displays a lighter, articulate tone, sion in 2006. The church council later useful for choral work. The 4′ Fugara is voted to include the pipe organ in the a string principal, adding a singing qual- sanctuary renovation. ity to the division while providing good The sanctuary renovation was the im- blend with the Geigen. petus to remove the entire organ and The principal choruses combine to pro- recreate it as one cohesive instrument. vide a solid foundation for congregational By 2007, working with Tim Young, we singing much as found in the Silbermann completed the details of an ongoing ton- organs of the 1700s. Our fl utes through- al revision and layout of the organ, and a out the organ offer a wide variety of color, contract was signed in early 2008. utilizing both open and closed variations The organ was removed in summer in wood and metal. The reeds provide 2008. Work began with new windchests both color for solo work and fi re for the and winding systems. The new organ fi nal cap of the ensemble. features electro-pneumatic slider chests Tim Young worked closely with us of our design and construction. The during the reinstallation and tonal fi n- winding system is provided by single-rise ishing of the instrument. The physical box regulators. Chamber layouts were installation was completed in December changed for improved tonal design and 2008, and the fi nal tonal work was com- egress and to accommodate the reloca- pleted in early 2009. Matthew Brown of tion of the choir in the chancel. A new Salisbury, North Carolina, a student of case and façade were designed in con- Gillian Weir, was a featured recitalist in junction with Frank Friemel and added April 2009. He demonstrated the fl ex- to the organ to replace the grille cloth ibility of the organ through the works of and curtains of 1980. The case contains Sweelinck, Bach, Harris, Vierne, Demes- the bass of the 8′ Principal and 16′ Vio- sieux, and Calvin Hampton. lone. It is built of clear red oak and fi n- Our appreciation goes to Tim Young, ished to coordinate with the church’s organist; Ann Murphy, music director; interior fi nishes and woodwork. Acousti- and Ralph Daniel, charter organ com- cal improvements were made to the wor- mittee member, for their help and coop- ship space to enhance the congregational eration on our Opus 10. singing and tonal presence of the organ —Phil Parkey and other instruments. GREAT From the fi rst we had planned for ton- ′ al changes to fi ll voids in the specifi cation 16 Sub Principal 29 pipes (1-32 from Pedal Violone) and create a better balance for congre- 8′ Principal 61 pipes gational singing and choral accompani- 8′ Bourdon 61 pipes ment. The Clarinet and Oboe stops were 4′ Octave 61 pipes retained from the 1929 Holtkamp organ, 4′ Spitzfl ote 61 pipes as were some of the fl utes and strings. 2′ Super Octave 61 pipes One rank of interest is the 8′ Ludwigtone III Fourniture 183 pipes 8′ Trumpet 61 pipes from the 1929 Holtkamp; it was retained ′ in the Choir division. The principal ranks 4 Clarion 12 pipes Chimes are new, providing three complete prin- Zimbelstern cipal choruses—one in each manual divi- Great 16–Unison Off–4 sion. New trumpet ranks were added to the Swell, Great and Pedal divisions.
DECEMBER, 2009 100th ANNIVERSARY ISSUE 43
Dec 09 pp. 43-44.indd 43 11/12/09 2:22:35 PM New Organs
John-Paul Buzard Pipe Organ Builders, Champaign, Illinois tors are white pine and full length down Second Presbyterian Church, to low FFFF#. The wood fl ue pipes are Bloomington, Illinois, Opus 37 made from poplar or mahogany with This instrument of 43 stops and 56 cherry mouths. ranks is the 37th new organ built by Bu- All Buzard organs employ slider and zard Pipe Organ Builders of Champaign, pallet windchests to eliminate long- Illinois. The Buzard fi rm had originally term maintenance, and provide supe- been selected as the church’s builder of rior tonal blend and tuning stability. All choice in 1991, when plans were fi rst Buzard organs employ wooden winding developed to build a new sanctuary. In systems to reduce turbulence and noise, more recent years, when the original and schwimmer regulators at each slider Victorian-era building was found to be chest to provide a steady wind supply. structurally unsound, the desire to de- The instrument was dedicated in pub- sign and construct a new church build- lic recitals by organist emerita Doris ing acquired a new sense of urgency. The Hill, concert organist Ken Cowan, and decision to include a pipe organ in a very Mr. Cowan’s student and the builder’s modern building in the context of a very son, Stephen Buzard. A new CD featur- modern ministry was not made lightly, ing Stephen Buzard playing this organ nor easily. The wisdom of the church will be released later this year on the leadership held that worship styles both Delos label. timeless and modern needed to be em- —John-Paul Buzard braced wholeheartedly. The organbuild- Buzard Opus 37 er and architect enjoyed an unusually Second Presbyterian Church, collaborative and collegial relationship Bloomington, Illinois in the design of the entire building as 43 straight speaking stops, 56 ranks, well as the new instrument. The new 3 stops prepared for future addition sanctuary was completed in 2005, and the new organ arrived in June 2008, giv- GREAT (4-inch wind) 16′ Double Open Diapason (tin in façade) ing the construction dust plenty of time ′ to settle. Although the room’s acoustics 8 First Open Diapason (tin in façade) 8′ Second Open Diapason (1–8 from 16′) are more absorptive than we would have 8′ Viola da Gamba preferred, sound is heard evenly and in 8′ Claribel Flute (Melodia) balance throughout the room. Buzard Opus 37 8′ Principal The organ’s dramatic visual design is in- 4′ Spire Flute 2 tended to be a stylized rendering in organ 2⁄3′ Twelfth pipes of a Celtic cross. The background 2′ Fifteenth 3 ′ fi elds of Great and Pedal Diapason and 1⁄5 Seventeenth (prepared) 2′ Fourniture V Principal pipes are made of polished tin. 2 ⁄3′ Sharp Mixture III The pipework elements of the cross it- 8′ Trompete self are polished copper Pedal Principals Cornet V (prepared) and the horizontally mounted Festival Tremulant Trumpets. The giant blocks of white oak 8′ Trombas (Ped Trombone) that hold the Festival Trumpet pipes are 4′ Tromba Clarion (ext Trombas) clad in polished copper to emphasize the 8′ Major Tuba (Ch) 8′ Tuba Solo melody coupler cross’s horizontal arms. The circle that ′ binds the four arms of the cross together 8Festival Trumpets (horizontal is a 16-foot diameter ring of Baltic birch, polished copper) leafed in 24-karat red gold. SWELL (4-inch wind) The instrument is housed in a solid 8′ Open Diapason white oak case standing three stories tall, 8′ Stopped Diapason 24 feet wide, 12 feet deep, fl anked by 8′ Salicional walls that act as projection screens. The 8′ Voix Celeste 4′ Principal pipe shades are of basswood. Some of ′ the small panels are enameled in indigo, 4Harmonic Flute 2′ Octavin (harmonic) which accent is also found in the stained 2 2⁄3′ Full Mixture V glass windows. It is located on the axis of 16′ Bassoon (full length) the church, above and behind the choral Case Major Tuba 8′ Trompette singers, to provide optimal projection of 8′ Oboe sound to the congregation and choir, and 4′ Clarion to be a living and integral participant in Tremulant the worship service and the church’s in- Chimes (21 notes) 8′ Major Tuba (Ch) terior design. A closed-circuit remotely ′ operated television camera is mounted 8Festival Trumpets (Gt) between and just behind two pedal fa- CHOIR (4-inch wind) çade pipes so that worshipers can see 16′ Lieblich Gedeckt themselves projected on the screens(!). 8′ English Diapason The traditional portion of the church’s 8′ Flûte à Bibéron music program includes everything from 8′ Flûte Cœlestis II (Ludwigtone) children’s choirs through a large adult 4′ Principal 4′ Suabe Flute (open wood) choir, small instrumental ensembles 2 2⁄3′ Nazard through full symphony orchestra perfor- 2′ Recorder mances. And of course the organ must 3 1⁄5′ Tierce 1 support congregational singing and excel 1⁄3′ Mixture IV in its solo role. Therefore, this instru- 16′ English Horn ment had to exhibit an unusually wide 8′ Clarinet dynamic range to accommodate musical Tremulant needs of every size and type, but also the Cymbalstern 8′ Major Tuba (25 inches wind) classic disposition that allows an organ to ′ play the literature. The organ possesses a 8Festival Trumpets (Gt) singularly noble and majestic tone qual- PEDAL (various pressures) ity. Each division is based upon sub-oc- Flûte Cœlestis II English Horn 32′ Double Open Diapason (digital) tave pitches, and the voicing is full and 32′ Subbass (digital) warm. The Great and Pedal feature First Buzard organs have become known as tion, the typically bright and bold sound 32′ Lieblich Gedeckt (digital) (Ch) and Second Diapasons, and all the divi- exceptional accompanying organs, which tailored to this division’s classic musi- 16′ First Open Diapason (wood & metal) 16′ Second Open Diapason (Gt) sions include a wealth of warmly voiced is the primary use to which pipe organs cal character, whereas the Trompete on ′ 8′ stops to provide a rich variety of ac- are put in modern worship services. But, the Great is darker. Trombas appear on 16 Bourdon 16′ Lieblich Gedeckt (Ch) companimental colors at several volume by virtue of an historically and nationalis- most of our Great organs as extensions 8′ Principal (tin in façade) levels. The design includes full couplers tically informed point of view, Buzard or- of the Pedal Trombones (a Willis trick), 8′ Open Bass (ext 16′ First Open) at 16′, 8′, Unison Off, and 4′ pitches for gans also musically render the entire solo which offers the organist two degrees 8′ Bourdon (ext 16′ Bourdon) increased fl exibility. Although the instru- repertory from early contrapuntal styles of reed color and volume, depending 8′ Violoncello (tapered) ment sounds very big when everything through the most modern symphonic upon the musical context. Our solo and 4′ Choral Bass (ext 8′ Open Bass) is coupled, or when the high pressure transcriptions. Our principals have pedal reeds take more of an orchestral 4′ Open Flute (ext 16′ Bourdon) 2 2⁄3′ Mixture IV (prepared) Tubas or Festival Trumpets are used (ex- something to tell you. Their choruses are approach: smooth, round, warm, and al- ′ celling in its occasional role with a full clear, but meaty. Flutes are singing and ways interesting, whether soft or loud. 32 Contra Trombone (wood) 16′ Trombone (ext 32′, wood) symphony orchestra), the organ itself is liquid, strings are warm and harmoni- Our metal pipes are all made of high- 16′ Bassoon (Sw) not inherently loud—it can be as delicate cally interesting. Chorus reeds add vary- tin-content pipe metal, planed and pol- 8′ Trumpet (ext Trombone) as a child’s voice. Its sound fi lls the wor- ing degrees of “clang” to their divisions: ished. The reeds use either this rich pipe 4′ Clarion (ext Trombone) ship space gracefully, without having to for example, the Swell 16′, 8′, and 4′ reed metal or wood for their resonators. In this 8′ Major Tuba (Ch) yell to make its point. battery is of authentic French construc- organ, the 32′ Contra Trombone resona- 8′ Festival Trumpets (Gt)
44 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 43-44.indd 44 11/12/09 2:23:02 PM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH 23 DECEMBER Pickle Piano & Church Organs This calendar runs from the 15th of the month of Scott Carpenter; Old Salem Visitor Center, NEW YORK issue through the following month. The deadline is Winston-Salem, NC 12 noon Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. Michael Batcho; Cathedral of St. John the issue). All events are assumed to be organ recitals Evangelist, Milwaukee, WI 12:15 pm unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO chap- Christopher Babcock ter event, • •=RCCO centre event, +=new organ 24 DECEMBER WILLIAM AYLESWORTH Lessons & Carols; Camp Hill Presbyterian, dedication, ++= OHS event. St. Andrew’s by the Sea, Information cannot be accepted unless it speci- Camp Hill, PA 5 pm, 7 pm, 9 pm D. M. fi es artist name, date, location, and hour in writ- Songs & scriptures for children; First United Hyannis Port ing. Multiple listings should be in chronological order; Methodist, Columbus, IN 6:30 pm please do not send duplicate listings. THE DIAPA- Lessons & Carols; First United Methodist, Co- EVANSTON, ILLINOIS St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for lumbus, IN 11 pm the accuracy of calendar entries. Lessons & Carols; Rockefeller Memorial Cha- pel, University of Chicago, Chicago, IL 4 pm
25 DECEMBER UNITED STATES Scott Dettra; Washington National Cathedral, East of the Mississippi Washington, DC 5:15 pm
27 DECEMBER 15 DECEMBER Lessons & Carols; St. Simon’s Episcopal, Ar- Handel, Messiah; Avery Fisher Hall, New lington Heights, IL 10 am York, NY 7:30 pm Choir of St. Luke in the Fields; St. Luke in the 29 DECEMBER Fields, New York, NY 8 pm Cristinel Coconcea; King’s Chapel, Boston, Bradley Hunter Welch; First Presbyterian, MA 12:15 pm Logan, OH 7:30 pm Dean W. Billmeyer Todd Wilson; Stan Hywet Hall & Gardens, Katherine Handford; Church of St. Louis, Akron, OH 5 pm King of France, St. Paul, MN 12:35 pm University of Minnesota 30 DECEMBER 16 DECEMBER Charles Tompkins; Old Salem Visitor Center, Minneapolis 55455 • [email protected] Peter Stoltzfus Berton, with choirs of All Saints Church, Worcester; Mechanics Hall, Winston-Salem, NC 12 noon Worcester, MA 12 noon Karen Beaumont; Cathedral of St. John the Saint Andrew Chorale, with children’s choirs Evangelist, Milwaukee, WI 12:15 pm and instruments; Madison Avenue Presbyterian, THOMAS BROWN New York, NY 7 pm 31 DECEMBER Byron L. Blackmore Scott Lamlein, Organ Fireworks! (First Night UNIVERSITY Handel, Messiah; Avery Fisher Hall, New Crown of Life Lutheran Church York, NY 7:30 pm Worcester); Wesley United Methodist, Worces- PRESBYTERIAN CHURCH ter, MA 4 pm Susan Foster; Old Salem Visitor Center, Win- Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA ston-Salem, NC 12 noon Christmas Lessons & Carols; Church of the ThomasBrownMusic.com Milwaukee High School of the Arts Choir; Ca- Advent, Boston, MA 5 pm 623/214-4903 thedral of St. John the Evangelist, Milwaukee, WI Todd Wilson; Central Reformed Church, 12:15 pm Grand Rapids, MI 8 pm
17 DECEMBER 3 JANUARY Handel, Messiah; Avery Fisher Hall, New Lessons & Carols; All Saints, Worcester, MA David Chalmers DELBERT DISSELHORST York, NY 7:30 pm 5 pm Concert Organist Epiphany Festival of Choirs; Church of St. Professor Emeritus 18 DECEMBER John the Evangelist, Severna Park, MD 7 pm GLORIÆ DEI CANTORES Handel, Messiah; Avery Fisher Hall, New Orleans, MA University of Iowa–Iowa City York, NY 7:30 pm 4 JANUARY Christmas concert; Coral Ridge Presbyterian, Paul Jacobs; Coral Ridge Presbyterian, Fort Fort Lauderdale, FL 7:30 pm Lauderdale, FL 7:30 pm Georgia Boy Choir; Peachtree Road United STEVEN EGLER Methodist, Atlanta, GA 7 pm 5 JANUARY JOHN FENSTERMAKER Advent Episcopal Day School Ensemble; Ca- Andrew Holman; King’s Chapel, Boston, MA Central Michigan University thedral Church of the Advent, Birmingham, AL 12:15 pm First Presbyterian Church RINITY BY THE OVE 12:30 pm Choral concert; Coral Ridge Presbyterian, Fort Mt. Pleasant, Michigan 48858 T - - -C John W.W. Sherer; Fourth Presbyterian, Chi- Lauderdale, FL 4:30 pm cago, IL 12:10 pm SOLO Shelly-Egler David Jenkins; Church of St. Louis, King of RECITALS Flute and Organ Duo NAPLES, FLORIDA France, St. Paul, MN 12:35 pm 19 DECEMBER Handel, Messiah; Avery Fisher Hall, New 6 JANUARY York, NY 7:30 pm Epiphany Lessons & Carols; St. James’ Organist / Pianist Christmas concert; Coral Ridge Presbyterian, Church, New York, NY 6 pm CHRISTOPHER Fort Lauderdale, FL 7:30 pm Deborah Dillane; Camp Hill Presbyterian, Michael Gailit Georgia Boy Choir; Peachtree Road United Camp Hill, PA 12:15 pm www.gailit.at Methodist, Atlanta, GA 7 pm GARVEN Epiphany Evensong; Emmanuel Church, offi [email protected] Organist & Music Director Chestertown, MD 6 pm 20 DECEMBER Konservatorium Wien University Church of the Good Samaritan Evensong; Coral Ridge Presbyterian, Fort University of Music, Vienna Paoli, Pennsylvania Lessons & Carols; South Church, New Britain, Lauderdale, FL 5:15 pm CT 4 pm Christmas Lessons & Carols; Cathedral of the 7 JANUARY Incarnation, Garden City, NY 4 pm Samuel Metzger; Coral Ridge Presbyterian, Lessons & Carols; Church of the Holy Trinity Fort Lauderdale, FL 4:30 pm (Episcopal), New York, NY 4 pm JAMES HAMMANN WILL HEADLEE Christmas concert, with choir and orchestra; DMA-AAGO 8 JANUARY 1650 James Street Church of St. Ignatius Loyola, New York, NY Choral concert; Coral Ridge Presbyterian, Fort 4 pm University of New Orleans Syracuse, NY 13203-2816 Lauderdale, FL 7:30 pm Lessons & Carols; Cathedral of Mary Our Ken Cowan; Music Center, St. Petersburg Chapel of the Holy Comforter (315) 471-8451 Queen, Baltimore, MD 5:30 pm Lessons & Carols; Christ Church Grosse College, St. Petersburg, FL 7:30 pm Pointe, Grosse Pointe Farms, MI 4:30 pm John Behnke; Concordia University, Mequon, Advent Lessons & Carols; First Presbyterian, WI 7:30 pm Evansville, IN 10:30 am ANDREW HENDERSON, DMA 9 JANUARY Harry H. Huber Advent Lessons & Carols; Peachtree Road D. Mus. United Methodist, Atlanta, GA 6 pm Christopher Houlihan; Christ & St. Stephen’s, Madison Avenue Presbyterian Church Dean Whiteway, with La Crosse Chamber New York, NY 5 pm New York, NY Kansas Wesleyan University, Emeritus Chorale, Advent hymn sing; Christ Episcopal, La University Methodist Church Crosse, WI 7 pm 10 JANUARY www.andrewhenderson.net Br. Jonathan Ryan, with Schola Cantorum of Choral Evensong for Epiphany; Cathedral of SALINA, KANSAS St. John Cantius; Madonna della Strada Chapel, the Incarnation, Garden City, NY 4 pm Loyola University, Chicago, IL 3 pm John Scott; St. Thomas Church Fifth Avenue, Festival of Carols; Cathedral of St. Paul, St. New York, NY 5:15 pm LORRAINE BRUGH, Ph.D. Paul, MN 3 pm Nathan Laube; Episcopal Church of the Re- deemer, Bethesda, MD 5 pm A two-inch 21 DECEMBER Mark Jones, with Lynn Conservatory Brass; Associate Professor Handel, Messiah; Carnegie Hall, New York, First Presbyterian, Pompano Beach, FL 4 pm Professional Card NY 8 pm Robert Wisniewski & Paul Thornock, Vierne University Organist Todd Wilson, with brass; Severance Hall, Symphonies I, II; St. Joseph Cathedral, Colum- in The Diapason Cleveland, OH 8 pm bus, OH 3 pm Valparaiso University Bach, Christmas Oratorio; Grace Lutheran, Valparaiso, IN For information on rates and 22 DECEMBER River Forest, IL 4 pm www.valpo.edu specifi cations, contact: Ray Cornils; Portland City Hall, Portland, ME 7:30 pm 11 JANUARY Jerome Butera Heinrich Christensen, with soprano; King’s Michael Unger; St. George’s Episcopal, Nash- 219-464-5084 [email protected] Chapel, Boston, MA 12:15 pm ville, TN 7:15 pm [email protected] Handel, Messiah; Carnegie Hall, New York, Anita Werling; Valparaiso University Chapel, 847/391-1045 NY 8 pm Valparaiso, IN 6 pm
DECEMBER, 2009 100th ANNIVERSARY ISSUE 45
Dec 09 pp. 45-49.indd 45 11/12/09 2:23:45 PM 12 JANUARY Derek Nickels; St. Mary of the Lake Catholic MICHELE JOHNS Karen Beaumont; St. John’s on the Lake, Mil- Church, Gary, IN 3 pm Brian Jones waukee, WI 7 pm Olivier Latry; St. Andrew Lutheran, Franklin A.Mus.D Joseph Henry; Church of St. Louis, King of (Nashville), TN 4:30 pm Organ — Harpsichord Director of Music Emeritus France, St. Paul, MN 12:35 pm David Higgs; Arnold T. Olson Chapel, Trinity International University, Deerfi eld, IL 3 pm The University of Michigan TRINITY CHURCH 15 JANUARY School of Music BOSTON Joan McConnell; Fourth Presbyterian, Chi- cago, IL 12:10 pm UNITED STATES West of the Mississippi 17 JANUARY Woo-sug Kang; St. Thomas Church Fifth Av- KIM R. KASLING JAMES KIBBIE enue, New York, NY 5:15 pm 17 DECEMBER D.M.A. The University of Michigan Robert McCormick; Washington National Ca- Handel, Messiah; Grace Cathedral, San Fran- thedral, Washington, DC 5:15 pm cisco, CA 7:30 pm St. John’s Univeristy Ann Arbor, MI 48109-2085 Robert Wisniewski, Weldon Adams, Doro- thy Riley, Vierne Symphonies III, IV; St. Joseph 734-764-1591 FAX: 734-763-5097 18 DECEMBER Collegeville, MN 56321 Cathedral, Columbus, OH 3 pm St. Martin’s Chamber Choir, with Baroque email: [email protected] Vox3 Vocal Music Collective; Madonna della Chamber Orchestra of Colorado; St. John’s Ca- Strada Chapel, Loyola University, Chicago, IL 3 pm thedral, Denver, CO 7:30 pm Handel, Messiah; Grace Cathedral, San Fran- 19 JANUARY David K. Lamb, D.Mus. Daniel Fenn; Church of St. Louis, King of cisco, CA 7:30 pm France, St. Paul, MN 12:35 pm Carol Sing-along; Trinity Episcopal, Santa Bar- Director of Music/Organist bara, CA 7:30 pm First United Methodist Church 20 JANUARY ORGAN CONSULTANT Columbus, Indiana Monteverdi, Vespers of 1610; Church of St. 19 DECEMBER www.gabrielkney.com 812/372-2851 Ignatius Loyola, New York, NY 8 pm Christmas Lessons & Carols; St. John’s Ca- Todd Fickley; St. Luke Catholic Church, thedral, Denver, CO 3:30 pm McLean, VA 1 pm Vivaldi, Gloria; Trinity United Presbyterian, Janette Fishell; First Congregational, Sara- Santa Ana, CA 7 pm sota, FL 11 am David Lowry 20 DECEMBER Christmas Lessons & Carols; St. John’s Ca- Richard Litterst THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD 21 JANUARY David Shuler; St. Luke in the Fields, New thedral, Denver, CO 3:30 pm In Memoriam 1512 BLANDING STREET, COLUMBIA, SC 29201 York, NY 8 pm Lessons & Carols; All Saints’ Episcopal, Las DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Hector Olivera; First Presbyterian, Naples, Vegas, NV 10:30 am February 4, 1926–August 9, 2009 ROCK HILL, SC 29733 FL 2 pm Christoph Tietze; St. Mary’s Cathedral, San David Pickering; First Presbyterian, Athens, Francisco, CA 3:30 pm GA 7:30 pm Charles Talmadge; Trinity Episcopal, Santa Barbara, CA 3:30 pm 22 JANUARY Lessons & Carols, with Vivaldi, Gloria; Cov- BETTY LOUISE LUMBY Peter Richard Conte; Faith Presbyterian, enant Presbyterian, Long Beach, CA 3 pm Cape Coral, FL 7:30 pm Karla Devine; Trinity Lutheran, Manhattan DSM • FAGO Beach, CA 4 pm UNIVERSITY OF MONTEVALLO 23 JANUARY Vivaldi, Gloria; Trinity United Presbyterian, David Jonies, fi gured bass class; Holy Name Santa Ana, CA 4:30 pm, 7 pm MONTEVALLO, AL 35115 Cathedral, Chicago, IL 10:30 am and 1 pm Advent Evensong; All Saints, Pasadena, CA 5 pm 24 JANUARY Lessons & Carols; All Saints’ Episcopal, Bev- Barry Turley; Church of the Advent, Boston, erly Hills, CA 6 pm MA 4:30 pm, Evensong 5 pm Carol Williams; Spreckels Organ Pavilion, Super Bell XVIII; First Church of Christ, Balboa Park, San Diego, CA 2 pm Wethersfi eld, CT 4 pm James R. Metzler A.S.C.A.P. Jessica French; St. Thomas Church Fifth Av- 22 DECEMBER FELLOW, AMERICAN GUILD OF ORGANISTS enue, New York, NY 5:15 pm Advent Evensong; All Saints, Pasadena, CA PARK CONGREGATIONAL CHURCH Gail Archer; Christ Episcopal, New Bruns- 345 SADDLE LAKE DRIVE 5 pm GRAND RAPIDS, MICHIGAN ROSWELL-ATLANTA, GEORGIA 30076 wick, NJ 4 pm (770) 594-0949 Daniel Sullivan; Grace Church, Newark, NJ 27 DECEMBER 4 pm Christmas Lessons & Carols; St. John’s Ca- Countertop Quartet & Illuminare; Episcopal Church of the Redeemer, Bethesda, MD 5 pm thedral, Denver, CO 9 am, 11:15 am OUGLAS EILL David Arcus; Duke University Chapel, Dur- Jonathan Dimmock, Messiaen, Nativity Suite; LEON NELSON D O’N ham, NC 5 pm Grace Cathedral, San Francisco, CA 3 pm Cathedral of the Madeleine Mark Jones; Porter Center for the Performing Christoph Tietze; St. Mary’s Cathedral, San University Organist Arts, Brevard, NC 3 pm Francisco, CA 3:30 pm North Park University Salt Lake City, Utah Joseph Ripka & Paul Thornock, Vierne Sym- Carol Williams; Spreckels Organ Pavilion, Balboa Park, San Diego, CA 2 pm Chicago, Illinois [email protected] phonies V, VI; St. Joseph Cathedral, Columbus, 801/671-8657 OH 3 pm 31 DECEMBER 26 JANUARY James Welch, New Year’s Eve concert; St. Gail Archer; All Souls Unitarian, New York, Mark’s Episcopal, Palo Alto, CA 8 pm MARILYN MASON NY 8 pm CHAIRMAN, DEPARTMENT OF ORGAN Andrew Hackett; Church of St. Louis, King of 3 JANUARY UNIVERSITY OF MICHIGAN France, St. Paul, MN 12:35 pm Hans Davidsson; Christ the King Lutheran, ANN ARBOR Houston, TX 6 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it 29 JANUARY Carol Williams; Spreckels Organ Pavilion, with awesome technique and a thrilling command of its daring writing.” Tom Sheehan; Emmanuel Church, Chester- Balboa Park, San Diego, CA 2 pm town, MD 7:30 pm The American Organist, 1980 Stephen Schaeffer, with Ambassador Brass 7 JANUARY Quintet; Cathedral Church of the Advent, Bir- Scott Dettra; All Saints’ Episcopal, Phoenix, mingham, AL 12:30 pm AZ 7:30 pm John W.W. Sherer; Fourth Presbyterian, Chi- +Ernest Whitmore; Our Saviour’s Lutheran, LARRY PALMER SYLVIE POIRIER cago, IL 12:10 pm Bremerton, WA 7 pm 30 JANUARY Professor of PHILIP CROZIER 10 JANUARY Boys’ & Girls’ Choir Festival & Choral Even- Ken Cowan, with Lisa Shihoten, violin; Com- ORGAN DUO song; St. James’ Church, New York, NY 3 pm munity of Christ—The Auditorium, Indepen- Harpsichord and Organ Charles Tompkins; Old Salem Visitor Center, 3355 Queen Mary Road, Apt 424 dence, MO 3 pm Winston-Salem, NC 12 noon Paul Jacobs; Our Lady of Lourdes, Sun City Meadows School of the Arts Stephen Hamilton Montreal, H3V 1A5, P. Quebec , church music repertoire West, AZ 3 pm class; First Presbyterian, Lake Wales, FL Bede Parry, with Epiphany Choral Evensong; Stephen Tharp; Moody Concert Hall, Univer- SOUTHERN METHODIST UNIVERSITY Canada All Saints’ Episcopal, Las Vegas, NV 5:30 pm sity of Alabama, Tuscaloosa, AL 10 am master- Martin Jean; St. James’ Episcopal, Los Ange- (514) 739-8696 class, 11:30 am lecture, 4:30 pm concert Dallas, Texas 75275 les, CA 6 pm Fax: (514) 739-4752 St. Olaf Choir; Fourth Presbyterian, Chicago, IL 4 pm Musical Heritage Society recordings [email protected] 11 JANUARY 31 JANUARY Bede Parry, with Epiphany Choral Evensong; Rob Richards, with cartoonist, children’s con- All Saints’ Episcopal, Las Vegas, NV 5:30 pm cert; Portland City Hall, Portland, ME 2 pm •James Welch; Holy Family Catholic Church, Choral Evensong; All Saints, Worcester, MA South Pasadena, CA 7:30 pm Arthur LaMirande 5 pm LaMirande must be complimented upon investi- David Lang; St. Thomas Church Fifth Avenue, 12 JANUARY gating music that few of his fellow organists have New York, NY 5:15 pm Stephen Tappe; St. John’s Cathedral, Den- had the foresight to examine and to bring before the Gary Garletts; Holy Trinity Lutheran, Lan- ver, CO 12 noon public.—American Record Guide caster, PA 4 pm Christopher Houlihan; Christ Church, Pen- 15 JANUARY L’organiste traversa son programme entier avec sacola, FL 3 pm Gail Archer; Trinity Episcopal, Reno, NV 12 une authorité, une solidité technique et une fraîcheur Paul Jacobs; St. John’s Episcopal Cathedral, noon de registration qui, loin de faiblir en fi n d’exercice, Jacksonville, FL 3:30 pm Joseph Adam, Handel, organ concertos; Ben- accompagnèrent les deux rappels d’ailleurs accordé Stephen Hamilton; First Presbyterian, Lake aroya Hall, Seattle, WA 8 pm sans la moindre hésitation.—La Presse, Montréal Wales, FL 4 pm Nathan Laube; First Presbyterian, Pompano 16 JANUARY 461 Fort Washington Avenue, Suite 33 Beach, FL 4 pm Joseph Adam, Handel, organ concertos; Ben- New York, NY 10033 Anthony & Beard (Ryan Anthony, trumpet aroya Hall, Seattle, WA 8 pm 212/928-1050 [email protected] and Gary Beard, organ); Hyde Park Community Westminster Choir; St. Margaret’s Episcopal, United Methodist, Cincinnati, OH 4 pm Palm Desert, CA 7:30 pm
46 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 45-49.indd 46 11/12/09 2:24:04 PM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 17 JANUARY 18 DECEMBER Aaron David Miller; St. Mark’s Episcopal Ca- Joseph Sentance; St. Stephen Walbrook, Stephen G. Schaeffer thedral, Minneapolis, MN 5 pm London, UK 12:30 pm DOUGLAS REED Bruce Neswick; St. Mark’s Cathedral, Shreve- Recitals – Consultations port, LA 4 pm 19 DECEMBER UNIVERSITY OF EVANSVILLE Cathedral Church of the Advent Mercury Baroque; Christ the King Lutheran, Bach, Christmas Oratorio, Parts 1–3; Dom, Al- Houston, TX 6 pm tenberg, Germany 2 pm EVANSVILLE, INDIANA Birmingham, Alabama Evensong; St. John’s Cathedral, Denver, CO www.AdventBirmingham.org 3:30 pm 20 DECEMBER Gail Archer; St. Mary’s Cathedral, San Fran- Bach, Christmas Oratorio, Parts 4–6; Dom, Al- cisco, CA 4 pm tenberg, Germany 2 pm Joseph Adam, Handel, organ concertos; Ben- Robert Quinney; Westminster Abbey, Lon- ROBERT L. Stephen Tappe aroya Hall, Seattle, WA 2 pm don, UK 5 pm Paul Jacobs; Davies Symphony Hall, San Organist and Director of Music Francisco, CA 6 pm 22 DECEMBER SIMPSON Saint John's Cathedral Alison Luedecke, with oboe; All Saints’ Epis- Andrew Mackriell; St. Paul’s Cathedral, Lon- Christ Church Cathedral Denver, Colorado copal, Beverly Hills, CA 5 pm don, ON, Canada 12:15 pm 1117 Texas Avenue Frederick Swann; Sidney Harman Hall, Houston, Texas 77002 www.sjcathedral.org Christopher Cohan Center, San Luis Obispo, 25 DECEMBER CA 3 pm Andreas Meisner; Dom, Altenberg, Germany Craig Cramer; All Souls Episcopal, San Di- 3:30 pm ego, CA 4 pm Jean-Christophe Geiser; Cathédrale, Laus- J. Melvin Butler; Lutheran Church of Hono- anne, Switzerland 5 pm Beal Thomas lulu, Honolulu, HI 7:30 pm Joe Utterback Mount Calvary Church 27 DECEMBER COMMISSIONS & CONCERTS 22 JANUARY Rolf Müller, with Jugendchor St. Nikolaus Baltimore Cameron Carpenter; All Saints Episcopal, Bensberg; Dom, Altenberg, Germany 3:30 pm 732 . 747 . 5227 Fort Worth, TX 7:30 pm [email protected] 29 DECEMBER 24 JANUARY Cameron Carpenter; Tchaikovsky Hall, Mos- Bradley Hunter Welch; St. Mary’s Catholic cow State Philharmonic Society, Moscow, Rus- Church, Amarillo, TX 2 pm sia 7 pm David Wagner •Lynette McGee; Irvine Valley College Per- Alison Clark; St. Paul’s Cathedral, London, DMA Kevin Walters forming Arts Center, Irvine, CA 4 pm ON, Canada 12:15 pm •Robert Tall; St. Gregory’s Episcopal, Long Madonna University M.A., F.A.G.O. Beach, CA 4 pm 31 DECEMBER Livonia, Michigan Ken Cowan; Walt Disney Concert Hall, Los Felix Hell; Kath. Kirche St. Laurentius, Dirm- [email protected] Rye, New York Angeles, CA 7:30 pm stein (Palatinate), Germany 7 pm Jean-Christophe Geiser; Cathédrale, Laus- 29 JANUARY anne, Switzerland 10:45 pm Mary Preston; Boston Avenue United Meth- odist, Tulsa, OK 6 pm 1 JANUARY Carol Williams; Texas Christian University, Andreas Meisner; Altenberger Dom, Alten- KARL WATSON Cherie Wescott Fort Worth, TX 7:30 pm berg, Germany 2:30 pm Concerts • Masterclasses • Coaching Stephen Tappe; St. John’s Cathedral, Den- Rolf Müller, with trumpet; Altenberger Dom, AINT UKE’S ver, CO 7:30 pm S L Altenberg, Germany 3:45 pm 405/942-3958 Bruce Neswick; Holy Spirit Episcopal, Mis- e-mail: [email protected] soula, MT 7:30 pm METUCHEN Michael Unger; Pinnacle Presbyterian, Scott- 3 JANUARY sdale, AZ 7:30 pm Jonathan Eyre; Westminster Cathedral, Lon- James David Christie; Trinity Episcopal, don, UK 4:45 pm Portland, OR 7:30 pm Ben Giddens; Westminster Abbey, London, UK 5 pm Davis Wortman RONALD WYATT 31 JANUARY Houston Chamber Choir, Mozart, Requiem; 5 JANUARY St. James’ Church Trinity Church South Main Baptist, Houston, TX 4 pm Martin Ford; St. Giles-in-the-Fields, London, Dong-ill Shin; Coker United Methodist, San UK 1:10 pm New York Galveston Antonio, TX 3 pm Andrew Mackriell; St. Paul’s Cathedral, Lon- Bach, Cantata No. 82; St. John’s Cathedral, don, ON, Canada 12:15 pm Denver, CO 10:15 am Shari Porter Shull, with trumpet; Thomsen 6 JANUARY Charles Dodsley Walker, FAGO Chapel, St. Mark’s Cathedral, Seattle, WA 2 pm Randy Mills, works of Bach; St Mark’s Angli- Choral Evensong; Christ Church, Episcopal, can, Port Hope, ON, Canada 7:30 pm Artist-in-Residence Founder/Conductor Tacoma, WA 5 pm Saint Luke’s Parish Canterbury Choral Society Hymn Fest; Trinity Episcopal, Santa Barbara, 7 JANUARY 1864 Post Road 2 East 90th Street CA 3:30 pm Anthony Fort; St. Martin’s, Dorking, UK 1 pm Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458 8 JANUARY INTERNATIONAL Gillian Lloyd; Parish Church of SS. Peter and Paul, Godalming, UK 1 pm
17 DECEMBER 9 JANUARY William Webber, C.A.G.O. Freddie James; St. Matthew’s Westminster, Huw Morgan; St. Laurence, Catford, UK 11 Organist, First Christian Church, Danville, KY London, UK 1:05 pm am Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: http://users.cnjnet.com/williamwebber
$BUIFESBMPG4U+PIO "MCVRVFSRVF /FX.FYJDP XXXTUKPIOTBCRPSH www.organconsulting.ca
RUDOLF ZUIDERVELD *BJO2VJOO .BYJOF5IFWFOPU Illinois College, Jacksonville %JSFDUPSPG$BUIFESBM "DUJOH%JSFDUPSPG .VTJD0SHBOJTU $BUIFESBM.VTJD First Presbyterian Church, POTBCCBUJDBM 0SHBOJTU Springfi eld DAVID SPICER First Church of Christ Wethersfi eld, Connecticut
House Organist The Bushnell Memorial Hartford
DECEMBER, 2009 100th ANNIVERSARY ISSUE 47
Dec 09 pp. 45-49.indd 47 11/12/09 2:24:22 PM 10 JANUARY 28 JANUARY St. John’s Cathedral, Denver, CO 9 am, 11:15 BLAKE DOSS, First United Method- Roman Perucki; Tchaikovsky Hall, Moscow Martin Ellis; St. Martin’s, Dorking, UK 1 pm am ist Church, Appleton, WI, July 22: Trumpet State Philharmonic Society, Moscow, Russia Tune, Swann; Allegro (Trio Sonata No. 5 in 7 pm 29 JANUARY 31 DECEMBER C), BWV 529, Bach; Prelude on EVENTIDE, Sam Rathbone; Westminster Cathedral, Lon- Michael Nicholas; St. Stephen Walbrook, Church of the Advent, Boston, MA 5 pm Ashdown; Hymn Prelude on Crown Him with don, UK 4:45 pm London, UK 12:30 pm Many Crowns, Behnke; Chorale Prelude on Henry Parkes; Westminster Abbey, London, 3 JANUARY BEACH SPRING, Miller; Prelude and Fugue in UK 5 pm 31 JANUARY All Saints, Worcester, MA 5 pm G, BWV 550, Bach. Randy Mills, works of Bach; Memorial Chapel, Andrew Sampson; Westminster Cathedral, Trinity College School, Port Hope, ON, Canada London, UK 4:45 pm 6 JANUARY MARY KAY EASTY and JEFF VERKUI- 2:30 pm Robert Quinney & James McVinnie; West- St. James’ Church, New York, NY 6 pm LEN, with John Daniel, trumpet and fl ugel- minster Abbey, London, UK 5 pm David Higgs; Francis Winspear Centre for horn, Victoria Daniel, percussion, and Music, Edmonton, AB, Canada 3 pm Randy Mills, works of Bach; Memorial Chapel, Trinity College School, Port Hope, ON, Canada Barbara Boren, fl ute, First Congregational 12 JANUARY 2:30 pm Church U.C.C., Appleton, WI, August 4: Now thank we all, Karg-Elert; Sonata in G, Catherine Ennis, with soprano; St. Lawrence Organ Recitals Jewry, London, UK 1 pm Sammartini; Three dances, Phalese; Trois Prières Sans Parole, Damase; Bist du bei mir, 13 JANUARY Lessons & Carols DAVID BOHN, St. Joseph Catholic Bach; Les Petites Cloches, Purvis; Pastorale, William McVicker & David Pether; Reading Church, Appleton, WI, July 1: Processional Clokey; The reel with the beryle, O Sullivan’s Town Hall, Reading, UK 1 pm March, Harris; Schmücke dich, o liebe Seele, March, traditional Irish; The Stars and Stripes Randy Mills, works of Bach; St Mark’s Angli- op. 122, no. 5, Brahms; Fountain Reverie, Forever, Sousa, arr. Chenault. can, Port Hope, ON, Canada 7:30 pm 19 DECEMBER Fletcher; Funeral Music, op. 111b, Sibelius; St. John’s Cathedral, Denver, CO 3:30 pm Dawn Hymn, Hovhaness; Toccata on O Filii JEFFREY ELLIS and VERONICA ME- 14 JANUARY et Filiae, Farnam. HALIC, Sinsinawa Mound, Sinsinawa, WI, Martin Ellis; St. Martin’s, Dorking, UK 1 pm 20 DECEMBER July 1: Entrée (Ten Pieces for Organ), Dubois; South Church, New Britain, CT 4 pm Fantasy on America, the Beautiful, Koury; 17 JANUARY Cathedral of the Incarnation, Garden City, NY MARIANNE CHAUDOIR, St. Bernard Ave Maris Stella, Mendelssohn; Bach alla Matthew Martin; Westminster Cathedral, Lon- 4 pm Catholic Parish, Appleton, WI, July 8: Prelude Fox, Ellis; Panis Angelicus, Franck; Adagio, don, UK 4:45 pm Church of the Holy Trinity (Episcopal), New and Fugue in g, Buxtehude; My Young Life Albinoni; The Lord’s Prayer, Malotte; Trum- James McVinnie; Westminster Abbey, Lon- York, NY 4 pm Hath an End, Sweelinck; Mad Rush, Glass; pets on Parade, Ellis; Toccata and Fugue in don, UK 5 pm Cathedral of Mary Our Queen, Baltimore, MD Partita on Lobe den Herren, Phillips. d, Bach. Randy Mills, works of Bach; Memorial Chapel, 5:30 pm Christ Church Grosse Pointe, Grosse Pointe Trinity College School, Port Hope, ON, Canada JACK CLEGHORN, The Cathedral KURT-LUDWIG FORG, St. James Unit- 2:30 pm Farms, MI 4:30 pm Church of St. Luke and St. Paul, Charleston, First Presbyterian, Evansville, IN 10:30 am ed Church, Montreal, QC, Canada, July 7: SC, June 1: Postlude I, Langlais; Prelude Toccata nona, Frescobaldi; Sonatina (Cantata 20 JANUARY Peachtree Road United Methodist, Atlanta, GA and Fugue in c, BWV 549a, Bach; Sonata 6 pm No. 106), Bach, transcr. Guilmant; Toccata et Randy Mills, works of Bach; St Mark’s Angli- 1, Hindemith; Prelude and Fugue in b, BWV fugue en re mineur, BWV 565, Bach; Behold, can, Port Hope, ON, Canada 7:30 pm Cathedral of St. Paul, St. Paul, MN 3 pm 544, Fugue in G, BWV 577, Bach; Sonata St. John’s Cathedral, Denver, CO 3:30 pm a Rose in Blossom, Bottenberg; Toccata, H. VI, Mendelssohn. Schubert; Song in D, op. 102, no. 2, Song in 23 JANUARY All Saints’ Episcopal, Las Vegas, NV 10:30 am A, op. 30, no. 3, Song in E, op. 19, no. 4, Men- Andrew Lucas; St. Albans Cathedral, St. Al- delssohn; Toccata in e, Tombelle. bans, UK 5:30 pm Covenant Presbyterian, Long Beach, CA 3 CRAIG CRAMER, Grote Kerk, Nijkerk, pm Netherlands, July 7: Allegro in B-fl at, Andan- 24 JANUARY All Saints’ Episcopal, Beverly Hills, CA 6 pm te in F, Mendelssohn; Intrada, Tantz, Danz ARTHUR P. LAWRENCE, Cathedral of Sebastian Thompson; Westminster Cathe- Beurlin, Tannz ‘Jesu Du zarte Lämblein,’ St. Patrick, New York, NY, June 14: Fantaisie dral, London, UK 4:45 pm 24 DECEMBER Tantz, Linz Organ Tablature; Allein Gott in and Fugue in B-fl at, Boëly; Chant de paix, James Scott; Westminster Abbey, London, Camp Hill Presbyterian, Camp Hill, PA 5 pm, der Höh sei Ehr, Sweelinck; Tiento de 1 tono op. 40, no. 3, Mon âme cherche une fi n pais- UK 5 pm 7 pm, 9 pm de mano derecha, Bruna; Aria a-moll mit 15 ible, op. 40, no. 7, Langlais; Choral No. 3 in Randy Mills, works of Bach; Memorial Chapel, First United Methodist, Columbus, IN 11 pm Variationen, J. C. Bach; Kingsfold Suite, Mar- a, Franck. Trinity College School, Port Hope, ON, Canada Rockefeller Memorial Chapel, University of tinson; Fantasie in G, BWV 572, Bach. 2:30 pm Chicago, Chicago, IL 4 pm ALISON LUEDECKE, with Susan Bar- PHILIP CROZIER, Église Saints-Anges, rett, oboe (“Millennia Too!”), St. James Epis- 27 JANUARY 27 DECEMBER copal Church, La Jolla, CA, April 15: Sonata St. Simon’s Episcopal, Arlington Heights, IL Lachine, QC, Canada, July 1: Suite du pre- Randy Mills, works of Bach; St Mark’s Angli- mier ton, Bédard; Trois danses, JA 120, Alain. in d, Loeillet; Sonata in g, Cima; Sonata in can, Port Hope, ON, Canada 7:30 pm 10 am F, Handel. ROBERT DELCAMP, Christ Episcopal martin ott pipe Church, Roanoke, VA, July 7: Te Deum, op. organ 11, Demessieux; Stèle pour un enfant dé- Enter your calendar informa- company funt (Triptyque, op. 58), Vierne; Cinq pièces inc. tion through our website! Doing pour l’offi ce divin, Grunenwald; I in C, IV so places your event information onto M. L. BIGELOW & Co. 1353 Baur Boulevard in F, XIII in E-fl at, XVIII in f, XIX in b-fl at, St. Louis, MO 63132-1903 XII in f-sharp (24 Inventions, op. 50), Du- our database immediately, and al- ORGAN BUILDERS 314-569-0366 Phone 314-504-0366 Cell pré; Très lent et douloureux (Évocation de lows you to provide complete details, (801) 756-5777 Martin Ott 314-569-3879 Fax ofÄ[email protected] Louis Vierne), Reuchsel; Prélude et danse even including phone number and 130 W. 1st S., American Fork, UT 84003 Orgelbaumeister www.ottpipeorgan.com fuguée, Litaize. e-mail address, and your program! Visit www.TheDiapason.com, click JOAN DeVEE DIXON, Sinsinawa Mound, on EVENTS CALENDAR, then on Sinsinawa, WI, July 8: Toccata: Homage to SUBMIT AN EVENT. Parkey Buxtehude, Cooman; Psalm Interpretations For assistance, contact Joyce Rob- OrganBuilders for Organ, Fantasy and Faith at Oxford, inson; 847/391-1044, Diemer; Spirituals for Organ, Dixon. 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48 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 45-49.indd 48 11/12/09 2:24:36 PM MARK W. McCLELLAN, Sinsinawa M. BRETT PATTERSON, Christ Church ROBERT A. SCHILLING, with Mark JEFFREY VERKUILEN, St. John Nepo- Mound, Sinsinawa, WI, July 22: Fanfare Cathedral, Vancouver, BC, Canada, July 8: Gilgallon, baritone, North United Methodist mucene Catholic Church, Little Chute, WI, and Grand Processional, Best; Two Chorale Offertoire sur les Grands jeux (Messe pour les Church, Indianapolis, IN, July 21: Chaconne July 15: Allegro maestoso e vivace (Sonata Preludes, Chagnol; Recessional on St. Anne, paroisses), Couperin; Prélude, Fugue, et Vari- in F, Purcell; Allegro (Organ Concerto No. No. 4), Mendelssohn; Ave Maria von Ar- Young; Suonatina per Offertorio, Bergamo; ation, op. 18, Franck; Praeludium et Fuga in 10 in D), Handel; Prelude and Fugue in e, cadelt, Liszt; Echo Fantasia I in Dorian Mode, Song without Words, Fibich; Scherzo, Toc- A, BWV 536, Bach; Psalm Prelude III (Three BWV 533, Bach; The Musical Clocks, Haydn; Sweelinck; Choral No. 1, Andriessen; Scherzo, cata, Nevin; Grand Chorus in E-fl at, Hosmer; Psalm Preludes for Organ), Howells; Cortège Adagio, Fugue (Organ Sonata No. 2), Men- Whitlock; Distant Chimes, Snow; Improvisa- Toccata in g, Ashford; Concert Study, Yon; et Litanie, op. 19, no. 2, Dupré. delssohn; Prelude, Fugue and Variation in tion on In Thee Is Gladness, Burkhardt. Piece for Organ, Joplin. b, Franck; The Lost Chord, Sullivan; Four GREGORY PETERSON, Shrine of Our Variations on Come Down, O Love Divine, Lady of Guadalupe, La Crosse, WI, June 21: WESLEY R. WARREN, St. James United AARON DAVID MILLER, Wayzata Com- Bender; Insektarium, Willscher; Variations Pièce d’Orgue, BWV 572, Von Gott will ich on The Star-Spangled Banner, Buck. Church, Montreal, QC, Canada, June 23: Pre- munity Church, Wayzata, MN, July 29: Caril- nicht lassen, BWV 658, Bach; Veni Créator, lude and Fugue in e, Bruhns; Partita on Ach lon, Benoit; Papillons, Ibert; Preludium in e, de Grigny; Toccata in d, BuxWV 155, Buxte- wie nichtig, ach wie fl üchtig, Böhm; Prélude Weckmann; Three Improvised Movements on SISTER M. ARNOLD STAUDT, OSF, hude; Aria, Manz; Prelude and Fugue in g, op. with Sister Marie Therese Kalb, OSF, violin, et fugue en sol majeur, BWV 541, Bach; Varia- Welsh Folk Songs, Miller. 7, no. 3, Dupré. Sinsinawa Mound, Sinsinawa, WI, July 29: tions on a Timeless Theme, Fleming; Te lucis Presto (Organ Concerto No. 5, op. 4), Allegro ante terminum, Lucis Creator optime, Placere MELISSA MOLL, First English Lutheran DAVID PICKERING, Methuen Memorial (Organ Concerto No. 4, op. 4), Handel; Soul, Christe servulis (Le Tombeau de Titelouze, op. Church, Appleton, WI, June 24: Prelude and Music Hall, Methuen, MA, July 22: Prelude Adorn Thyself with Gladness, Lo, How a Rose 38), Dupré. Fugue in D, BWV 532, Bach; Psalm Prelude, and Fugue in D, BWV 532, Bach; Sonate I, E’er Blooming, O World, I Now Must Leave Phillips; Overture, Sarabande, Rhythmic Hindemith; Fantaisie en la, Franck; O Jerusa- Thee, op. 122, Brahms; Fugue in G, BWV Trumpet, Voluntary (Baroques), Bingham. lem, Gawthrop. PAUL MATTHEW WEBER, St. Mary’s 577, Bach; Wondrous Love, Barber; Adagio Roman Catholic Church, Menasha, WI, July (Sonata No. 1), Allegro maestoso (Sonata No. MARY PRESTON, Loyola University, 28: Prelude and Fugue in g, Brahms; Fugue ANNA MYEONG, Holy Cross Lutheran Chicago, IL, July 19: Crown Imperial March, 2), Andante tranquillo (Sonata No. 3), Men- delssohn; My Heart Is Filled with Longing No. 5 in F (Six Fugues on the Name BACH, Church, Wichita, KS, June 18: Fiat Lux, Du- Walton; Pièce Héroïque, Franck; Evensong, op. 60), Schumann; Première Fantasie, JA 72, bois; Cortège et Litanie, Dupré; Cinq versets La Montaine; Partita in c, Doppelbauer; A (op. 122, nos. 9 and 10), Brahms; Toccata in F (Symphony No. 5, op. 42), Widor. Alain; Intermezzo (Symphony No. 6 in g, op. sur le Victimae Paschali, Escaich; Fantasy and Sweet for Mother Goose, Akerley; Sonata in 42, no. 2), Widor. Fugue on the chorale “Ad nos, ad salutarem d, Guilmant. undam,” Liszt. GABRIELLE TESSIER, St. James United FRANK RIPPL, with Carol Jegen, whis- Church, Montreal, QC, Canada, July 21: Prière AXEL WILBERG, St. James United DEREK E. NICKELS, First Congrega- tler, and Jane Brown Bent, piccolo, Trinity du Christ montant vers son Père (L’Ascension), Church, Montreal, QC, Canada, July 14: Ba- tional Church, Michigan City, IN, July 29: Lutheran Church, Appleton, WI, July 4: Na- Messiaen; Suite Gothique, Boëllmann; Choral talha 6. Tono, Braga; Prelude and Fugue in Dorien, JA 67, Alain; Toccata et ricercar en do Sinfonia (Cantata 29), Bach, arr. Guilmant; tional Anthem, Key; Sarabande on Land of g, BuxWV 149, Nun bitten wir den Heiligen mineur, Pachelbel; Variations sur C’est la belle Siciliano (Sonata for Flute and Clavier, BWV Rest, Phillips; My Country, ‘tis of Thee; Tuba Geist, BuxWV 208, Buxtehude; Aria secunda, Tune, Weber; God Bless America, Berlin; Pas- François, Le Buis; Lamento, Toccata (Suite Nauss; Finale (12 Miscellaneen, op. 174), 1031), Bach, arr. Best; Chorale (Cantata 129), pour orgue), Bédard. Bach, arr. Taylor; Prelude and Fugue in G, op. torale for the Flutes, Dahl; God of Our Fa- Rheinberger; Canzonetta (6 Trios, op. 47), 37, no. 2, Mendelssohn; Sonata No. 7 in f, op. thers, Warren; The Stars and Stripes Forever, Reger; Elegy, Thalben-Ball; Two Preludes, Sousa; America the Beautiful, Ward. STEPHEN THARP, Stiftskirche, Cap- op. 105, Stanford. 127, Rheinberger; Andante sostenuto (Sym- penberg, Germany, July 19: Praeludium G phonie Gothique, op. 70), Finale (Symphonie JOYCE ROBINSON & ANDREW Dur, Bruhns; Variationen über Laßt uns das II, op. 13, no. 2), Widor. SCHAEFFER, with Kiersten Hoiland, violin, Kindelein wiegen, Murschhauer; O Lamm DANY WISEMAN, St. James United St. Luke’s Lutheran Church, Park Ridge, IL, Gottes, unschuldig, BWV 618, Da Jesus an Church, Montreal, QC, Canada, July 28: Toc- MARK PAISAR, First Presbyterian June 7: Arrival of the Queen of Sheba, Handel; dem Kreuze stund, BWV 621, Allein Gott, cata in G, BuxWV 164, Toccata in G, BuxWV Church, Neenah, WI, July 29: Toccata et Prelude and Fugue in C, Böhm; Meditation, in der Höh’ sei Ehr’, BWV 664, Praeludium 165, Buxtehude; Sinfonia (Cantata 29), Bach, Fuga in d, BWV 538, Bach; Sonata No. 6, Dupont; Allemande (Sonata for Violin and Or- und Fuge Es-Dur, BWV 552, Bach; Rorate transcr. Dupré; Concerto del Signor Meck, Mendelssohn; Adagio (Symphony No. 3, op. gan, op. 166), Rheinberger; O.K. Chorale (Toot Coeli, Domine Jesu, Attende Domine (Zwölf Walther; Flöte Konzert, Rinck; Andante tran- 28), Vierne; Introduktion und Passacaglia d- Suite, S.212ŵ), P.D.Q. Bach; Sonata No. 1, op. Choralvorspielen), Demessieux; Toccata and quillo, Con moto maestoso (Sonate No. 3, op. moll, Reger. 65, Mendelssohn; Variations on a Noël, Dupré. Fuga Sinfonia on B-A-C-H, Newman. 65), Mendelssohn.
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DECEMBER, 2009 100th ANNIVERSARY ISSUE 49
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POSITIONS PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS AVAILABLE RECORDINGS RECORDINGS FOR SALE
Summer Island Organ Residency, Squirrel The Organ Historical Society has released Refl ections: 1947–1997, The Organ Depart- Oldest extant Aeolian, Opus #871, 1899. Island Chapel, Squirrel Island, ME. Qualifi ed or- Historic Organs of Indiana, 4 CDs recorded at ment, School of Music, The University of Michi- Professionally moved by Meloni & Farrier from gan student needed to serve as 9-week organist the OHS National Convention in Central Indiana gan, edited by Marilyn Mason & Margarete Vanderbilt/Fabbri mansion in NYC in 2001. This at summer Chapel off Maine coast. Generous in July, 2007. Nearly 5 hours of music features Thomsen; dedicated to the memory of Albert organ is in perfect condition, needing restoration stipend and housing provided. For full descrip- 31 pipe organs built between 1851–2004, by Stanley, Earl V. Moore, and Palmer Christian. only. Please call Anthony Meloni at 914/843- tion and application, contact Elliott Pitts at Aeolian-Skinner, Skinner, Henry Erben, Felge- Includes an informal history-memoir of the organ 4766 for details. Organ specs may be viewed at [email protected]. Applications due maker, Hook & Hastings, Kilgen, Kimball, and department with papers by 12 current and former www.meloniandfarrier.com. 1/15/2010. many more builders. Performers include Ken faculty and students; 11 scholarly articles; remi- Cowan, Thomas Murray, Bruce Stevens, Carol niscences and testimonials by graduates of the Williams, Christopher Young, and others. A 40- department; 12 appendices, and a CD record- 11-rank Wicks pipe organ. $4,400. 248/471- PUBLICATIONS/ page booklet with photos and stoplists is includ- ing, “Marilyn Mason in Recital,” recorded at the 1515; 586/202-9960. RECORDINGS ed. OHS-07 4-CD set is priced at $34.95 (OHS National Shrine of the Immaculate Conception members, $31.95) plus shipping. Visit the OHS in Washington, DC. $50 from The University of Online Catalog for this and over 5,000 other or- Michigan, Prof. Marilyn Mason, School of Music, Aeolian-Skinner Opus 1232, 3 manuals, 38 Albert Ribollet’s collection “Douze Pièces” gan-related books, recordings, and sheet music: Ann Arbor, MI 48109-2085. stops, built in 1952. This organ was found to is available again. Even if you don’t know www.ohscatalog.org. be in absolute pristine and original condition, a his name, I think you will enjoy these twelve little dusty, needing only the usual releathering, pieces fi rst published in 1921 by Leduc. Ribol- Request a free sample issue of The Diapason console upgrade (or restoration), and retrofi t- let studied with Guilmant, Widor, and Vierne, CD Recording, “In memoriam Mark Buxton for a student, friend, or colleague. Write to the ting. Please contact Anthony Meloni, exclu- among others, and played for 50 years in Nice, Editor, The Diapason, 3030 W. Salt Creek Lane, sive agent for the seller, at 914/843-4766 or at France. In 1999, the city council there named (1961–1996).” Recorded at Église Notre-Dame de France in Leicester Square, London, between Suite 201, Arlington Heights, IL 60005; or e-mail: [email protected] for details. a street after him! michaelsmusicservice.com; [email protected]. 704/567-1066. 1987 and 1996. Works of Callahan, Widor, Grunewald, Salome, Ropartz, and Boëllmann, Barckhoff 12-rank tracker, two manual, large along with Buxton’s improvisations. $15 post- PIANOFORTE FOR SALE façade, great sound—original installation and Historic Organ Surveys on CD: recorded paid: Sandy Buxton, 10 Beachview Crescent, To- functional. Formerly U.C.C. denomination. during national conventions of the Organ His- ronto ON M4E 2L3 Canada. 416/699-5387, FAX Located in N.E. Pennsylvania. Make offer. torical Society. Each set includes photographs, 416/964-2492; e-mail [email protected]. Brown and Allen/Boston square grand piano- 330/821-3875. stoplists, and histories. As many organists as forte. 73 keys. Very good condition. Best offer. organs and repertoire from the usual to the Nelson, 847/367-5102 or 312/304-5287. unknown, Arne to Zundel, often in exceptional Aging of Organ Leather by Harley Piltingsrud Last Aeolian-Skinner built (1971) with many performances on beautiful organs. Each set tells how to test and select organ leathers for lon- includes many hymns sung by 200–400 musi- recent upgrades. Excellent condition. Three new gevity of 60 years or more. Treats other aspects PIPE ORGANS keyboards, 33 stops, 46 ranks. Contact First cians. Historic Organs of Indiana, 31 organs of leather production and the history of testing for on 4 CDs, $34.95. Historic Organs of Louisville FOR SALE Presbyterian, Grand Forks, ND, attn: Gretchen, longevity. New 48-page edition in 1994, $9.95 + 701/775-5545 or gretchen@fi rstpresgf.org. (western Kentucky/eastern Indiana), 32 organs $4.50 shipping for entire order (within USA). Or- on 4 CDs, $29.95. Historic Organs of Maine, 39 der online at www.ohscatalog.org. organs on 4 CDs, $29.95. Historic Organs of 1960s Walcker (German) 14-rank tracker organ. Open toe voicing on 2″ wind pressure. Portative organ: Designed for small choral or Baltimore, 30 organs on 4 CDs, $29.95. Historic ′ ′ ′, ′, Organs of Milwaukee, 25 organs in Wisconsin Reverse console built into case. Footprint is 6 baroque ensembles. Four stops: 8 , 4 2 and The OHS Catalog is online at www.ohscatalog. wide by 11′6″ deep (including console and pedal 1-1/3′, with the last two divided into bass and on 2 CDs, $19.98. Historic Organs of New Or- ′ ″ ′ leans, 17 organs in the Bayous to Natchez on org. More than 5,000 organ and theatre organ stops), 9 10 tall. All encased with 4 Principal treble registers and an adjustable point of di- 2 CDs, $19.98. Historic Organs of San Fran- CDs, books, sheet music, DVDs and VHS vid- façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- vision (b24/c25 or c25/c#26). Adjustable pitch cisco, 20 organs on 2 CDs, $19.98. Add $4.50 eos are listed for browsing and easy ordering. quialtera, II–III Mixture. Manual II—8′ Gemshorn, between A=440 Hz and A=415 Hz. Quarter- shipping in U.S. per entire order from OHS, Box Use a link for adding your address to the OHS 4′ Rohrfl ote, 2′ Principal, 1-1/3′ Quinte. Pedal— sawn white oak case. Available immediately. 26811, Richmond, VA 23261, by telephone Catalog mailing list. Organ Historical Soci- 16′ Bourdon, 8′ Flute, 4′ Choralbass. Playing and For more information, contact Létourneau Pipe with Visa or MasterCard 804/353-9226; FAX ety, Box 26811, Richmond, VA 23261. E-mail: in use regularly. Asking $16,500. For recordings Organs at [email protected] or 804/353-9266. [email protected]. and pictures contact [email protected]. 888/774-5105. glück newyork orgaNbuilders
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PEEBLES-HERZOG, INC. THE ORGAN COMPANY 50 Hayden Ave. Columbus, Ohio 43222 1220 Timberedge Road Lawrence, Kansas 66049 Ph: 614/279-2211 • 800/769-PIPE (785) 843-2622 www.peeblesherzog.com www.reuterorgan.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
50 100th ANNIVERSARY ISSUE THE DIAPASON
Dec 09 pp. 50-51.indd 50 11/12/09 2:25:40 PM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 49.
PIPE ORGANS ELECTRONIC ORGANS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
25-rank David Dyer pipe organ, modifi ed by 2003 Allen C12C Protégé organ. 2 manuals, Austin actions: Come to the source. Fast de- Releathering all types of pipe organ actions Brantley Duddy, in good condition. $15,000 or 32 stops, 2 external speakers, MDS Expander livery. Guaranteed. 860/522-8293; www.austin and mechanisms. Highest quality materials and best offer, buyer to remove. 410/287-2482 or II, 2 expression pedals, lighted music rack. organs.com. workmanship. Reasonable rates. Columbia [email protected]. Great home studio or chapel organ. $12,000 Organ Leathers 800/423-7003. www.columbia or best offer. Mesa, AZ. 480/556-1168 or organ.com/col. [email protected]. Aeolian/Robert Morton-style maroon leather 1964 M.P. Möller pipe organ. 36-rank American is now available from Columbia Organ Classic specifi cation including two célestes, two Leathers! Highest quality. 800/423-7003, THE DIAPASON’s website now presents featured enclosed divisions and 32′ reed. Three-manual MISCELLANEOUS www.columbiaorgan.com. artists in its SPOTLIGHTS section—with pho- tos, biographies, and contact links. Visit www. console. No casework or façades; instrument is FOR SALE in good condition but will need releathering. Ask- TheDiapason.com to view details: in the left- ing $50,000 “as is” or can be rebuilt with some Highest quality organ control systems since hand column, under Spotlights, click on Fea- modifi cations. Available immediately. For more Six ranks for sale: 16′ Bourdon (32 notes), 16′ 1989. Whether just a pipe relay, combination tured Artists. information, contact Létourneau Pipe Organs at Bombarde (1–12), 8′ Doppelfl öte, 4′ Hohlfl öte, ′4 action or complete control system, all parts [email protected] or 888/774-5105. Harmonic Flute, 8′ Vox Humana. Mike Jalving; are compatible. Intelligent design, competitive 303/671-6708 (Colorado). pricing, custom software to meet all of your re- Tours of the World’s Largest Pipe Organ in At- quirements. For more information call Westa- lantic City’s Boardwalk Hall are now available by cott Organ Systems, 215/353-0286, or e-mail reservation. The two-hour docent tours include 8-rank Wangerin near Detroit is seeking a good Atlantic City Organ Company—16′ Gems- [email protected]. the ballroom Kimball organ and the 33,000+ pipe home. I am in good condition and will bring joy Midmer-Losh organ, with its 7-manual console to my new owner. Owner is asking $3,500 and horn with chests, Kilgen/OSI, $2000. OSI metal Gedeckt, $600; Kilgen: 8′ Harmonic Doppel and 5-manual portable console. Tourgoers will buyer to remove. For information please contact Austin actions recovered. Over 40 years ex- see the 64′ pedal stop, the immense 32′ Diapa- 248/356-0896 or [email protected]. Flute, $700; Harmonic Piccolo, $500. 609/641- 9422; [email protected]. perience. Units thoroughly tested and fully guar- sons, and areas of the organs not open to the ca- anteed. Please call or e-mail for quotes. Tech- sual visitor. Tours cost $20, which goes directly nical assistance available. Foley-Baker, Inc., 42 to support the restoration of these instruments; REED ORGANS Consoles, pipes and numerous miscellaneous N. River Road, Tolland, CT 06084. Phone 1- children under 12 are admitted free. For reserva- FOR SALE parts. Let us know what you are looking for. 800/621-2624. FAX 860/870-7571. foleybaker@ tions: [email protected]. For information: E-mail [email protected] (not comcast), sbcglobal.net. www.acchos.org. phone 215/353-0286 or 215/788-3423. Estey 2-manual reed organ, ca. 1915. White oak case; AGO pedalboard; electric blower. Need help with your re-leathering Postal regulations require that mail Completely restored 2006. Contact: hhigh@ Kilgen bench—includes modesty valance. project? All pneumatics including to THE DIAPASON include a suite num- together.net. Blonde oak fi nish; in good condition. Book: Elec- Austin. Over 45 years experience ber to assure delivery. Please send tronic Musical Instruments, by Richard Dorf, (on the job assistance available). all correspondence to: THE DIAPASON, published 1954. 330/821-3875 (evenings). 615/274-6400. ELECTRONIC ORGANS 3030 W. Salt Creek Lane, Suite 201, FOR SALE Arlington Heights, IL 60005. Spencer blower—Century motor, 2 HP single phase capacitor start, 60 cycles, 1750 rpm; ALL REPLIES Viscount Concerto III, 3-manual “Custom Se- volts: 115/230. $750 or best offer. 330/821- TO BOX NUMBERS THE DIAPASON’s classified ads are ries.” 45 stops, 128 orchestral voices, MIDI, 3875 (evenings). now available on THE DIAPASON memory 60,000 events. Also available: two that appear website—including photographs and external speakers. Only $25,000; must sell. In- convenient e-mail links directly to the formation/photos: 708/945-2762; m.swierk@ Wood pipes. Missing pipes made to match. without an address sellers! Visit www.TheDiapason.com comcast.net. Damaged pipes in any condition repaired. Over should be sent to: and in the left-hand column, look for 25 years experience. Filip Cerny, 814/342-0975. SPOTLIGHTS, then click on Classified THE DIAPASON Advertisements. Follow the links to the Johannus Opus 20 digital organ. Double 3030 W. Salt Creek Lane, Suite 201 classifieds that interest you, and click voicing—American Classic and North German. Send recital programs to THE DIAPASON, 3030 W. the e-mail button to contact the sellers. Oak cabinet; 7 years young, magnifi cent sound. Salt Creek Lane, Suite 201, Arlington Heights, IL Arlington Heights, IL 60005 What could be easier? 570/676-5203. 60005; e-mail: [email protected].
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS W. Zimmer & Sons, inc. City ______❑ $55.00—2 YEARS Jacques Stinkens ❑ $35.00—1 YEAR pipe organ builders Organpipes - since 1914 State ______Zip ______FOREIGN SUBSCRIPTIONS 429 Marvin Road Fort Mill, SC 29707 ❑ $85.00—3 YEARS Flues - Reeds Phone/Fax: 803-547-2073 Please allow four weeks for delivery of fi rst issue ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" wzimmerandsons.com ❑ E-1 $45.00—1 YEAR Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] on new subscriptions. NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
DECEMBER, 2009 100th ANNIVERSARY ISSUE 51
Dec 09 pp. 50-51.indd 51 11/12/09 2:26:06 PM Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Stephen Cleobury* Douglas Cleveland Michael Unger AGO National Competition Winner Available 2008-2010
Ken Cowan Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011 David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
CHOIRS AVAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director March 2011
The Choir of St. John’s College Cambridge, UK Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Andrew Nethsingha, Director March, 2011
Westminster Cathedral Choir London, UK Martin Baker, Director Fall 2011 *=European artists available 2009-2010 and 2010-2011
Jane Parker-Smith* Peter Planyavsky* Simon Preston* Daniel Roth* Ann Elise Smoot Donald Sutherland
WEBSITE: www.concertorganists.com
Tom Trenney Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young