THE DIAPASON DECEMBER 2017

St. Stephen’s Episcopal Church Richmond, Virginia Cover feature on pages 26–27 PHILLIP TRUCKENBROD CONCERT ARTISTS th 50 ANNIVERSARY SEASON 1967-1968 / 2017-2018

^ŝŶĐĞ ŝƚƐ ŝŶĐĞƉƟŽŶ ŝŶ ϭဓϲϳ ĂƐ ͞Zd^ /D' —dŚĞ/ŶƚĞƌŶĂƟŽŶĂů ŐĞŶĐLJ ĨŽƌ ŽŶĐĞƌƚ KƌŐĂŶŝƐƚƐ͕͟ǁĞŚĂǀĞǀĞƌLJƉƌŽƵĚůLJƌĞƉƌĞƐĞŶƚĞĚŚƵŶĚƌĞĚƐŽĨƚŚĞĮŶĞƐƚŵĂƐƚĞƌƐŽĨƚŚĞƉŝƉĞ ŽƌŐĂŶĨƌŽŵƚŚĞhŶŝƚĞĚ^ƚĂƚĞƐ͕ƵƌŽƉĞ͕ĂŶĚƐŝĂ͕ĂŶĚŚĂƉƉŝůLJƉĂƌƚŶĞƌĞĚǁŝƚŚƚŚŽƵƐĂŶĚƐŽĨ ƉƌĞƐĞŶƚĞƌƐƚŚƌŽƵŐŚŽƵƚEŽƌƚŚŵĞƌŝĐĂƚŽďƌŝŶŐƚŚĞƉŝƉĞŽƌŐĂŶĂƌƚƚŽƚŚĞƐƚĂŐĞĂŶĚƚŽƚŚĞ ůŝƐƚĞŶĞƌ͘tĞĂƌĞƉƌŽĨŽƵŶĚůLJŐƌĂƚĞĨƵůĨŽƌLJŽƵƌŬŝŶĚƉĂƚƌŽŶĂŐĞŽǀĞƌƚŚĞƉĂƐƚϱϬLJĞĂƌƐĂŶĚůŽŽŬ ĞĂŐĞƌůLJĨŽƌǁĂƌĚƚŽŬŝŶŐLJŽƵƌŶĞdžƚĐŽŶĐĞƌƚĞǀĞŶƚĚƵƌŝŶŐŽƵƌĐĞůĞďƌĂƚŽƌLJƐĞĂƐŽŶĂŶĚďĞLJŽŶĚ͊

Phillip Truckenbrod, Founder Charles Miller, President

Anthony & Beard Adam J. Brakel The Chenault Duo

:ĂŵĞƐĂǀŝĚŚƌŝƐƟĞPeter Richard Conte Conte-Ennis Duo 

Lynne Davis Isabelle Demers Clive Driskill-Smith Duo MusArt Barcelona Jeremy Filsell Michael Hey Christopher Houlihan

David Hurd Simon Thomas Jacobs DĂƌƟŶ:ĞĂŶ Huw Lewis ZĞŶĠĞŶŶĞ>ŽƵƉƌĞƩĞ

Robert McCormick Bruce Neswick Organized Rhythm Raúl Prieto Ramírez :ĞĂŶͲĂƉƟƐƚĞZŽďŝŶ Benjamin Sheen Herndon Spillman Carole Terry Johann Vexo Bradley Hunter Welch

:ŽƐŚƵĂ^ƚĂīŽƌĚ;ϮϬϭϲ>ŽŶŐǁŽŽĚ'ĂƌĚĞŶƐ/ŶƚĞƌŶĂƟŽŶĂůKƌŐĂŶŽŵƉĞƟƟŽŶtŝŶŶĞƌͿ dŚŽŵĂƐ'ĂLJŶŽƌ;ϮϬϭϳ^ƚ͘ůďĂŶƐ/ŶƚĞƌŶĂƟŽŶĂůKƌŐĂŶŽŵƉĞƟƟŽŶtŝŶŶĞƌͿ IT’S ALL ABOUT THE ART

ဒϲϬͲϱϲϬͲϳဒϬϬ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eighth Year: No. 12, As we say goodbye to 2017 Whole No. 1297 The staff of The Diapason hopes you had a pleasant DECEMBER 2017 Thanksgiving holiday. As we now move into the busy month of Established in 1909 December, and as many of us plan and execute extra services, Stephen Schnurr ISSN 0012-2378 concerts, and the like, be sure to have a safe holiday season. 847/954-7989; [email protected] www.TheDiapason.com An International Monthly Devoted to the Organ, The gift-giving season the Harpsichord, Carillon, and Church Music Remember that subscriptions to The Diapason make the Please look for more information in late 2018 for this excit- perfect Christmas gift for your organist, choir director, harpsi- ing process. CONTENTS chord, and carillon friends. The subscription rates for students FEATURES are unbeatable! To give a gift subscription, please contact In this issue A Celebration of Francis Jackson’s 100th Donna Heuberger in our subscription department: 847/954- For this last issue of 2017, we are pleased to present a report Birthday: A Living Centenary at York 7986; [email protected]. from Lorraine Brugh on an event at York Minster to celebrate the Minster, October 4, 2017 by Lorraine Brugh 20 100th birthday of Francis Jackson. The honoree was present and Speaking of subscriptions . . . . in amazingly fi ne form. Gail Archer reports on this past summer’s The University of Michigan 57th Annual Organ Conference: The Music of Louis It has been two years since we have had to adjust our sub- Musforum Conference: Prairie Voices, in Omaha, Nebraska. Linda Vierne, September 30–October 3, 2017 scription rates, and, after careful consideration, we do need Dzuris shares her report on the annual autumn conference at the by Linda Dzuris 21 to make a modest adjustment. Beginning January 1, 2018, University of Michigan, Ann Arbor, on the music of Louis Vierne. Prairie Voices: A Musforum Conference our one-year regular subscription will be adjusted by $2.00 to Among our regular columns, in “On Teaching,” Gavin Black con- June 8–9, 2017, Omaha, Nebraska $42.00. Other subscription rates will be adjusted accordingly. cludes (for now) his discussion on helping students choose fi nger- by Gail Archer 24 In order to give everyone the best of options, we will be ing. John Bishop, in “In the Wind,” tackles various aspects of organ NEWS & DEPARTMENTS offering a digital-only subscription, also beginning January 1. maintenance, including what constitutes good maintenance, when Editor’s Notebook 3 The digital-only subscription will be $35.00 for one year. to call your organ technician—and when not to call. In “Harpsi- Here & There 3 chord News,” Larry Palmer introduces us to Robert Tifft, who has Appointments 6 20 Under 30 provided an eloquent remembrance of the late Zuzana Ru˚ žicˇková. Nunc Dimittis 10 We remind you that our 20 Under 30 program, which has Our cover feature is the Aeolian-Skinner organ of St. Ste- Harpsichord News by Larry Palmer 14 previously accepted nominations in December and January phen’s Episcopal Church, Richmond, Virginia. The instrument In the wind . . . by John Bishop 16 On Teaching by Gavin Black 18 for young leaders in our world of the organ, harpsichord, has recently experienced a restoration and refurbishment by carillon, and church music, will now be a biennial event. Emery Brothers of Allentown, Pennsylvania. Q REVIEWS Choral Music 12 New Organ Music 12 Here & There New Handbell Music 12

NEW ORGANS 28 Events CALENDAR 29 ORGAN RECITALS 33 CLASSIFIED ADVERTISING 34

THE DIAPASON DECEMBER 2017

St. Mary’s Cathedral, Ruffatti organ Fisk Opus 98, First Presbyterian Church, St. James Episcopal Cathedral, Evansville, Indiana Chicago, Illinois The Cathedral of St. Mary of the Assumption, San Francisco, California, First Presbyterian Church, Evans- May 6, Evensong featuring music of Leo continues recitals and choral services, ville, Indiana, continues its 2017–2018 Sowerby, who served as organist and Sundays at 4:00 p.m.: December 3, season of musical events. The First choirmaster of St. James, 1927–1962; Ann-Christin Bloch; 12/10, Advent Les-

St. Stephen’s Episcopal Church Friday Recital Series, featuring C. B. June 3, Evensong. For information: sons & Carols, with St. Mary Cathedral Richmond, Virginia Cover feature on pages 26–27 Fisk, Inc., Opus 98, begins at 7:00 p.m.: www.saintjamescathedral.org. Choir and St. Mark’s Lutheran Church December 1, Jinhee Kim; February 2, Choir; 12/17, Katherine Meloan; 12/31, COVER 2018, Stephen Smith; March 2, Brendan Second Presbyterian Church, Christoph Tietze, Widor, Symphonie Emery Brothers, Allentown, Pennsylvania; Conner; April 6, Leah Martin; May 4, St. Louis, Missouri, announces its Gothique; January 7, 2018, Epiphany St. Stephen’s Episcopal Church, Richmond, Collin Miller; June 1, Katie Burk; July 6, 2017–2018 concert season: December Lessons & Carols, with the Cathedral Virginia 26 Yumiko Tatsuda. 3, Advent Vespers with Second Church Choir School and the Golden Gate Choral events include: December Choir, Handbells, and organist Andrew Boys Choir and Bellringers; 1/14, David Editorial Director STEPHEN SCHNURR 10, Handel, Messiah, Part One, with Peters; January 7, silent fi lm with organist Troiano, organ, with Jeffrey Lewan- and Publisher [email protected] the Choir School of First Presbyterian Andrew Peters; February 11, Courtney dowski, trumpet; 1/21, Xiyan Wang, 847/954-7989 Church; April 29, Messiah, Parts Two Loveless jazz concert; March 4, W. Mark piano. St. Mary’s Cathedral houses a President RICK SCHWER and Three, with the Choir School. For Akin, guitar; April 22, Earth Day concert 1971 Fratelli Ruffatti organ of four [email protected] information: with soloists and orchestra conducted by manuals, 89 ranks. For information: 847/391-1048 http://fi rstpresevansville.com. Andrew Peters. For information: www.stmarycathedralsf.org. www.secondchurch.net. Consulting Editor JOYCE ROBINSON [email protected] Trinity Lutheran Church, Worces- Opus 327 NFP, a not-for-profi t 847/391-1000 ter, Massachusetts, continues its 2017– Musica Sacra San Antonio, San organization founded by St. Luke’s 2018 season, Reformation: Past, Present, Antonio, Texas, Owen Duggan, music Episcopal Church, Evanston, Illinois, Sales Director JEROME BUTERA [email protected] Future: December 3, Advent Lessons & director, announces its 2017–2018 series, for the preservation of the church’s 608/634-6253 Carols; February 25, 2018, Clara Gerdes the organization’s eighth: December 1922 Skinner Organ Company pipe Circulation/ in recital; March 24, Bach, St. Mark 3, Vivaldi, Gloria, with L’EstroBarocco organ, continues its 2017–2018 concert Subscriptions DONNA HEUBERGER [email protected] Passion; April 29, Bay State Winds. For Orchestra and Our Lady of the Lake series: December 6, 12/13, and 12/20, 847/954-7986 information: http://trinityworc.org. University Concert Choir, Covenant 11:30 a.m., Advent organ recitals with Presbyterian Church; February 18, 2018, Christine Kraemer; January 19, 2018, Designer KIMBERLY PELLIKAN St. James Episcopal Cathedral, Solemn Evensong for Lent, works by 7:30 p.m., Stephen Buzard; February [email protected] 847/391-1024 Chicago, Illinois, continues special cho- Purcell, Willan, and Vaughan Williams, 2, 7:30 p.m., Alexander Frey; 2/24, 7:00 ral services for 2017–2018: December Our Lady of the Atonement Catholic p.m., Bach organ works and cantatas; Contributing Editors LARRY PALMER 3, Procession with Advent Lessons & Church; April 8, Encounters, Music March 14, 7:00 p.m., Stephen Tharp; Harpsichord Carols; 12/20, Christmas Lessons & of John Taverner and John Tavener, February 21, 2/28, March 7, and 3/21, BRIAN SWAGER Carols; January 7, 2018, Epiphany Even- with the Viols of Austin Baroque, Little 11:30 a.m., Lenten organ recitals with Carillon song; February 4, Candlemas Evensong; Flower Basilica. For information: Christine Kraemer; April 22, 3:30 p.m., March 4, Evensong; 3/25, Evensong; [email protected]. ³ page 4 JOHN BISHOP In the wind . . .

GAVIN BLACK THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2017. Printed in the U.S.A. On Teaching 5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Reviewers Anne Krentz Organ Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make David Troiano $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. at the rate of one copy for every fi fteen students. Such copies may be reused for other Leon Nelson POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite courses or for the same course offered subsequently. 201, Arlington Heights, Illinois 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2017 Q 3 Here & There

³ page 3

Canadian International Organ Competition candidates and jury (photo credit: John Shadyside Presbyterian Church Zimmerman)

Strings, with the Pittsburgh Symphony The fi nal round of the Canadian International Organ Competition took place Youth Orchestra Strings; February 11, October 19 at the Basilica of Notre Dame, Montréal, Québec, Canada. Alcee Chriss, Heaven to Earth: Earth to Heaven, with III (United States), a member of The Diapason’s 20 Under 30 Class of 2016, was Pittsburgh Camerata and Pittsburgh awarded First Prize ($25,000). Chriss was also awarded the Gérard-Coulombe Bach Girls Choir; March 11, pianist Abigail Prize ($5,000) and the Spinelli Prize ($5,000). Oliver Brett (United Kingdom) was Eagleson, fl utist Anna Cooper, and awarded second prize ($15,000) and the Royal Canadian College of Organists prize St. Luke’s Episcopal Church, Evanston, oboist Natalie Beckenbaugh; April 15, ($5,000). Third prize ($10,000) was awarded to Nicholas Capozzoli (United States), Illinois, Skinner organ Katelyn Emerson, organist. a member of The Diapason’s 20 Under 30 Class of 2015. The Richard-Bradshaw Additional music events at the church Audience Prize ($5,000) was awarded to Yuan Shen (China). The jury for the com- Messiaen Diptyque and Quartet for the include: December 3, Poulenc, Gloria. petition was John Grew (Canada), David Briggs (UK), Bine Bryndorf (Denmark), End of Time. For information: Candlelight Vespers featuring the Shady- Neil Cockburn (Canada), Lynn Davis (United States), Jean-Baptiste Robin (France), www.opus327.org. side Strings, Chatham Baroque, and Pitts- Silvius von Kessel (Germany), Réjean Poirier (Canada), and Carole Terry (United burgh Girls Choir are offered on Wednes- States). For information: www.ciocm.org. The Church of St. Luke’s in the days at 7:00 p.m. in Advent (December Fields, New York, New York, continues 6, 12/13, 12/20) and Lent (February 14, its 2017–2018 concert season, Thurs- 2/21, 2/28, March 7, 3/14, and 3/21). days at 8:00 p.m.: December 7, A Bach Music for Midsummer Nights takes Christmas; January 25, 2018, The Keys place Wednesdays at 7:00 p.m.: June 6, to Heaven: Music of Palestrina; March How Can I Keep from Singing?: An Eve- 8, The Birth of the Oratorio; May 3, The ning of American Music, with Pittsburgh Glorious Mysteries: Music of Biber and Camerata; 6/13, Happy Birthday, Irving Lassus. For information: Berlin, with mezzo-soprano Suzanne www.stlukeinthefi elds.org. DuPlantis, baritone Randall Scarlatta, and pianist Harold Evans; 6/20, pianist James First Baptist Church, Ann Arbor, W. Iman; 6/27, organist Justin Wallace. Michigan, continues its 2017–2018 Cof- For information: www.shadysidepres.org. fee Break Concert Series, its seventh sea- son, Thursdays at 12:15 p.m.: December Peachtree Road United Methodist 7, Rita Wang, violin, and Shin-Ae Chun, Church, Atlanta, Georgia, continues its organ; January 18, 2018, Cecilia Kang, 2017–2018 season of events: December clarinet, and Shin-Ae Chun, organ; Feb- 10, The Many Moods of Christmas, with ruary 15, Andrew Jennings, violin, and choirs, soloists, and orchestra; 12/15–16, Gail Jennings, piano; March 15, HyoJin Georgia Boy Choir; 12/17, Carols by Moon and Dean Robinson, organ; May Candlelight; January 30, 2018, Jack 10, Shin-Ae Chun, harpsichord. For Mitchener in an organ recital; February information: www.fbca2.org. 22, Nicole Marane, with John Lemley, Wayne Oquin (composer), Paul Jacobs (soloist), Yannick Nezet-Seguin (music narrator, and John Lawless, percussion, director, Philadelphia Orchestra), and Kensho Watanabe (assistant conductor). Prokofi ev, Peter & the Wolf; 2/17, Geor- gia Boy Choir Festival; 2/27, Ivan Bosnar In October, Paul Jacobs was the soloist with the Philadelphia Orchestra conducted and Jacob Taylor; March 18, Passion of by Yannick Nezet-Seguin in the east coast premiere of Wayne Oquin’s Resilience the Christ: The Musical Stations of the for organ and orchestra. The work was commissioned by the Pacifi c Symphony as Cross, Scott Atchison, Zachary Fritsch- part of their American Music Festival and received its world premiere on February Hemenway, and Schola; April 5, Three 4, 2016, at the Segerstrom Center for the Arts, Costa Mesa, California. The work Choirs Festival; 4/22, Coro Vocati; is a 13-minute call and response between organ and orchestra and is dedicated to June 3, Pilgrimage to England Preview organist Paul Jacobs and conductor Carl St. Clair. Concert, with the Chancel Choir. For information: www.prumc.org.

The Cathedral Church of the Advent, Birmingham, Alabama, con- tinues Choral Evensongs presented Sundays at 3:00 p.m.: December 10 Spivey Hall, Clayton State University, (Christmas Lessons & Carols); January Morrow, Georgia, Ruffatti organ 28, 2018, April 29. The cathedral’s music series events Spivey Hall, Clayton State University, for 2018: February 2, With the Sound Morrow, Georgia, continues events for of Trumpets, Ambassador Brass Quintet its 2017–2018 series featuring the Albert and Frederick Teardo, organ; April 13, Schweitzer Memorial Organ, built by Joel Bacon; 4/19, Highland Consort. Fratelli Ruffatti: December 8, 9, and The cathedral’s Mid-Day Music Series, 10, Spivey Hall Children’s Choir holiday Fridays at 12:30 p.m.: December 15, program with Alan Morrison; January Cathedral Ringers Handbell Ensemble; Young Organists Cooperative concert participants: Margaret Harper, Bruce Ad- 20, 2018, Nathan Laube; February 24, January 26, Charles Kennedy; April 27, ami, Edgar Kuklowsky, Marshall Joos, Tamara Rozek, Barbara Flocco, and student Alan Morrison; April 14, Alcee Chriss. Samford University A Cappella Choir. harpist Adeline Parker (photo credit: Crystal Joos) For information: www.spiveyhall.org. For information: www.adventbirmingham.org. The Young Organists Cooperative hosted a pipe organ concert October 14 at Shadyside Presbyterian Church, St. John’s Episcopal Church, Portsmouth, New Hampshire. Performers included Pittsburgh, Pennsylvania, continues St. Margaret’s Episcopal Church, Bruce Adami, Barbara Flocco, Margaret Harper, Edgar Kuklowsky, Tamara its 2017–2018 Music in a Great Space Palm Desert, California, continues its Rozek, and the 2017 Penn Brown Scholarship Winner, Marshall Joos, in a program Concert Series, Sundays at 3:00 p.m.: 2017–2018 Desert Friends of Music of music by Marchand, Callahan, Zachau, Vierne, and others on the church’s Létour- December 10, Bach, Magnifi cat, with events, featuring 1998 Quimby Pipe neau organ. Concert proceeds benefi ted the Next Generation Fund of the Young Pittsburgh Camerata and Chatham Organs, Inc., Opus 50 of four manuals, Organist Collaborative, which provides scholarship funds to organ students aged Baroque; January 21, 2018, Simply ³ page 6 10–16 in New Hampshire, southwestern Maine, and northeastern Massachusetts.

4 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Conductor/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Montevideo, Uruguay Charlotte, North Carolina Ann Arbor, Michigan Birmingham, Alabama Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Sarah Hawbecker James D. Hicks Organist Organ/Carillon Professor of Organ Organist/Recording Artist Organist/Presenter Organist Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Atlanta, GA Califon, NJ

Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Wynford S. Lyddane Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Pianist/Instructor Brooklyn, New York San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX Washington, D.C.

Colin Lynch Philip Manwell Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Organist/Conductor Organist Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Boston, Massachusetts Reno, Nevada U of Nebraska-Lincoln Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

Anna Myeong David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Organist/Lecturer Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Madison, Wisconsin Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK

Clarion Duo Duo Majoya Rodland Duo Christine Westhoff Keith Benjamin, trumpet Organ and Piano Viola and Organ & Timothy Allen University of Missouri-Kansas City Marnie Giesbrecht, Joachim Segger Eastman School of Music/ Soprano and Organ Melody Steed, organ, Bethany College U of Alberta, King's U, Canada St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 30th year of operation Here & There

³ page 4 Blue Heron, Scott Metcalf, artistic 71 ranks: December 10, Lessons & director, continues its 2017–2018 season, Appointments Carols; 12/16, Choir of Clare College, with concerts at First Church, Congre- Vincent Carr has been appointed associate Cambridge, UK; January 23, 2018, gational, Cambridge, Massachusetts: professor of music in organ for the Jacobs School David Baskeyfi eld; February 16, John December 22–23, Christmas in Medi- of Music, Indiana University, Bloomington, Indi- Wright; 2/23, Los Angeles Harptette; eval England; February 3, 2018, Music ana. A native of Philadelphia, Pennsylvania, Carr March 2, Philip Hoch; 3/9, Amy Rooney, from the Peterhouse Partbooks; March has served as associate organist and choirmaster piano; 3/16, John Bayless, piano; 3/23, 3, Missa Fors seulement and other music at the Cathedral of the Incarnation, Garden City, Fred Swann. For information: www. based on songs; April 14, The Iberian New York, and as adjunct professor at the John J. stmargarets.org. Songbook: Spanish songs and dances, Cali School of Music at Montclair State Univer- 1450–1600. For information: sity, Montclair, New Jersey. He has also served as TENET continues its 2017–2018 www.blueheron.org. associate organist at the Cathedral Basilica of the series at locations in New York, New Vincent Carr Sacred Heart, Newark, New Jersey. He earned a York, except where noted: December 15, Bachelor of Music in organ performance and a Candlelight Carols at All Souls Unitarian Bachelor of Arts degree with distinction in Spanish from Indiana University. He Church; December 30, Monteverdi, received the Master of Music degree in organ from the Yale Institute of Sacred Selva morale e spirituale at St. Joseph’s Music, New Haven, Connecticut. For information: http://vincentcarrjr.com. Church; January 3, 2018, Michael Prae- torius, Vespers at Holy Trinity Lutheran Jacob (Jake) Dowgewicz is appointed fac- Church; March 2, Johann Heinrich tory design and sales director for Austin Organs, Schmelzer, Le Memorie Dolorose at St. Inc., Hartford, Connecticut. Dowgewicz earned Luke in the Fields Church; March 24, his bachelors degree in marketing and organ per- TENEbrae: Pathway to Light with the formance from Assumption College, Worcester, Sebastians at St. Vincent Ferrer Church; Massachusetts, where he was the college’s organ April 21, Charpentier, Les plaisirs de scholar. He later served as interim organist at the Versailles with Metropolis Ensemble at Cathedral of St. Paul in Worcester. While at the the Metropolitan Museum of Art; May cathedral, he also worked as a business account 11–12, The Sounds of Time: Songs of the Jacob (Jake) Dowgewicz manager for Verizon Wireless. Trouveres at Flushing Town Hall Gallery in Queens. For information: Jens Korndörfer has been appointed instruc- www.tenet.nyc. tor for organ at Georgia State University, Atlanta. In addition to his new position at GSU, Korndör- fer is director of worship and the arts and organist at First Presbyterian Church, Atlanta, Georgia, St. Ignatius Loyola Catholic Church, where he oversees a vibrant music ministry, New York, New York, Mander organ including the current renovation and enlargement of the Möller/Zimmer sanctuary organ (IV/105) Sacred Music in a Sacred Space by Orgelbau Klais and A. E. Schlueter. continues its 2017–2018 season of Korndörfer holds degrees from McGill Univer- concerts at St. Ignatius Loyola Catholic sity in Montreal, Canada, Oberlin Conservatory of Church, New York, New York, which Music, Oberlin, Ohio, the Conservatoire National celebrates the 25th anniversary of Jens Korndörfer Supérieur de Musique in Paris, France, and the the church’s N. P. Mander organ of Hochschule für Kirchenmusik in Bayreuth in four manuals, 68 stops. Organ recitals his native Germany; he has studied with James David Christie, Olivier Latry, include performances by: February 18, Michel Bouvard, Hans-Ola Ericsson, and others. 2018, Renée Anne Louprette; April 15, Represented by Karen McFarlane Artists, he maintains a performance David Higgs. schedule on three continents. For information: www.jenskorndoerfer.com. Additional programs with organ include: March 21, chorales, motets, Nathan Laube has been appointed inter- and arias of Johann Sebastian Bach, with national consultant in organ studies for Royal Andrew Henderson; May 23, Poulenc, Birmingham Conservatoire, Birmingham, UK. Concerto for Organ, Strings, and Tim- He will continue as assistant professor of organ pani, with Renée Anne Louprette. for Eastman School of Music, Rochester, New Guest choral groups perform: York. In his new role, he will visit the Royal December 1 and 3, Chanticleer; Birmingham Conservatoire regularly to present December 10 and 17, Love’s Pure Light, recitals and provide coaching and masterclasses Duke Chapel, Duke University, Durham, with St. Ignatius Choir; January 21, The for students. The Conservatoire, which dates North Carolina, Aeolian organ King’s Singers; April 26, Chanticleer. A to 1859, is part of Birmingham City University. program of music for piano four hands Henry Fairs is head of organ studies. For infor- Duke University Chapel, Durham, will be presented November 13 with Nathan Laube mation: www.nathanlaube.com. Q North Carolina, continues special Pascal and Ami Rogé. For information: musical events for 2017–2018. Organ www.smssconcerts.org. recitals: December 17, Christopher Chapter American Guild of Organists at Jacobson; January 21, 2018, Joseph St. John’s Lutheran Church, Sacramento. Fala and Jacob Montgomery; February People His fi nal events were a masterclass and 11, Dongho Lee and Andrew Pester; recital on the new Juget-Sinclair organ at March 25, Robert Parkins; April 22, St. Luke’s Lutheran Church, Ithaca, New David Briggs. York, part of a daylong program jointly Choral and instrumental programs: sponsored by the Westfi eld Center, Cor- Bach Cantata Series: January 28, nell University Department of Music, St. February 25; December 1–3, Handel, Luke’s Lutheran Church, and the Ithaca Messiah; December 7, Advent Lessons Chapter of the AGO. For information: & Carols; December 24, Christmas Eve Christophe Mantoux [email protected] or 425/745-1316. Lessons & Carols; January 7, Epiphany Lessons & Carols; February 4, Even- French organist Christophe Man- song Singers Winter Concert; March 4, toux completed his fi fth tour to the Mendelssohn, Elijah; March 30, Tene- United States under Penny Lorenz Artist brae; April 8, J. Samuel Hammond, car- Management. His tour began at the Uni- illon; 4/8, John Ferguson, hymn festival; versity of Notre Dame/Westfi eld Center May 6, Ascension Evensong with Mes- conference, “Reformations and the siaen, L’Ascension. For information: Organ,” in September, where he gave https://chapel.duke.edu. James Kibbie masterclasses and performed the fi nal evening’s recital on the new Fritts organ Musica Sacra of New York City con- James Kibbie continues his annual in the Basilica of the Sacred Heart in tinues its 2017–2018 season: December holiday tradition of offering free down- South Bend, Indiana. This was followed James Mellichamp at National City 21, Handel, Messiah, Carnegie Hall; loads of a recording on his house organ, with recitals on the Rosales and Hutch- Christian Church, Washington, D.C. March 6, 2018, Light of Light: Music a seven-stop Létourneau mechanical ings-Votey organs at St. James Catholic of Lassus, Lauridsen, and Leonin, with action instrument, as an “audio holiday Cathedral in Seattle, Washington, and In July, James Mellichamp per- Gregorian chant, Cathedral of St. John card.” This year’s recording is Ernst Pep- on the Yokota organ at First Lutheran formed on a faculty recital for the the Divine. For information: ping’s “Vom Himmel hoch,” available in Church in Yuba City, California. There American Guild of Organists Pipe Organ www.musicasacrany.com. MP3 format at www.umich.edu/~jkibbie. was also a workshop for the Sacramento ³ page 8

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³ page 6 Encounter Technical at First United Methodist Church, Cumming, Georgia. In September, he presented a concert at St. Paul’s Cathedral in London, England. And in October he appeared on the concert series at National City Christian Church in Washington, D.C.

East Carolina University masterclass participants Stephen Tharp (photo credit: Ran Keren) East Carolina University, Greenville, North Carolina, hosted Kola Owolabi Series at St. Paul’s Cathedral, London, for an organ repertoire masterclass on October 16. The class was held on the 2005 UK, Radio France Concert Hall, Paris, C. B. Fisk, Inc., Opus 126 organ in St. Paul’s Episcopal Church, which borders the France, appearances in Spain, the university campus. For information: www.ecu.edu. Madeira (Portugal) Organ Festival, as well as concerts in Bordeaux, Den Haag, Porto, Essen, Freiburg, Hannover, Conferences Würzburg, and Salem (Lake Constance), The American Choral Directors and several duo organ and harpsichord Association Central and North Divi- programs with Lionel Rogg in Switzer- sion Conference will take place Febru- land. He is also a member of the jury for ary 14–17, 2018, in Chicago, Illinois. Charles Ore performs his work at St. the 2018 Chartres International Organ Featured choral groups performing Peter’s Basilica, Vatican City (photo credit: Competition. Stephen Tharp has been include Chicago A Cappella, Bella Voce, Masako Gaskin) artist-in-residence at St. James’s Church Santa Fe Desert Chorale, and Shenzhen Madison Avenue (Episcopal) in New Golden Bell Youth Choir. Honor choirs Charles W. Ore was commissioned York City since 2014. For information: of various age groups will be conducted by the French Organ Music Seminar to www.stephentharp.com. by Francisco Nuñez, Judith Herrington, compose a piece for the 2017 seminar. Ryan Beeken, Jefferson Johnson, and Ore performed his piece, Kyrie, Based René Clausen. For information: www. on a Ninth Century Chant Embedded Competitions acdacentral.org and www.ncacda.org. in Kyrie, Gott Vater, on the organ of East Carolina University School St. Peter’s Basilica, Vatican City, in July of Music, Greenville, North Carolina, 2017. Gabriel Marghieri, organist of announces its 12th annual Young Artists Grants Sacré-Coeur Basilica, Paris, France, and Competition in Organ Performance, The Ruth and Clarence Mader Vatican organist, Juan Paradell-Solé, March 15–17, 2018. The competition is Memorial Scholarship Fund assisted at the console. open to pre-college organ students in the announces the availability of grants to Edward Tambling, Pastoralen United States. The competition will take support research on topics related to place at St. Paul’s Episcopal Church, organs, organists, and organ repertoire. butz-verlag.de (order no. BU 2853) Greenville, which houses C. B. Fisk, Individual grants of up to $1,000 will or the Organ Historical Society: www. Inc., Opus 126. First prize is $1,500; sec- be awarded. Preference will be given to organsociety.org. ond prize, $750; third prize, $300; Bach research that will lead to the publication prize, $100; hymn playing prize, $100. of articles or books, though research Editions Walhall announces new Deadline for application is February 14, projects involving the creation of record- publications: Concerto per il Cembalo, 2018. For information: http://www.ecu. ings, digital resources, or other methods by Daniel Magnus Gronau, edited by edu/cs-cfac/music/organsacredmusic/ of knowledge dissemination will also be Jolando Scarpa (EW1029, €14.50). youngartistscompetition.cfm. considered. The deadline for applica- While most of the works of this organist tions is March 1, 2018. For information: of Danzig were lost in World War II, this www.maderscholarshipfund.org/grants. work survives and is now available in an Urtext edition. Eight Famous Christmas Carols, arranged by Dagmar Wilgo for Publishers recorder quartet (EW1035, €16.80). Mark Steinbach Augsburg Music announces new These late Romantic settings of carols publications for Advent and Christmas: are also useful for fl ute quartet. For Mark Steinbach, university organ- All Earth is Hopeful, by James E. Bobb information: www.edition-walhall.de. ist, curator of instruments, and senior (SATB/4-part mixed, 9781506425641, lecturer in music, Brown University, $1.95); Christmas Night, by Kim Michael’s Sheet Music Service Providence, Rhode Island, performed Andre Arnesen (SATB/4-part mixed, announces sheet music restorations: recitals this past summer on 18th-cen- St. Casimir Church in Nowy Sacz, 9781506425702, $2.25); Midnight Stars Pavane (pour une infante défunte), by tury organs in Saxony, Brandenburg, and Poland Make Bright the Sky, by Mark Sedio Maurice Ravel, transcribed by Charles Niedersachsen, Germany, including the (SATB/4-part mixed, 9781506426020, Cronham, an arrangement, not diffi cult 1753 Silbermann organ at the Cathedral The First International Organ Duo $1.80); and Rejoice and Let Your Lights to play, from 1950; Festival Prelude on in Dresden. He is pictured at the 1734 Competition “Per Organo a Quattro Appear, by Ryan Kelly (SATB/4-part Ein’ Feste Burg, by William Faulkes, Treutmann organ in Goslar, Germany. Mani” will take place April 15–21, 2018, mixed, 9781506426181, $1.95). For a work from 1913 dedicated to Edwin For information: in Nowy Sacz, Poland. The competition information: www.augsburgfortress.org. H. Lemare; March Champêtre and The [email protected]. will be held in the city’s Lucjan Lipinski Calm of Night, by Andrew J. Boex, an Hall and St. Casimir Church. First prize Bekannte Weihnachtspastoralen organist born in the Netherlands who Stephen Tharp’s 2017–2018 perfor- is 30,000 PLN; second prize 20,000 des Barock, Vol. 2 (Popular Christmas immigrated to Cincinnati, Ohio, in the mance schedule includes concerts in the PLN; third prize 10,000 PLN. The Pastorales of the Baroque, Vol. 2) is 1870s where he had an active church United States in Atlanta, Chicago, New jury is Ireneusz Wyrwa (Poland, chair), the title of the new publication of the music career; and Toccata in D, by Ralph York City, Orlando, Tampa, Wilmington, Gerhard Gnann (Germany), Slawomir Butz Music Publishing House (Butz Kinder, one of this composer’s more Seattle, Sioux Center, Iowa, Waynesboro, Kaminski (Poland), Jaroslav Tuma Musikverlag). Edward Tambling, son ambitious works. For information: Virginia, and a concert and masterclass (Czech Republic), Krzysztof Urbaniak of the late Christopher Tambling, www.michaelsmusicservice.com. for the Rochester (New York) Celebrity (Poland), Ulrich Walther (Austria), and brings together well-known and popu- Organ Series. In Europe, performance Malgorzata Trzaskalik-Wyrwa (Poland, lar orchestral Christmas works of the venues include the Martinikerk, Gron- secretary). For information: German and Italian baroque in organ Recordings ingen, Holland, the Celebrity Organ www.aquattromani.pl. transcriptions. These arrangements of Loft Recordings announces release compositions from Geminiani, Handel, of a set of fi ve CDs recorded by Rob- Duchon’s Organ Pipes Molter, Sammartini, Stamitz, and ert Bates: Correa in the New World: BACH AT NOON Stanley range from easy to medium dif- Complete Organ Works of Francisco New Reeds & New Flues fi culty level. The pieces can be played Correa de Arauxo (1584–1654). The Additions & Repairs Grace Church in New York on a two-manual instrument and suit fi rst recording of the complete works any Christmas occasion whether ser- of this composer in the New World, 330/257-0491 www.gracechurchnyc.org vice, refl ective music, or concerts. This the music is performed on historical [email protected] recent publication is available via www. ³ page 10

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at World Library. The original album was Island, California. In the mid-1990s, Nunc Dimittis released in December 1957 with a retail the organ was again moved to Pacifi c Irene Greulich, kantor price of $4.98 for an LP. A thousand cop- Lutheran Theological Seminary, Berke- and organist of St. Wenzel’s ies were ordered. ley, California. For the organ’s new home Church, Naumburg, Ger- After discovering this recording in at St. Mary Star of the Sea, the façade many, from 1971 until her their vault, WLP felt it was time to share will be reconfi gured to frame the rear retirement in 2008, died the recording with the world again. balcony’s rose window. The work will be in Naumburg on August Original tapes have been remastered. carried out by Hupalo & Repasky of 28, 2017. After the fall of The reading of the Christmas Gospel by San Leandro, California. For informa- the Wall and the reunifi ca- Bing Crosby has never been used in any tion: www.hupalorepasky.com. tion of Germany, she both of his other works. CD, 007403, $10.00; promoted and oversaw the vinyl LP, 007405, $25.00. Order from complete restoration of the wlpmusic.com or call 1-800/566-6150. Hildebrandt organ in that Also available at Amazon.com Irene Greulich (photo credit: Naumburger Tageblatt/ church, the organ that J. S. Torsten Biel) Bach may well have helped to design, examined upon Organbuilders its completion, and on which he played the dedicatory recital. Without her Austin Organs, Inc., of Hartford, enthusiastic and tireless engagement, the restoration of the Hildebrandt Connecticut, is completing installation of organ might never have come to fruition. Though her fi rst love was the its new organ, Opus 2798 with 62 ranks, music of Olivier Messiaen, she reformed her technique and became a zeal- for St. John Vianney Catholic Church, ous promoter of Bach’s organ compositions, as well as for the organ that is Houston, Texas. The organ is placed on among the most important instruments for understanding the performance high wind pressure with large scales and of that music. She graciously welcomed organists from countries throughout will feature double expression across the world who were making pilgrimages to hear and play that organ. The the entire instrument. Austin recently family has requested that all donations in her honor be given to the Leipzig fi nished refurbishment of its Opus 2421 Bach Archive. For Americans, this may be accomplished by sending a check at Beth El Temple in West Hartford, Charles Ruggles payable to “American Friends of the Leipzig Bach Archive” and mailed to Connecticut. The project consisted of AFLBA, 11A Mt. Auburn St., Cambridge, Massachusetts 02138, attention a complete releathering, conversion Charles Ruggles is the subject Mark Knoll. In the memo line, donors should write “Gift in memory of Irene to solid-state relay system, and tonal of a recent thesis on his career, writ- Greulich.” All gifts are fully tax deductible. Q changes, which included a Second Dia- ten by Mark A. Herris as part of the pason, Harmonic Flute, and digital ranks. requirements for Herris’s Doctor of Austin has signed three additional Music degree from Indiana University ³ page 8 the fi rst performance of Prélude in the refurbishment contracts. Opus 2378, (https://scholarworks.iu.edu/dspace/ United States in 1999 at the Riverside for St. James’s Episcopal Church, West handle/2022/20810). Ruggles recently Church in New York, though the work, Hartford, Connecticut, is a project celebrated 42 years of designing and believed to have been composed ca. including releathering, console recon- building mechanical-action organs. 1930, was not published until 2002. The fi guring, conversion to solid-state, Ruggles’s work has been reviewed in recording was made at the Church of and tonal additions. Trinity Episcopal numerous magazines and journals. the Ascension in New York City, where Church, Asheville, North Carolina, Ruggles studied organbuilding with the 111-rank organ was built in 2011 by which houses Austin Opus 2605 will also John Brombaugh in Middletown, Ohio. Pascal Quoirin of Saint-Didier, France. include releathering, console rebuild- In September 1975 he began building Jon Gillock’s entire cycle of Messian ing, solid-state conversion, as well as mechanical-action organs under his organ works will use this organ, as it was both pipe and digital additions. Glen- own name in his workshop in Cleveland conceived to play the works of Messiaen shaw Presbyterian Church, Glenshaw, Heights. In September 1981 he moved specifi cally. Gillock was involved with Pennsylvania, is home to Austin Opus his workshop and residence to Olmsted the instrument’s design. Gillock is known 1575, which was rebuilt in the 1960s. Falls, Ohio, and in 1995 moved his resi- internationally for his interpretations of The 1960s project involved rescaling to dence and workshop to Conifer, Colo- Correa in the New World Messiaen’s music, having studied with a thinner Principal chorus and removal rado. He is a member of the American him, becoming a preferred interpreter of the 16′ Open Wood. The 2017–2018 Institute of Organbuilders and the Inter- organs of the 18th and 20th centuries: of his teacher’s music. For information: rebuild will include signifi cantly rescal- national Society of Organbuilders. For Cathedral, Oaxaca, Mexico; Santa María www.ravencd.com. ing and revoicing the Principal chorus, information: www.rugglesorgans.com. de la Asunción, Tlacolula, Mexico; San releathering the entire instrument, Jerónimo, Tlacochahuaya, Mexico; console reconfi guration, conversion to Pacifi c Lutheran Theological Seminary, a solid-state system, and the addition of Berkeley, California; and Mission San a Tuba and 16′ Open Wood pipe ranks. José, Fremont California. For informa- For information: www.austinorgans.com. tion: www.naxos.com.

C. E. Morey organ, Our Lady’s Cha- pel, St. Mary of Piscataway, Clinton, Maryland

Wigton Pipe Organs, Dryden, The Bible Story of Christmas Michigan, recently installed a nine-stop mechanical-action organ for St. Mary’s World Library Publications of Piscataway Catholic Church, Clinton, announces the rerelease of its 1957 Maryland. The organ, built by C. E. recording, The Bible Story of Christmas, Morey of Utica, New York, is now in Narrated by Bing Crosby, with Tradi- its third home. Installed in Our Lady’s tional Carols in Gospel Sequence Sung Chapel, the organ replaces a small one- Jon Gillock Messiaen recording by the Bonaventura Choir. Bing Crosby manual instrument that had proven to recorded his narration of the Gospel of be inadequate for liturgies. The organ, Raven announces a new CD, the Luke, 2:4–20, on August 6, 1956, at the Hupalo & Repasky conceptual drawing originally built in 1902, looks at home third in a series featuring the organ request of Omer Westendorf, founder for St. Mary Star of the Sea Catholic in the 1903 chapel. Rebuilding work works of Olivier Messiaen recorded of World Library of Sacred Music, then Church, San Francisco, California included re-tabling the manual slider by Jon Gillock (OAR-983). The new in Cincinnati, Ohio. The music on the chests, renovating the mechanical key volume includes L’Ascension, Messe album was arranged by Han Van Koert, St. Mary Star of the Sea Catholic action, rebuilding the manual and pedal de la Pentecôte, and the posthumously and organ background music was played Church, San Francisco, California, will keyboards, refi nishing the casework, and published Prélude. Gillock presented by Betty Zins Reiber, a longtime editor be the new home to an 1889 Woodberry providing a blower in a sound-absorbing & Harris organ, originally installed in box. The case front and façade pipes First Universalist Church, Melrose, were modifi ed to fi t the lower ceiling, Massachusetts. When the Universalist and the pipes were redecorated and church merged with another congrega- gilded by Oyster Pipe Works of Louis- tion in 1978, the two-manual, 12-rank, ville, Ohio. More than 1,300 hours went mechanical-action organ was restored by into rebuilding and installing the instru- Manuel Rosales and installed in Avalon ment. For information: Community Church on Santa Catalina www.wigtonpipeorgans.com.

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Choral Music Appropriate for children’s or youth are fresh with nuanced harmonies. The imitative writing throughout the collections The season of Lent is a busy time for choirs, Hopson’s setting of this African- violin part is not optional, and is inde- cited. The child-like melody of “Berceuse” choirs, preparing music for Ash Wednes- American spiritual could also be sung by pendent of the piano accompaniment. is heard against subtle harmonic shifts that day and each of the fi ve Sundays in Lent, a two-part mixed choir. Fitting for any of Good for any Sunday during the season yield to a quasi-improvisatory feel in its last while also getting ready for the services the Sundays in Lent. of Lent. 21 measures. “Gavotte” is in a traditional of Holy Week and Easter. Following are —Anne Krentz Organ binary form without the modulation at the choral suggestions for the season, some Third Sunday in Lent St. Luke’s Lutheran Church double bar that occurs later in the second in SATB voicings, and other, simpler Kyrie, by Audrey Snyder. Three-part Park Ridge, Illinois section. “Toccatina” also employs large- pieces for two- or three-part choir. These mixed choir with optional piano scale ABA forms that cleverly use meter to selections will fi t the readings of the Lec- accompaniment, Alfred Music Pub- achieve its success. tionary Year B. lishers, AP.SV9512, $1.10. New Organ Music In Sieben Tänze, de Jong chooses Part of Alfred’s “Easy Choral Master- Sieben Orgelstücke im romantischen idioms rarely heard on concert pro- Ash Wednesday works” series, this piece may be sung Stil, op. 59 (2014, €15); Sieben grams—”Foxtrot,” “Fandango,” “Sicili- Create In Me, by Terre Johnson. either a cappella or with piano accompa- Tänze, op. 60 (2014, €16); Zwölf enne,” “Saltarello,” “Valse Triste,” and SATB and piano, MorningStar Music niment. The Greek text—Kyrie eleison, Meditationen, op. 67 (2015, €16), “Charleston.” These pieces are com- Publishers, MSM-50-3078, $1.85. Christe eleison, Kyrie eleison—is com- Margaretha Christina de Jong. Dr. J. posed in traditional dance forms and Psalm 51:1–17 is the appointed psalm monly included in worship services dur- Butz Musikverlag, Bonn, Germany. with regular phrase structures as would for this most solemn day of the church ing the penitential season of Lent. Available from: http://butz-verlag.de. be expected of the genre. Each piece year. Johnson has set verses 10–12 of the In these three collections de Jong maintains traditional rhythms associated psalm here in a lovely, lyrical arrange- Lamb of God, by Twila Paris, secures her place among the elite list of with the respective dances and creates ment. The piano accompaniment fl ows arranged by Craig Courtney. SATB, organist/composers in the world today. A a characteristic mood. “Fandango” and with triplets underneath the choral writ- keyboard, and fl ute, Beckenhorst Rotterdam Conservatory graduate with “Sicilienne” will require a bit more ing, undergirding and supporting the Press, BP1649, $2.10. diplomas in church music, organ peda- attention due to the imitation of a guitar sustained vocal lines. Particularly appropriate during Holy gogy, and performance, in addition to in the former and the active left hand in Communion, Courtney’s arrangement of several fi rst place prizes at international the latter. As with all de Jong’s collec- Guardamé Señor (Bless and Keep Paris’s words and melody begins softly in organ competitions, de Jong composes in tions, aspects of playing are given to the Us, Lord), by Mark Sedio. SATB, C major, moves to E major with increas- a manner that is remarkably accessible to good taste of the performer. These are keyboard, and optional two fl utes, ing intensity, incorporates an a cappella audiences. With her considerable creden- welcome collections to both church and Lorenz (Sacred Music Press), section, and ends quietly with voices, tials one might expect tour de force, vir- theater organists and would make for AM793, $2.05. piano, and fl ute. tuosic passages that dazzle audiences with interesting recitals pieces! This piece is based on texts from the their technical demands. But instead, one —David Troiano psalms, including Psalm 51. It is written Fourth Sunday in Lent will discover works that enchant perform- St. Clair Shores, Michigan in refrain/verse form, with the text for the God So Loved the World, by Kevin ers and listeners alike. A guiding principle refrain (SATB) in both Spanish and Eng- Hildebrand. Two-part choir and in these collections seems to be keeping lish, the verses (unison) solely in English. organ, Concordia Publishing House, the organ alive as a contemporary concert New Handbell Music The addition of the instruments, scored as #98-4275, $1.90. instrument in addition to its long-held The Best of AGAPE, for 3–5 octaves, two fl utes (but works equally as well with This day’s gospel reading includes the role as a congregational leader. Unlike Volume I. Agape (a division of Hope violins), adds a delightful variety of color. beloved passage from John 3:16, “For her previous four collections that are Publishing Company), Code No. God so loved the world . . .” Hildebrand’s directly devoted to church hymns, these 2795, $14.95, Level 2+ (M-). First Sunday in Lent setting, incorporating the hymn tune St. collections might be considered “cross Here is a 60-page collection that Forty Days and Forty Nights, by Crispin, is scored for two-part choir. over” collections, whereby op. 67 and sev- includes ten of the arrangements previ- Harrison Oxley. SATB and organ, This could be children, youth, adults, eral pieces in opp. 59 and 60 (“Festliche ously published as separate titles. These Mayhew Brodt (Brodt Music Co., or any combination thereof. Having the Hymn,” “Berceuse,” “Toccatina,” “Can- well-liked compositions come from a Inc.), KM008, $2.00. two parts sung from two different spatial tilène mélancholique,” and “Sicilienne”) variety of composers and arrangers and The gospel selection for this Sunday locations would highlight the text and will create a spiritual awareness among represent a wide range of works useful tells of Jesus in the wilderness for 40 create additional interest. its listeners. The remaining compositions throughout the church year. Here is an days, tempted by Satan. Oxley’s arrange- of opp. 59 and 60 are based on de Jong’s opportunity to acquire nearly a dozen titles ment of this six-stanza hymn includes Oh, Love, How Deep, by Bradley apparent fascination with dance forms. for the cost of just a few. Titles include three stanzas that are melody alone; one Ellingboe. Two-part mixed choir In the Zwölf Meditationen, six pieces “Breathe,” “Great is Thy Faithfulness,” transposed to a new key for harmonic with soprano descant, organ, and are composed for manuals only that will “You Are Mine,” “I Wonder as I Wander,” interest; two stanzas of melody for alto, percussion (fi nger cymbals, tambou- require two keyboards for tonal contrast; “In Christ Alone,” to name a few. tenor, bass, with a soprano descant (two rine, and drum), Neil A. Kjos Music the remaining six are for two keyboards different descants); and one SATB stanza. Company, Ed. 8831, $1.70. and pedal. This collections abounds in Reproducible Rings IV, arranged Eminently doable, especially for a choir The sturdy fi fteenth-century English beautiful, elegant, lush melodies cast for 2–3 octaves of handbells, by that may have lost its previous weeknight tune Deo Gracias is given a lively in a slow harmonic movement (usually Lloyd Larson. Agape (a division of rehearsal due to Ash Wednesday. treatment by Ellingboe in this setting two chords per measure regardless of Hope Publishing Company), Code of Thomas à Kempis’s text. Percussion the meter employed) that offer listeners No. 2794, $49.95, reproducible, A Lenten Walk (Jesus Walked This plays throughout. The fi rst stanza is sung pause and refl ection on the deeper reali- Level 2 (M-). Lonesome Valley), by Hal H. Hop- by women, the second by men, the third ties of life without citing scripture or dog- This collection of nine hymn settings son. Two-part mixed choir, organ, stanza is voices in unison with organ, matic references. With a strong emphasis can be quickly learned and ready to optional timpani, and one handbell, and the fourth stanza breaks loose with on melody, contrapuntal writing is rare, perform with limited preparation time Augsburg Fortress Publishers, ISBN soprano descant, harmony in the men’s with the two exceptions in Meditations by ringers without much previous expe- #978-0-8006-5448-1, $1.60. part, lively organ, and percussion for a VI and X, which exhibit canonic writing. rience. There is a broad range of hymn This two-part anthem ties themati- spectacular ending. Phrasing is extremely regular, and there tunes and carols that should appeal to cally to the gospel reading for the day is a great deal of freedom given to the both ringers and the audience. Purchas- and is easily learned. Along with the Fifth Sunday in Lent performer in terms of tempo, dynamics, ing one book allows you to copy all the traditional American spiritual melody, Never the Blade Shall Rise, by Kathy and articulation as is stated in the preface. music for use by your bell group. Titles there are two counter-melodies. A Powell. SAB choir, descant, guitar, These pieces will be successful if the include “Be Still, My Soul,” “While by lovely, simple arrangement that sets the keyboard, and C instrument, GIA performer uses rubato well and plays with the Sheep,” “O for a Thousand Tongues tone for the season. Publications, Inc., G-3817, $2.15. sensitivity. Two interesting features and to Sing,” “When Morning Guilds the On this fi fth Sunday in Lent Jesus effects observed include a fi xed note (c′′′) Skies,” and more. Second Sunday in Lent says, “Unless a grain of wheat falls into to be held for extended passages in Medi- Take Up Your Cross, by Anthony the earth and dies, it remains just a single tation IV and, in Meditation XII, a style Through the Walk of Life, arranged Giamanco. Two-part mixed choir grain; but if it dies, it bears much fruit.” that organically unfolds as if it were a slow for 3, 4, 5, 6, or 7 octaves of hand- and keyboard, Augsburg Fortress Powell sets this scripture text to music in jazz improvisation. Musicians in liturgi- bells, by Matthew Compton. Cho- Publishers, ISBN 978-0-8006-7896- an SAB setting with a quasi-Renaissance cal and non-liturgical churches will fi nd risters Guild, CGB813, $4.95, Level 8, $1.60. feel. The C instrument adds rhythmic many moments to utilize this collection. 4+ (D+). In this Sunday’s gospel selection Jesus and harmonic interest. The congrega- Sieben Orgelstücke im romantischen If you’re looking for a “barn burner” says, “If any want to become my follow- tion may be invited to sing along on the Stil offers organists new material for con- of a piece to challenge your ringers, this ers, let them deny themselves and take up refrain; music is included on the back certs and several moments (cited earlier) would certainly qualify. Beginning with their cross and follow me.” This anthem, cover for reprint purposes. that can be used at church services. The an ostinato pattern in the treble, alter- using Charles W. Everest’s hymn text, is preface states that although these are writ- nating between 4/4 and 7/8 rhythms, this primarily a two-part anthem, although What Wondrous Love Is This, by ten as independent pieces, a cyclic per- melodic material builds and swells with Giamanco breaks into SAB writing in two Evelyn R. Larter. SATB, piano, and formance is possible with the interval of a energy through 12 pages of a driving climactic spots. The piece is based on the violin, Augsburg Fortress Publishers, descending fi fth prominently recognizable force that ends in a scintillating 22-note lilting Scottish folk melody Candler. ISBN #978-0-8006-2157-5, $1.75. throughout. In some pieces, three manuals chord. The music was inspired by the This North American folk hymn from are needed. “Cantilène mélancholique” scripture based on I John 4:7, 11–12: I Want Jesus to Walk with Me, by Southern Harmony begins simply and and “Berceuse” are dream-like pieces that “Beloved, let us love one another: for Hal H. Hopson. Two-part treble or builds in intensity until the fi nal, rous- build themselves around beautiful themes. love is of God.” mixed voices and piano, Choristers ing stanza, ending with “and through In “Cantilène,” de Jong uses a large-scale —Leon Nelson Guild, GGA701, $1.95. eternity, I’ll sing on!” The choral parts ABA form with the B section set in the only Vernon Hills, Illinois

12 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM A LOST BING CROSBY CHRISTMAS RECORDING FOUND AFTER 60 YEARS! CHRISTMASTh e Bible Story of with traditional carols in Gospel sequence sung by THE BONAVENTURE CHOIR Narrated by BING CROSBY

Conducted by Omer Westendorf Betty Zins, Organ Photo of Mr. Bing Crosby provided courtesy The Bible Story of of Bing Crosby Enterprises. CHRISTMAS

with traditional carols in Gospel sequence sung by THE BONAVENTURE CHOIR

Sixty years ago, American Icon Bing Crosby loaned his famous Narrated by BING CROSBY baritone voice to unify traditional carols with the spoken narration of Luke 2:4–20. After discovering this recording in our vault, we felt it was time to share this lost Bing Crosby recording with the world again. Th e original tapes have been remastered from the 1956 original. Th e reading of the Christmas Gospel by Bing Crosby has never been used in any of his other works. A must-have for any Bing Crosby fan. Th is album, originally published in 1957, is a re-release of one of the lost treasures of the World Library Publications archive and is an offi cial Bing Crosby Archive release. 007403 Th e Bible Story of Christmas narrated by Bing Crosby Order today at wlpmusic.com or CD ...... $10.00 call 1-800-566-6150 007405 Th e Bible Story of Christmas narrated by Bing Crosby and ask for the Vinyl LP ...... $25.00 Bing Crosby album. Also available at Amazon.com

World Library Publications the music and liturgy division of J.S.Paluch Company, Inc. 3708 River Road, Suite 400 Franklin Park, IL 60131-2158 DIA1217 800-566-6150 • [email protected] • wlpmusic.com Harpsichord News

From the Harpsichord Editor It was East Texas Pipe Organ Festi- val director Lorenz Maycher who fi rst alerted me to the news that Zuzana Ru˚ žicˇková had passed away. Shortly thereafter I read her extensive obituary in The New York Times (which, fol- lowing their standard style, indicated the correct pronunciation of the name: (rouge-ITCH-ko-va). Immediately it was obvious that a tribute should be written for Harpsichord News. She was a famil- iar name to me, for I had attempted to arrange a meeting with her during my singular one and a half-day day visit to Prague, as I hoped to glean her insights into one of my favorite twentieth-cen- tury harpsichord compositions, Bohuslav Zuzana Ru˚žicˇková with harpsichordist Martinu˚’s Sonate (1959). Alas, Mme. Luciano Sgrizzi in Bratislava, 1972 (photo Ru˚ žicˇková was not in Prague at that par- credit: János Sebestyén) ticular time, but she wrote a gracious let- ter apologizing for that absence, and she included her CD recording of the work, Zuzana Ru˚žicˇková with harpsichordist János Sebestyén in Prague, 1979 as well as several scores by her husband, Viktor Kalabis. Rather than my quoting the writ- ings of others, it occurred to me that a longtime friend and Dallas colleague, Robert Tifft, would be the best person to compose a unique and intimate trib- ute for this legendary fi gure, and even more so since he is comfortable with the plethora of diacritical marks required to Zuzana Ru˚žicˇková with harpsichordist render authentic spellings in the Czech Luciano Sgrizzi in Budapest, 1969 (photo language! His websites can be found at: credit: János Sebestyén) www.jsebestyen.org/harpsichord. All of us who treasure harpsichord education. She studied harmony with history are indebted to Mr. Tifft for the Gideon Klein and attended concerts fi ne essay and the private photographs and lectures staged by other residents. that comprise our December Harpsi- She also befriended Fredy Hirsch, who chord News. was later credited with saving the lives of —L. P. hundreds of Jewish children. Ru˚ žicˇková’s father died at Terezín, and Remembering Zuzana Ru˚ žicˇková in December 1943 she and her mother Personal Association Jury members Jacques Ogg, Giedré Lukšaité-Mrázková, Jitka Navrátilová, Zuzana were transferred to Auschwitz-Birkenau. I was in high school when I fi rst Ru˚žicˇková, and Kenneth Gilbert at the Harpsichord Competition of the 1999 Prague Here she once again came in contact encountered Zuzana Ru˚ žicˇková through Spring Festival (photo credit: János Sebestyén) with Hirsch, who told her to lie about her Supraphon LPs. These recordings, her age so she could work alongside him impossible to fi nd in the remote corner My fi rst and only encounter with her Her Life and Career as a teacher’s assistant, protecting her of Iowa where I grew up, were readily in person took place in March 2010. Zuzana Ru˚ žicˇková, the legendary from more dangerous work within the available from Qualiton Imports in New I was in Budapest visiting our mutual Czech harpsichordist, died in Prague on camp. She and the others transferred York. I fi rst wrote her after hearing the friend János Sebestyén and planned September 27, 2017. She was a virtuoso from Terezín were scheduled for the gas harpsichord concerto by her husband a short train trip to Prague. Miklós on her instrument, a noted teacher and chamber but were miraculously spared, Viktor Kalabis, a work of staggering Spányi accompanied me in hopes of recording artist, and a survivor of Nazi most likely because of a disruption in intensity that made a profound impres- examining her Ammer harpsichord, atrocities. In recent years she was the camp routine after the Allies invaded sion on me. Ru˚ žicˇková replied and I soon and my friend Ria Brézova joined us recipient of numerous honors celebrat- France on June 6, 1944. Ru˚ žicˇková and discovered, much to my amazement, that in Bratislava. We met Ru˚žicˇková for ing her life and accomplishments. her mother were then sent to Germany she always answered. She was an inveter- lunch, then spent the afternoon at her She was born January 14, 1927, in the as forced laborers, working on oil pipe- ate correspondent, and it was a pleasure home trying out the Ammer and shar- city of Plzenˇ where her father owned a lines and at the shipyards near Hamburg. to receive her beautifully handwritten ing stories. That evening the four of us successful department store. Her piano In February 1945 they were transferred letters and postcards. In January 1994 attended a concert by the Graffe Quar- teacher, Marie Provazníková, introduced to the Bergen-Belsen concentration she wrote to inform me of her concerts tet at the Rudolfi num to hear music by her to the music of Bach and encouraged camp, described by Ru˚ žicˇková as the in Washington, D.C., and included a her late husband. It was a memorable her to study harpsichord. Ru˚ žicˇková’s abil- “lowest part of hell.” As the war neared phone number. This initiated the fi rst of day, not just for me, but for Ria and ities were apparent from an early age, and its end, German guards abandoned the many conversations. She was wonderful Miklós as well, each of us vividly aware preparations were made for her to study camp and English and Canadian soldiers on the phone—always engaging, always how fortunate we were to spend at with Wanda Landowska at Saint-Leu-la- liberated the surviving prisoners on April laughing, and genuinely interested in least a few hours in the company of this Forêt near Paris. The possibility of study 15. In July, after months in a hospital what I had to say. extraordinary woman. abroad became impossible as the Second where she assisted medics as a translator, World War advanced, and in January 1942, Ru˚ žicˇková and her mother returned to Ru˚ žicˇková and her family were interned at Plzenˇ only to fi nd their home occupied the Terezín ghetto (Theresienstadt). and possessions gone. She credited her Described by the Nazis as a “model survival through all this not to courage, community,” Terezín was the only camp but “a hundred lucky moments” and her that allowed some artistic activities. mother’s strength. Ru˚ žicˇková labored in the fi elds during Despite conditions endured during the day but was able to continue her the war, Ru˚ žicˇková’s passion for music

14 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM By Larry Palmer

artist little more than a decade after the war, and later to speak publicly of her wartime experiences in order to fi ght the “Auschwitz Lie”—the denial that the Holocaust ever took place. After Kalabis’s death in 2006, Ru˚ žicˇková devoted her last decade to preparing his manuscripts for publication by Schott Music and established a foundation to promote this music through concerts and recordings. This decade also saw numerous accolades for Ru˚ žicˇková her- self, including the Czech Cultural Prize in 2012 and the Bohemian Heritage Fund Award the following year. Her 90th birthday was celebrated with interviews in the international press, the reissue of her complete Bach cycle in a 20-CD edition from Warner Classics, and the release of the fi lm Zuzana: Music is Life, which screened at festivals throughout 2017 in Washington, D.C., Los Ange- les, London, and Prague. Her legacy to Zuzana Ru˚žicˇková with harpsichordist Luciano Sgrizzi in Bratislava, 1972 (photo Zuzana Ru˚žicˇková in Budapest, 1994 future generations is secure through the credit: János Sebestyén) (photo credit: János Sebestyén) fi lm and her recordings, but her most enduring legacy to those fortunate to remained undiminished. Her hands his works for solo harpsichord. The and Sperrhake, but there were experi- have known her is the gift of her friend- nearly ruined from physical labor, she sessions took place in Paris and Prague ments with historic harpsichords, and ship. Her graciousness and generosity, was determined to regain her skills. In over a period of eight years, and an she played instruments by Hemsch for the sincere warmth of her personality, Plzenˇ she studied piano with Bohdan integral 21-LP edition appeared in 1975, two LPs in her Bach edition. In 1975 her unfailing sense of humor and delight Gsöllhofer, and in 1947 was admitted winning the prestigious Grand Prix de she recorded Purcell’s suites in Tokyo in the ironic, and of course her incred- to the Academy of Performing Arts in L’Académie Charles Cros. on a condor-quilled instrument by ible tenacity, were unforgettable. She Prague where her professors included Ru˚ žicˇková’s teaching career at the Michael Thomas. But it was not until was an inspiration and comfort to all and pianist František Rauch and harpsi- Academy of Performing Arts spanned 50 the late 1980s that she had access to his- a remarkable human being. chordist Oldrˇich Kredba. She decided to years, but her refusal to join the Com- torical copies in Prague, and when she Further information is available specialize in the interpretation of early munist party led to her being denied the returned to the Well-Tempered Clavier through the Viktor Kalabis & Zuzana music and gave her fi rst harpsichord title of professor until after the “Velvet in 1995, she played instruments copied Ru˚ žicˇková Foundation: recital in 1951. Revolution” in 1989. She also estab- after Ruckers and Harraß by František www.kalabismusic.org. It was while teaching piano to com- lished a harpsichord class at the Music Vyhnálek and Jürgen Ammer. —Robert Tifft position students at the academy, a posi- Academy in Bratislava and gave master The marriage of Viktor Kalabis and tion she obtained in 1950, that she met classes in Zürich for 23 years, with Zuzana Ru˚ žicˇková was one of excep- Comments and questions are welcome. her future husband, composer Viktor additional courses in London, Stuttgart, tional devotion that lasted 54 years. It Address them to Larry Palmer: lpalmer@ Kalabis. They married in 1952. Budapest, Kraków, and Tokyo. Her stu- was through his encouragement that smu.edu or 10125 Cromwell Drive, Dal- In 1956 she won the ARD Interna- dents include Christopher Hogwood, she returned to Germany as a concert las, Texas 75229. tional Music Competition in Munich and Ketil Haugsand, Anikó Horváth, Borbála accepted a scholarship from jury mem- Dobozy, Giedré Lukšaité-Mrázková, THE ORGAN HISTORICAL SOCIETY’S SIXTY-THIRD ANNUAL CONVENTION ber Marguerite Roesgen-Champion Jaroslav Tu˚ ma, Václav Luks, and Monika to continue her harpsichord studies in Knoblochová, and during her last years Paris. Her success in Munich marked the she mentored Mahan Esfahani. beginning of an international career. She Ru˚ žicˇková approached the harpsi- performed regularly throughout Europe, chord as a modern instrument for the made repeated visits to Japan and the modern world. Her goal was never to United States, and appeared at Bach recreate Bach’s music exactly as he Festivals in Leipzig, Stuttgart, Heidel- would have heard it, but to communicate berg, Ansbach, Frankfurt, Schaffhausen, its essence to a contemporary audience. Bath, and Oregon. In her own words, “I am a synthesist In 1962 she co-founded the Prague who remains within the style of a certain Chamber Soloists with conductor period yet does not eschew modern Václav Neumann, and 1963 saw the means.” Ru˚ žicˇková’s playing sounds 2018 formation of a very successful duo like no one else, and her approach to with violinist Josef Suk, with whom she interpretation is not easily classifi able. PIPE ORGAN CALENDAR recorded the Bach sonatas on four dif- She operated within the mainstream of ferent occasions. Other chamber music classical music, the result of her associa- partners included János Starker, Pierre tion with contemporary music and close OUR 2018 CALENDAR IS NOW AVAILABLE! Fournier, and Jean-Pierre Rampal, and friendships with the leading musicians of THE OHS 2018 CALENDAR celebrates the 63rd Annual Conven- she worked with many noted conductors her day, and refused to confi ne herself to tion of the OHS – Rochester, New York, July 29 to August 3, including Serge Baudo, Herbert Blom- a particular niche. 2018 – showcasing one of the most diverse collections of stedt, Neville Marriner, and Helmut Ru˚žicˇková’s diminutive stature belied American and European organs from the 18th to 21st centuries. Rilling. Her repertoire spanned works her commanding presence on discs. She This calendar is fi lled with gorgeous photographs by Len by the English virginalists through con- excelled in large-scale works, such as Levasseur, ranging from the Baroque splendor of both the temporary composers. She championed Bach’s French Overture or sixth English “Craighead-Saunders Organ” – a process-reconstruction of a the harpsichord concerto by Bohuslav Suite, and one often senses in her many 1776 A.G. Casparini organ – and an original 18th-century Ital- Martinu˚, performing it frequently and concerto recordings that she, and not the ian Baroque organ to the subdued polychroming of two late recording it for the fi rst time in 1967. conductor, is the guiding force behind the 19th-century Hooks and an early 20th-century New York She premiered compositions by Emil interpretation. Critics were sometimes builder C.E. Morey. Flip ahead to fi nd the massive carved case E. POWER BIGGS Hlobil, Hans-Georg Görner, and Eliza- unconvinced by her recordings, quibbling of the 2008 Fritts at Sacred Heart Cathedral, referencing Dutch beth Maconchy, and several composers over tempos, registrations, or the type Renaissance models; the extravagant conservatory of the dedicated works to her, the most impor- of harpsichord she played, and yet her George Eastman Museum and its signature 4-manual Aeolian FELLOWSHIP tant being those by her husband. He integrity and the conviction with which console; and modernist designs of the Organ Reform Movement composed his fi rst piano concerto as a she approached everything she commit- represented by Holtkamp and Schlicker. Compare those with the DEADLINE FOR APPLICATIONS wedding gift, and signifi cant works for ted to disc remained unquestioned. harpsichord followed: Six Two-Voice In Prague she was limited to revival- elegant, neo-historical cases from C.B. Fisk and Taylor & Boody, Canonic Inventions (1962), Concerto style harpsichords from the East Ger- as well as the Apollonian restraint and grace of Hope-Jones MIDNIGHT, FEBRUARY 28, 2018. for Harpsichord and Strings (1975), man fi rm Ammer for the fi rst three Organ Co., Op. 2 at First Universalist Church. Nathan Laube’s OPEN TO WOMEN AND MEN OF Aquarelles (1979), and Preludio, Aria e decades of her career. This is the welcoming article provides a snapshot of the rich offerings – Toccata (1992). instrument she played at home, took organological and otherwise – that you can expect to discover ALL AGES. TO APPLY, GO TO: The music of Bach, however, remained on tour, and with which she is most in Rochester and its surroundings. The Calendar highlights U.S. central to her art. In 1964 she recorded a closely identifi ed. In the early 1980s Holidays and the major dates of the Christian and Jewish year. BIGGS.ORGANHISTORICALSOCIETY.ORG Partita, English Suite, and French Suite she turned to an instrument by German by Bach for the French label Erato, and builder Georg Zahl. In France she most this soon led to a contract to record all often played instruments by Neupert CALENDAR.ORGANHISTORICALSOCIETY.ORG

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2017 Q 15 In the wind...

Who you gonna call? in the musician’s job description. Oth- When I was an organ major at ers do not, and it’s often a struggle to Oberlin in the mid-1970s, I had a part- get boards and committees to grasp time job working for Jan Leek, a fi rst- the concept of responsible care of their generation Hollander who came to the organs. It’s also important to note that United States to work for Walter Holt- while most churches once had full-time kamp and wound up as Oberlin’s organ sextons or custodians, that position is and harpsichord technician. Traveling often eliminated as budgets are cut. around the Ohio and Pennsylvania Lots of church buildings, especially countryside with Jan making organ larger ones, have sophisticated engi- service calls, I learned to tune and neering plants that include HVAC, learned the strengths and weaknesses elevators, alarm systems, and sump of action systems of many different pumps. The old-time church sexton organbuilders. I moved back to Boston knew to keep an eye on all that, and in 1984 with my wife and two young to be sure they were serviced and sons to join the workshop of Angerstein evaluated regularly. Hiring an outside & Associates, where along with larger vendor to clean the building does not projects including the construction of replace the custodian. I think it makes new organs, I made hundreds of service sense for such a church to engage a calls. That workshop closed in 1987 mechanical engineer as consultant to when Daniel Angerstein was appointed visit the building a few times each year tonal director for M. P. Möller, and I checking on machinery, and have vol- entered a decade during which I cared unteers clean the building. for as many as 125 organs each year as A pipe organ is a machine like none the Bishop Organ Company. other, a combination of liturgical art I’ve always been an advocate for dili- and industrial product. A layman might gent organ maintenance, but ironically, look inside an organ chamber and see I’ve noticed in my work with the Organ a machine, but the musician sits on the Clearing House that century-old instru- bench facing a musical instrument. If you ments that have never been maintained think that the governing bodies of your are sometimes the most valuable. The church don’t fully appreciate the value of pipes are straight and true, the original their organ, I offer a few thoughts you voicing is intact, and there’s not a trace might use to raise awareness. of duct tape anywhere. You remove a dense layer of grime (mostly carried out “Cleanliness is next to Godliness” of the organ on your clothes) to reveal It’s an old saw, but besides your per- a pristine instrument. You might take sonal hygiene, there’s likely nowhere that as an argument not to maintain an in your life where it rings truer than in organ, but the truth is that I’ve found your pipe organ. After fi re, fl ood, and most of those organs in remote humble vandalism, dirt is the worst enemy of the (photo credit: Richard Houghten) churches, where in many cases they pipe organ. An organ technician knows haven’t been played for decades. that a fl eck of dust getting trapped on • Close the circuit breaker that pro- fi ve or ten years, with that value named The challenge for the conscientious the armature of a chest magnet or the vides power to the blower so it can’t be on the church’s insurance policy. organ technician is not to leave a mark. surface of a pallet is enough to cause a started accidentally. If the organ at your church sustains If your tuning techniques damage pipes, cipher. The leg of a spider will wreck the • Vacuum, sweep, wash walls, ceiling, $250,000 of damage because of a roof you’re not doing it right. You should not speech of a trumpet pipe, most likely fl oor, blower housing, wind regulators, leak, and the replacement value of the leave scrape marks on the resonators one of the fi rst fi ve notes of the D-major and ductwork. organ is not specifi cally listed on the with your tuning tools, and you shouldn’t scale, ready to spoil almost every wed- • Leave the room undisturbed for 48 church’s insurance policy, a lot of discus- tear open the slots of reed pipes. Cone- ding voluntary. hours to allow dust to settle before open- sion is likely to lead to a disappointment. tuned pipes should stay cylindrical with But where did that dirt come from? ing and starting the blower. their solder seams unviolated. Wiring When building windchests, windlines, Likewise, if a church fails to cover and What makes good maintenance? harnesses should be neat and orderly, bellows, and wind regulators, the organ- protect their organ while the fl oor of the It’s not realistic to make a sweeping with no loopy add-ons. Floors and walk- builder tries hard to ensure that there’s nave is sanded and refi nished, they can statement about how much it should cost boards should be vacuumed and blower no sawdust left inside. I have an air com- expect serious trouble in the future. to maintain an organ. Some instruments rooms should be kept clean. pressor and powerful vacuum cleaner require weekly, even daily attention, There are legitimate excuses for fast- permanently mounted by my workbench Identifi cation especially if they’re large and complex, and-dirty repairs during service calls, so I hardly have to take a step to clean As organist, you might be the only per- in deteriorating condition, and in use especially if you’re correcting a nasty the interior of a project I’m fi nishing. son in the church who can identify the in sophisticated music programs. Some problem just before an important musi- Assuming that the organbuilder deliv- areas occupied by the organ. Designate instruments require almost no main- cal event. But if you do that, you owe it ered a clean organ, the fi rst obvious place organ areas as “off limits,” with access tenance. A newer organ of modest size to the client to make it nice when you for an organ to pick up dirt is in the blower limited to the organ technician. Nothing with cone-tuning could go fi ve years or return.1 And, when you do make a fast- room. Many organ blowers are located in good will happen if the organ chamber is more without needing attention. and-dirty repair, you should adjust your remote basement rooms, and in many used for storage of old hymnals or fold- I suggest that every organ should be toolkit to accommodate the next one. cases, there’s no one changing the light ing chairs. Nothing good will happen if visited by a professional organ techni- Did you use a scrap from a Sunday bul- bulbs in basement corridors, and there’s teenagers fi nd their way inside to create cian at least once a year, even if no tun- letin to refi t the stopper of a Gedeckt no one in the building who knows what a secret hidey-hole.2 Nothing good will ing is needed, even if every note plays pipe? Put some leather in your toolbox that thing is. We routinely fi nd blower happen if the altar guild puts a vase full perfectly, even if all the indicators and when you get home. rooms chock full of detritus—remnants of water on the organ console, and, by accessories are working. The lubrication Many of the churches where I’ve of Christmas pageants, church fairs, fl ea the way, nothing good will happen if you of the blower should be checked, and maintained organs are now closed. markets, and youth group car washes. put your coffee cup there. the interior of the instrument should be Many others have diminished their Organ blowers can have electric motors The organ’s tuning will almost cer- inspected to guard against that one pipe programs and aren’t “doing music” of fi ve horsepower or more, and I often tainly be disrupted if someone goes into in the Pedal Trombone that has started anymore. Some tell me that they can’t see 90 or 100-year-old motors that throw the chamber out of curiosity. Most things to keel over. If it’s not caught before fi nd an organist, which is often because impressive displays of sparks when they inside pipe organs that are not steps lack it falls, it will take the pedal fl ue pipes they’re not offering a proper salary, and start up. If the ventilation is obstructed, the “no step” marking, like the touchy with it. A four-hour annual visit would some have “gone clappy.” In this cli- a fi re hazard is created. That sign from areas on an aircraft wing have. prevent that. mate, I think it’s increasingly important the 1972 church fair isn’t that important. It’s usual for an organ to be serviced for organ technicians to be ready to help Throw it away. Insurance twice a year. While it’s traditional for churches care properly and economi- To illustrate the importance of cleanli- Maybe that 1927 Skinner organ in your those service visits to be before Easter cally for their pipe organs. ness, I share our protocol for cleaning a church (lucky you) cost $9,500 to build. and Christmas, at least where I live in Some churches charge their organ- blower room: In the early 1970s, a new two-manual the temperate Northeast, Christmas ists with curatorial responsibilities, • Seal the blower intake with plastic Fisk organ cost less than $40,000. I’m and Easter can both be winter holidays, purposely placing the care of the organ and tape. frequently called as consultant when so it makes more sense to tune for cold a church is making a claim for damage weather and hot weather, or for heat on, to their organ, working either for the heat off. church or the insurance company, and Most organs do not need to be thor- I’ve been in plenty of meetings where oughly tuned during every visit. In fact, JL Weiler , Inc. bad news about the difference between starting over with a new “A” and fresh loss and coverage is announced. It’s both temperament every time can be coun- Museum-Quality Restoration possible and wise to have the replace- terproductive, unless it’s a very small of Historic Pipe Organs jlweiler.com ment value of an organ assessed every organ. While the stability of tuning

16 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM By John Bishop

single repairs that don’t matter much to the music. Remember that your church pays me the same for mileage and travel time whether I’m doing a full service call with dozens of little repairs, or making a special trip for a single issue. A cipher is a bigger issue than a dead note. It’s important to the long life of an organ not to “overtune.” Believe it or not, many churches in northern climes do not have air-conditioning, and it’s usual for temperatures to climb into the 90s inside the organ during the summer. If an organ was built, voiced, and tuned for A=440 at 70°, you’ll ruin the reeds— really ruin them—if you try to tune them to the Principals at 90°. It doesn’t make organist’s role in organ maintenance sense to wreck an organ’s reeds for one is keeping a list. Maintain a notebook wedding, no matter who is the bride. on the console, and write down what One of the most diffi cult tuning assign- you notice. You might hear a cipher in ments I’ve had was at Trinity Church, the middle of a hymn that goes away. Copley Square in Boston, in the early If you can pay attention enough to 1990s when Brian Jones, Ross Wood, identify anything about it (what divi- and the Trinity Choir were making their sion, what stop, what pitch), write it spectacular and ever popular recording down. If you think of a question, write Candlelight Carols. It was surreal to it down. Maybe you noticed a tuning sit in the pews in the wee hours of the problem during a hymn. Write down morning, wearing shorts and a tee-shirt, the hymn number and what piston you sweltering in mid-July heat, listening to were using. I’ll play the hymn and fi nd David Willcocks’s fanfare and descant for the problem. O come, all ye faithful. Everyone wanted When I make repairs, I can check the organ to be in perfect tune, but it was things off your list, write comments my job to be sure that the organ’s spec- about the cause, make suggestions for tacular antique Skinner reeds would live future repairs or adjustments, and invite to see another real Christmas. More than you for coffee the next time. The console 200,000 copies of that recording have notebook is the most important tool for been sold, so lots of you have a record of maintaining an organ. Q that tuning! Notes § 1. As I write, I’m thinking of the three cli- (photo credit: Richard Houghten) ents where I owe follow-up. You know who Remember what I said about those you are. varies from organ to organ, most instru- blown reservoir can lead to the blower dead notes that are a nuisance but 2. I once found a little love nest inside an ments hold their basic tuning well. I overheating.) not critical to the use of the instru- organ, complete with cushions, blankets, can- generally start a tuning by checking the • You hear unusual mechanical noise, ment? The most important part of the dles, and burnt matches. What could happen? pitch stops in octaves from the console, grinding, thumping, squeaking, etc. writing down a few that need tuning, • You fi nd paint chips in organ areas. and check the organ stop-by-stop for (Is the ceiling falling in?) inaccuracies. I list a couple dozen notes • The organ blower has been left on that need tuning and a half-dozen accidentally for a long time. It’s a long stops that don’t need anything, and I time for a blower to run between Sundays. list which reed notes (or stops) need • And obviously, when something to be tuned. In that way, I can build on important doesn’t work. the stability of tuning established over years, keeping the broad picture of tun- When you should not call ing clear and concise. Sudden changes in climate often Regular organ maintenance should cause trouble with the operation of a include cleaning keyboards, vacuuming pipe organ. Several days of heavy rain under pedalboards (the tuner keeps the will raise the humidity inside a build- pencils), checking blower lubrication, ing so Swell shutters squeak and stick, and noting larger things that will need keyboards get clammy and gummy, and attention in the future. Tuners, if you see the console rolltop gets stuck. If you cracks in a leather gusset on a wind regula- can manage, simply let the organ be for tor, make a note with your invoice that it several days. When conditions return to will need to be releathered within several normal, chances are that things will start years. Your client doesn’t want to hear bad working again. Likewise, excessive dry- news, but they don’t want a sudden failure ness can cause trouble. and emergency expense either. A couple years ago, I was rear-ended in heavy traffi c on the Hutchinson River When you should call Parkway in Westchester County, just The better you know your organ, the north of New York City. I drive a full- easier to judge. I once received a panicky size SUV and have a heavy-duty trailer call from an organist saying the entire hitch so while the Mercedes that hit organ had gone haywire. He was abusive me left a rainbow of fl uids on the road over the phone, and demanded that I under its crumpled radiator, the only come right away. I dropped everything damage to my car was that the back-up and made the 90-minute drive to the camera stopped working. As I’ve driven church. Haughtily, he demonstrated the many hundreds of thousands of miles cause of his concern. It took me just a few without one, I didn’t bother to get it seconds to isolate one pipe in the Pedal fi xed, and I’m still perfectly happy driv- Clarion. If he had bothered to look, he ing the car. could have played without the Clarion for If there’s a dead note in the middle weeks, but I couldn’t tell him that, and octave of the Swell to Great coupler, I’ve carried the memory of that unpleas- call me and I’ll fi x it. It’s important to ant encounter for more than 30 years. the normal use of the organ. If there’s a You should call your tuner/technician dead note in the top octave of the Swell when: to Choir 4′ coupler, and it’s spoiling a • You hear a big bang from inside the melody in a certain piece you’re playing, organ. (Once it was a raccoon tripping a choose a different registration, or choose Havahart trap!) a different piece. One good way to head • You hear unusual wind noise. your church toward giving up on the (In some organs, a big air leak like a pipe organ is to spend a lot of money on

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2017 Q 17 On Teaching

Helping Students Choose will not always be the answer and will Fingerings VII not always solve the problem to switch I start this month’s column by follow- notes into the other hand. But perhaps ing up on my closing comment from it will, and it is logically the fi rst easy last month, that I would write about thing to check. how to recognize, in these particular There are only two hand possibilities circumstances, when a fi ngering issue is for any note, as well as limited fi nger- really a hand distribution issue. I have ing choices for notes that are within Example 1 written at length about hand distribu- the reach of either hand. A signifi cant tion (as the principal subject of three proportion of what look like tricky columns, July, August, and September fi ngering spots can be solved by correc- 2014, and in passing elsewhere). Since tion. Again, it is a good idea to prepare fi ngering choices can’t be made prior to students in advance to think about this, hand distribution choices, it is a neces- but equally important to keep an eye on sary part of the student’s autonomous it along the way. thinking about fi ngering that they think Speaking of the thumbs, I am aware Example 2 about hand distribution. I enumerated of the pitfalls of using thumbs on black this among the guidelines with which notes, as you also know if you have read I would send a student off to work out this column often. I mentioned that as fi ngerings. At this current stage, when something to send students off thinking you as the teacher are watching and about as they work on fi ngering. And evaluating a student’s fi ngering choices, clearly if you see a student using a thumb you need to evaluate whether there is on a black note and it looks awkward, that any awkwardness created by playing is a spot that you and the student should some notes in the hand that is less easily scrutinize. However, the opposite prob- Example 3 suited to reach them. lem can also occur. From time to time It occurs to me that this is usually I see a student conscientiously avoiding sensible substitutions. An instance of actually executing the legato (that is, closely bound up with the use of the playing a sharp or fl at with the thumb this is demonstrated in Example 1. having planned out a somewhat com- inner part of the hand. When notes when doing so would be best, maybe I would not expect a student to attempt plicated fi ngering for which the only are positioned such that either hand actually fi ne, maybe a bit awkward but literally this fi ngering, though someone, rationale would be to connect notes, might reasonably play them, then it the best available choice. Beyond just perhaps a real beginner, might. It would and they are in fact optionally releasing is (usually? always?) the thumbs and adjusting the fi ngering, this can be an probably be an executed but not written- fi ngers and not connecting the notes), second fi ngers of the two hands that opportunity to remind the student that in fi ngering, since the very act of writing then this is a time to query. Sometimes are in competition for those notes. It guidelines are just guidelines, and that it this shows that it is too elaborate. But an impulse to use a legato fi ngering at is also true that awkward hand position is the maximum hand-comfort itself that it encapsulates the principle of starting all costs comes about because that fi n- often (though not always) results from counts. Guidelines are really guesses somewhere, running out of fi ngers, and gering feels like holding on to the notes choices about the use of the thumb. about what is likely comfortable most of not having a good way to recover. If for dear life and creates a sense of note Also, the decision to use the thumb the time. the passage went like that exhibited in security. That sense is a false one if the or second fi nger to play a particular Example 2, then the impetus to use the fi ngering is awkward or if it causes the note will often change what the rest Fingering forward and backward fi ngering in Example 1 would be more hand to be rooted in one place when it of the hand has to do with the other One of the concepts with which understandable. If the passage went like should be free to move to another. notes—the notes that “offi cially” are I suggested sending a student off to that in Example 3, then the fi ngering in One point to notice in watching stu- in that hand, and have to remain so. work on fi ngering was that fi ngering Example 1 would be in the conversation dent’s fingerings is whether there are Therefore, as you watch, listen, and should be accomplished forward and as a possible solution. This assumes a spots where a finger seems to be falling check for matters of concern in a stu- backward: that we shouldn’t always desired legato. As always, with non- naturally over a note, but the student dent’s fi ngering choices, your alertness start somewhere and fi nger ahead in legato technique, fi ngering possibilities plays the note with a different finger. for hand position problems and your the music from that point. Rather, we are expanded. There can be many reasons for this to checking for hand distribution issues should sometimes consider where we There is an interesting fork in the happen. One of those is that the stu- can largely converge. want the hand or a fi nger to be at a cer- road with substitutions in general. They dent is in fact planning just as I have tain point and reason backwards from can be either a sensible solution to a been writing above. In that case, the Hand distribution there. This is especially important when tricky fi ngering moment, preserving the benefit of starting a discussion about A hand distribution decision that is an there are crucial spots that are diffi cult desired articulation and using the hand that spot is that it can allow the teacher actual issue or question can only arise to fi nger. We must give those spots what effi ciently, or a desperate attempt to res- to ratify the student’s sense that what when there are more than two simulta- they need, and work outward in both cue a fi ngering disaster. We must know is being done makes sense. However, neous or overlapping notes. Otherwise directions to incorporate them into the how to tell these apart, and in evaluating it is also possible that the finger that either one note per hand makes sense, overall fl ow of the fi ngering. One way a fi ngering that a student has brought seems to be falling naturally over the or it is trivially easy to play both notes to notice when a student has given in back to us we can use a discussion of this next note would have been the right together in one of the hands, when to the common tendency to start at distinction to help the student become one to use, and that the student hasn’t the outer notes are close enough that the beginning and go forward with aware of the best ways to use substitu- seen this. This is often because it is just either hand can reach the inner notes. fi ngering is to notice when a fi ngering tion. If we see substitution, especially if a less-favored finger than the one that If those conditions are met, and there crashes (or even crashes and burns!). it is executed but not written in, then we the student is using—finger 4 being is anything awkward-looking occurring, That is, when everything looks smooth, should invite the student to talk about often less favored than 3, or 5 being as I sketched out last month (twisting of makes sense, sounds continuous and the reasons behind it. usually less favored than anything else, the hands, hunched shoulders, grimac- accurate as to rhythm, and then sud- Example 4 demonstrates another for example. But it can be for essen- ing or other uncomfortable expressions, denly falls apart: the hand looks bent sample of a fi ngering’s crashing because tially no reason. Sometimes if I say, tight-looking tendons or muscles), then out of shape, hesitations or wrong notes of lack of planning. This is one that I have “Finger 4 is almost touching that note. asking the student to review hand dis- occur, and so on. A subset of this is the indeed seen frequently in real life. In this Why not play it with 4?” the answer tribution choices is a good idea. This appearance of sudden, not musically case, if a signifi cant overall non-legato may just be, “Oh, yeah. That looks is what is desired, then there might be good,” or even, “I don’t know why I Confident pedal work nothing particularly bad about this fi nger- didn’t think of that.” Not thinking of ing. It might or not be comfortable or be options is universal, and is part of the comes with practice and best overall. But it is the kind of pattern reason that we study and teach. Some- that often or habitually arises not out of times there is an impulse to look for the right shoes a purposeful decision about articulation, the more complicated when the sim- but rather from starting somewhere and pler would have been just as good and on the not planning. If you observe a fi ngering actually better because it is simpler. like this and hear awkward irregularities Moments when a finger that seems to pedals in articulation, then it is something that be easily aiming at the next note is not should be questioned. used are sometimes instances of this. x Men’s & Women’s Organ Shoes Substitutions are one way under This kind of thing happens with every- some conditions of achieving legato. one, not just students and certainly not with suede soles and heels In general, as you watch your student’s just beginners. x Whole & Half new fi ngering, bear in mind that there are many ways of making succes- Fingering patterns Sizes in 3 Widths sive notes legato, and when they are I wrote earlier about note patterns x Quick & Easy intentional for the purpose they are and how and when they can or cannot be Returns important and good. But they are also a scaffolding on which to build fi ngering at risk for not being the simplest way patterns. This is a key thing to look for OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET to execute the successive notes. If you when a student brings a fi ngering back 44 Montague City Rd Email: [email protected] see a student using a legato fi ngering, to you. There is the two-headed basic Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes it looks awkward, and they are not manifestation: is the student missing

18 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM By Gavin Black

is trying. Ragged, hesitant, or otherwise unsuccessful playing is not one of the most reliable indicators of non-optimal fi ngering. But note that this is really about the percentages: sometimes bad fi ngering is what is going on in these situations. It is quite common for a student to say, “I can’t get this bit right. There must be a better fi ngering I could use,” when in fact it really is all about the practicing. Example 4 I am going to leave it there for the time being. In so doing I am aware any opportunity to achieve simplicity by short of being “dangerous” in the sense that, as I suggested at the beginning applying good, repeated patterned fi n- in which I have discussed that earlier, of last month’s column, I have by no gering where it would work, and is the and trying to get it to work well. This has means exhausted this subject. I have student imposing a patterned fi ngering had mixed results. It has been successful not, for example, talked very directly I have been writing these columns! where it is actually made awkward by enough to convince me that if I had had about how to make a more interven- I may indeed return to that at some something specifi c in the notes? There any reason to stick to it I could probably tionist approach work. For me, the gist point, partly for the content of it, partly are also a couple of special cases. Is the make it work, but not successful enough of that is to wear that approach lightly: because it is a bit of a case study in student using the same fi ngering when to make me think that that would ever to let students know that even though self-teaching. there is an exact repeat of a passage? be a good idea. you are making the initial fi ngering Next month, I will be on to other This can be literally a repeat sign apply- If a passage that a student reports choices, you want them to think those things. Q ing to some sort of section or, for that having fi ngered carefully and practiced fi ngerings out and ask you questions matter, successive verses of a hymn, well doesn’t seem solid, it is reasonably about them. I may return to this spe- Gavin Black is director of the Prince- assuming that they are played the same likely that the fault lies with the practic- cifi cally another time. I also could at ton Early Keyboard Center in Princeton, way as to such things as “soloing out,” ing more than with the fi ngering plan- this point write a whole column just New Jersey. His website is gavinblack- etc., or it can be a more limited return ning, or that the passage is simply not about how my own approach to all of baroque.com, and he can be reached by of the exact same notes. It can be in one ready to go at the tempo that the student this has evolved during the time when email at [email protected]. hand or through the whole texture. It can be a full-fl edged da capo as in the big E-minor Fugue of Bach among innumerable examples. Is there ever a legitimate reason to use a different fi ngering for two instances of exactly the same notes within the same piece? I am not sure that I have ever decided to do so. Maybe so with hymn verses, even apart A UTHENTIC SOUND from the obvious reasons derived from desired changes in texture, since the player might want to project a sig- FROM REAL PIPES: nifi cantly different feeling with various verses, and that might make fi ngering and interpretive decisions result differ- ently. In principle, a desire to project a different feeling when the same notes THE ORIGINAL TECHNOLOGY. come back within a repertoire piece is a real possibility. In fact, it should always be considered. After all, a pas- sage is different when it is being heard as a repetition or a hearkening back to something heard earlier. I do not recall that I have ever wanted to manifest this INVEST ONCE... through different fi ngering: perhaps I have thought of these differences as being more modest or subtle. If a student plays the same thing with dif- THINK APOBA. ferent fi ngering when it occurs at dif- ferent places in a piece, that is likely to be because of insuffi cient planning or mistaken execution. But pointing it out could still spark an interesting discus- sion of the matter! NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING AND SERVICE FIRMS

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2017 Q 19 British church musicians

A Celebration of Francis Jackson’s 100th Birthday

A Living Centenary at York Minster October 4, 2017 Robert Sharpe (director of music), Very Reverend Vivienne Faull (dean of York Minster), Canon Peter Moger (precentor), Philip Moore (organist emeritus) with By Lorraine Brugh Francis Jackson (photo credit: Judith Cunnold)

e settled into our seats after wait- saints; the forgiveness of sins; the resur- Wing in a long line to get into the rection of the body; and the life everlast- Quire at York Minster. Extra chairs lined ing.” He was still fi nding expression for the fl oor in front of the choir stalls, and his faith in the same place where he was an usher directed us to sit there. Candles fi rst a chorister 89 years earlier. were already lit in the stalls where the In Anglican Evensong the choral choir would be positioned, and Evensong anthem is placed just before the fi nal was ready to begin. Absorbing the beauty prayers at the end of the service. of the edifi ce, I focused my sight across Expecting a joyful anthem written by the Quire to others who had gathered Francis Jackson on this festive day, I was for the service. In the back row sat a very surprised by the choice, Remember for elderly man, surrounded by seats with Good, with text compiled by Eric Mil- placards reading “Reserved for Family.” ner-White and music by Francis Jackson. I knew that two days before, October 2, Jackson and Milner-White served the was the centenary of York Minster’s organ- Minster together for 17 years, from Jack- ist emeritus, Francis Jackson. Michael son’s arrival in 1946 until Milner-White’s Barone’s Pipedreams show for October death in 1963. The words are engraved 2 featured Jackson’s music and included in a prominent display at the Minster a recent interview with Jackson. Jackson and commemorate those who served in is alive and well, living in a village not far the Royal Air Force in World War II: from York. It was a treat to worship at the Remember for good, O Father, those Christopher Too (organ student at Ampleforth College), Francis Jackson, and Philip Minster so close to his birthday. Looking whose names we commemorate before Moore (photo credit: Judith Cunnold) at the service folder I was pleased to see thee: to whom we render honour and that the Choral Evensong would be sung give thanks in thy holy house. They went in celebration of the 100th birthday of through the air and space without fear, we were now standing, in the north and the shining stars marked their shining Dr. Francis Jackson, CBE, and would be deeds. They counted not their lives dear transept, was his favorite place to hear attended by members of the Royal College unto themselves but laid them down for the organ. of Organists. Jackson had been the orga- their friends. Many of the choristers had stayed nization’s president from 1972 until 1974. O Christ, O Lord of Lords, prince of through this part of the reception. In the armies of heaven, write their names in Never had I imagined that I would be thy book of immortality. And give to them front of me were three girls who had looking Francis Jackson in the eye, but that on earth were faithful unto death, thy sung that night. (Their job was to pass out there he was before me. A tiny man, crown of life in the paradise of God. potato chips at the reception.) At least only his head and shoulders were visible one couldn’t have been older than six. above the choir stalls. The choir sang the The music was dark, refl ective, yet I wondered what they were thinking as opening prayers in the aisle just outside fi lled with hope and beauty. It was a we older ones marveled at this man and the Quire, then we all stood as the choir deeply moving moment in the room and these words of humility and grace. Per- processed in and took their places. They a fi tting tribute that reached beyond the haps one of them will be the next organist sang “O Lord, open thou our lips; And composer’s composition. Jackson again at the Minster. That would certainly be a our mouth shall shew forth thy praise. drank it in with eyes closed. fi tting legacy for Francis Jackson, his life O God, make speed to save us; O Lord, We stood as the choir recessed, then and work. Q make haste to help us.” It was a setting sang the Aisle Prayers outside the Quire. by Francis Jackson, simple, responsorial. We were seated to enjoy Jackson’s Diver- Lorraine Brugh is currently resident Francis Jackson (photo credit: Judith Dr. Jackson closed his eyes during sion for Mixtures, fi nally the joyous end- director of Valparaiso University’s Study Cunnold) much of the service, clearly drinking in the ing I believe we were all expecting. Centre in Cambridge, England. She is music. The choir sang a Magnifi cat and The festivity continued with a recep- professor of music and the Frederick J. organist and master of the music for the Nunc Dimittis by Edward Bairstow, Jack- tion in his honor. Many from the Royal Kruse Organ Fellow at Valparaiso Uni- Minster. He earned his Doctor of Music son’s predecessor at the Minster as well College of Organists were present, as versity, Valparaiso, Indiana. degree from Durham University in 1957. as his fi rst organ teacher. Robert Sharpe, well as the dean of the cathedral, the Very In addition to his duties at the Minster, the Minster’s current director of music, Reverend Dr. Vivienne Faull. She regaled Francis Jackson was born October Jackson maintained an international led the choir with precision and grace. the crowd with stories of Dr. Jackson’s 2, 1917, in Malton, North Yorkshire, recital career beyond his 95th birthday. The Minster choir program prides itself in active life as a gardener and a parish England. At age eleven, he became a He has made numerous recordings of solo having both a girls choir and a boys choir organist! He still serves a small parish chorister at York Minister, with Edward organ works as well as choral music with for trebles. Their website notes that York near his home in East Acklam, which is Bairstow as organist-choirmaster. He the Minster choir. As a composer, he has Minster was one of fi rst cathedrals in the also served by a retired bishop. She noted continued studies with Bairstow after he over 150 published works to his credit, UK to introduce girl choristers alongside that the parish is well cared for! left the choir. He earned the Fellowship both sacred and secular repertoire, work the boys. The girls and boys share the sing- Dr. Faull then invited Dr. Jackson of the Royal College of Organists in 1937, that has continued beyond his retirement. ing of the eight sung services each week to the podium. Without any assis- having been honored with the Limpus Having served as president of the equally, joining forces for major events tance, either mechanical or human, he prize. He graduated from Durham Uni- Royal College of Organists (1972–1974) such as the great Christmas and Easter fes- approached the platform. A slight gasp versity with a Bachelor of Music degree. and having been made an Offi cer of the tivities. On this occasion, the girl choristers came from the group as he had trouble In October 1940, Jackson joined the Most Excellent Order of the British and adults were singing. Their sound was making the small stair, and the dean Army and was sent into action in North Empire (1978), Jackson retired from ethereal and ably supported by the men. assisted him up. He then spoke, softly Africa, Egypt, and Italy. After World York Minster in 1982. In 2007, he was Dr. Jackson was drinking in more than and humbly, about the wonderful life he War II, he became assistant organist of made a Commander of the Order of the the music, however. Next we all spoke the has had, most of it circling around the York Minster, as Bairstow had become British Empire. Numerous other awards Apostles’ Creed and Dr. Jackson made a Minster. He hadn’t done anything spe- ill. Jackson functioned as acting organist and honors have been bestowed on Jack- sign of the cross on his chest as we came cial to be able to live this long, he said; in this period. In October 1946, after son, as well. In 2013, he published his to its fi nal lines, “the communion of it just happened. He told us that where Bairstow’s death, Jackson was appointed autobiography, Music for a Long While.

20 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM Conference report

The University of Michigan 57th Annual Organ Conference: The Music of Louis Vierne

September 30–October 3, 2017

Tiffany Ng & Michelle Lam (kneeling), with Handbell Adventure, conducted by Wm. By Linda Dzuris Jean Randall in front of the Millennium Carillon

n the last day of September in Othis, the University of Michigan’s bicentennial year, a conference on the music of Louis Vierne, presented by the university in partnership with the Cathe- dral Church of St. Paul in Detroit, was dedicated to concert organist and peda- gogue, Robert Glasgow. It was a unique opportunity to hear all six of Vierne’s organ symphonies, several of his char- acter pieces and chamber music, plus works by Vierne’s mentors and students.

September 30 The conference began on the evening of September 30 with the fi nal round of the university’s sixth annual Organ Improvisation Competition at First Presbyterian Church of Ann Arbor. Competitors were given two themes and required to improvise a three-movement symphonic suite on the church’s three- Burton Memorial Tower Wm. Jean Randall conducting Handbell Jeremy Chesman (left) with Rachael manual, 42-rank Schoenstein organ. Adventure during Tiffany Ng’s faculty Park, Kevin Yang, and Michelle Lam carillon recital in front of the Millennium following a carillon masterclass First prize was awarded to Matt Gen- edifi ce of the Cathedral of the Most Carillon der, a Doctor of Musical Arts student Blessed Sacrament in Detroit. Utilizing at the University of Kansas, Lawrence, both the church’s original 1925 three- Jeremy David Tarrant, former student Kansas, where he has studied with manual, 50-rank Casavant Frères organ Church of Ann Arbor that were thought- of Professor Glasgow at the University James Higdon and Michael Bauer. Sec- and its 2003 two-manual, 29-rank Austin fully constructed, earnestly delivered, of Michigan and later executor of his ond prize and the audience prize were organ, the Detroit Archdiocesan Chorus and well received. Of particular inter- mentor and friend’s estate, would like to awarded to Joe Balestreri, director of and the Cathedral Singers (Cathedral est to any who knew or heard Robert release a two-CD set that would include music for the Archdiocese of Detroit Church of St. Paul) joined their voices Glasgow perform was the announce- recordings made from a 1995 Organ and episcopal music director at the under the direction of Jeremy David ment of plans for making available Historical Society Convention recital Cathedral of the Most Blessed Sacra- Tarrant to present Vierne’s Messe solen- extant recordings of past performances, in Hill Auditorium, Ann Arbor, among ment, Detroit, as well as a member of nelle, op. 16. Trumpets, trombones, and many currently on reel-to-reel tape. other select events. Another goal is to The Diapason’s 20 Under 30 Class of timpani combined with Naki Sung 2015. He holds bachelor’s and master’s Kripfgans at the organ for the perfor- degrees in organ performance from mance of Marche triomphale du cente- the University of Michigan, where he naire de Napoléon I, op. 46, conducted studied with James Kibbie. Third prize by Elliot Tackitt. Andrew Meagher was awarded to Sandor Kadar, organ- accompanied soprano Kathy Meagher ii — 19 ranks ii — 19 ist at First Presbyterian Church of West in the performance of Les Angélus, op. Chester, Pennsylvania. In addition to 57. Vierne’s Tantum ergo, op. 2, and studying improvisation privately with Carillon de Westminster, op. 54, no. 6, winchester, virginia Jeffrey Brillhart, he holds degrees in were heard before the program moved organ performance, sacred music, and to the music of other Notre Dame musi- opus 130 conducting from the University of Music cians: Ubi caritas by Maurice Durufl é and Performing Arts in Graz, Austria. and Olivier Latry’s Salve Regina with Joe The judges were Ellen Rowe, profes- Balistreri at the organ. sor of jazz and contemporary improvisa- Later that evening, concert attendees tion, University of Michigan; Edward traveled down Woodward Avenue to the

Maki-Schramm, director of music, Cathedral Church of St. Paul for a gala The Village at Orchard Ridge Christ Church, Detroit, and conductor of organ recital by Martin Jean, a former the Community Chorus of Detroit; and student of Robert Glasgow, current Pamela Ruiter-Feenstra, hymn festival professor at Yale University, and highly rneauor leader, workshop clinician, and author of acclaimed American organist. Employ- ou ga et n .l s .c music literacy books for children, Ann ing all the nuances available from the w follow o w us on m Arbor, Michigan. Sponsorship was pro- Opus 23 organ by D. F. Pilzecker & w facebook! vided by the American Center for Church Company of Toledo, Ohio (with several Music, First Presbyterian Church of Ann rescaled/revoiced stops from the 1923 Arbor, and the Ann Arbor Chapter of the Austin and 1951 Casavant instruments), American Guild of Organists. Dr. Jean gave eloquent performances of Widor’s Symphonie Romane, op. 73, and October 1 Vierne’s Symphonie V in A Minor, op.47. “Music of Vierne for Choir, Voice, 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA t Brass, & Organ” was the title of the October 2 450 774-2698 [email protected] opening concert on Sunday, October Monday commenced with a full morn- 1, in the historic Norman Gothic stone ing of presentations at First Presbyterian

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2017 Q 21 FeatureConference report

Improvisation Competition contestants and judges. From left to right: Joe Balistreri, Jeremy David Tarrant Richard Narroway and Nicole Keller Ed Maki-Schramm, Ellen Rowe, Pamela Ruiter-Feenstra, Sandor Kadar, and Matt Gender (photo credit: Sherri Brown) analysis. “New Musicology” pushed us are 45 opuses of other music. We listened further as we considered how music is to works including Largo et Canzonetta used and issues such as feminist critique, for oboe and piano written early in his nationalism, personal stories, and liminal career, a few of his numerous pieces spaces. Good thesis topics. for piano, excerpts from an orchestral After some midday free time, the 71 symphony and a rhapsody for harp writ- conference registrants and 20 students ten a few years after his second organ were invited to watch Vincent Dubois, symphony, a piano quintet from 1917 the newest appointed titular organist at composed for the death of his young- Notre-Dame Cathedral in Paris, France, est son, and Vierne’s op. 61 from 1931, teach a masterclass at Hill Auditorium La ballade du déspéré, orchestrated by on the Ann Arbor campus. Clair de lune, Maurice Durufl é. Mr. Barone certainly op. 53, no. 5; Impromptu, op. 54, no. proved there is a trove of worthy music 2; and Lied, op. 31, no.17, were played by Louis Vierne besides those works by undergraduates Julian Goods, Jen- written for solo organ. nifer Shin, and Matthew Durham, Sarah Simko, a master’s student at the respectively. Much attention was paid University of Michigan and a member to the musical shaping of phrases within of The Diapason’s 20 under 30 Class all pieces, and each student responded of 2017, performed Symphonie III in well to the animated coaching given by F-sharp Minor, op.28, in a mid-morning Monsieur Dubois. recital at Hill Auditorium, holding the “Gems of the Flemish Romantic with an audience captivated from beginning to American Interlude” fi lled the air around end. A long line of appreciative listeners Chef Christine Miller serving soup stock to attendees following cooking Burton Memorial Tower as the sun began waited to praise her, as it was an exhila- demonstration to set. The Charles Baird Carillon consists rating performance. of 53 bells weighing about 43 tons and was Attendees and the greater Ann Arbor have concerts available for download on College, Elmhurst, Illinois, and Concor- played beautifully with tremolo galore by community experienced the unusual a Robert Glasgow website. dia University, Ann Arbor, Michigan. His Jeremy Chesman, university carillonist treat of seeing at ground level, rather Mr. Tarrant also presented a survey performance and commentary had us and professor of music at Missouri State than having to ascend a tower, how a of Vierne’s Pièces de fantaisie, which take a closer look at Vierne’s 24 pièces en University, Springfi eld. A graduate of the carillon is played by means of a full included live performance of several style libre, while later in the day he gave University of Michigan, he was the fi rst 48-bell (26,000 lb.) carillon attached to of the pieces. Jeremy David Tarrant us a skillful rendering of the composer’s person to earn a Master of Music degree a fl atbed of a semi truck. Tiffany Ng, serves as organist and choirmaster of the Symphonie IV in G Minor, op. 32. in carillon performance. assistant professor and university carillo- Cathedral of St. Paul, Detroit, adjunct “Our Vierne” was a thought-provoking Of course, no university conference nist at Michigan, secured a bicentennial professor of organ at Oakland University, session led by Lawrence Archbold, would be complete without a faculty celebration grant from the university to and is an active concert organist. The professor of music emeritus, Carleton recital, and we were not disappointed bring the Mobile Millennium Carillon University of Michigan Department College, Northfi eld, Minnesota, that with the evening’s musical offering on in from the Chime Master Company of of Organ especially recognized him for considered Louis Vierne and his output the Frieze Memorial Organ, a Skin- Lancaster, Ohio. Three of Dr. Ng’s cur- initiating the partnership between the from the viewpoint of various sub- ner/Aeolian-Skinner instrument, since rent carillon students performed pieces cathedral and the university that brought categories of old and new musicology. rebuilt, in Hill Auditorium. There are for a masterclass outside Rackham this conference concept to realization. History and values for “Old Musicology” 120 ranks (12 from the 1893 organ built Auditorium. Jeremy Chesman, who Jason Alden of Alden Organ Ser- covered aspects of biography, score edit- by Farrand & Votey Company of Detroit performed a solo concert the previous vices served on the faculty of Elmhurst ing, musical form, genealogy, and style for the Columbian Exposition in Chi- evening, delivered helpful instruction cago) with four additional ranks available while maneuvering between the small in the Echo division. James Kibbie, cabin housing the playing console and the chair of the organ department and street level via a small ladder. Kevin MANDER ORGANS university organist, performed Vierne’s Yang, Rachael Park, and Michelle Symphonie VI in B Minor, op. 59, with Lam each quickly adjusted their playing a mastery of expressiveness and preci- to produce more sensitive delivery of New Mechanical Action Organs sion. Associate professor of organ Kola musical passages. Owolabi paired the symphony with a Students continued in the spotlight as dynamic performance of Prélude, Ada- six studying with James Kibbie and Kola gio, et Choral varié sur le thème du Veni Owolabi took the stage back at Hill Audi- Creator, op. 4, by Maurice Durufl é and torium. Jennifer Shin, Joe Mutone, called to mind the connection between Dean Robinson, James Renfer, the two musicians in his program notes. Sherri Brown, and Joseph Moss each played a movement of Symphonie I in D October 3 Minor, op. 14, competently representing The fi rst morning session on Tuesday the strength of the organ department. ³ St. Peter’s Square - London E 2 7AF - England was an eye- and ear-opener. Michael The afternoon sessions reconvened at Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 Barone, host of Pipedreams from First United Methodist Church of Ann Continuo Organs [e] [email protected] American Public Media, presented an Arbor where Naki Sung Kripfgans is www.mander-organs.com illustrated talk, “Louis Vierne: His Other organist. She is also a staff collaborative Music,” accompanied by recordings of pianist for the University of Michigan much-overlooked compositions. Vierne string department and university choir. In Imaginative Reconstructions gave us 17 opuses for organ, but there her presentation on “Vierne’s Harmonic

22 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM Sarah Simko (photo credit: Sherri Brown)

Language,” Dr. Kripfgans posed ques- tions about impressionism and how the label may or may not work in reference to the composer’s various works. Then we had soup—literally. A local chef demonstrated how to make the base for a classic bouillabaisse or seafood stew from the port city of Marseilles during her presentation “A Taste of France with Christine Miller.” When it was ready, sampling for all commenced. A sweeter treat awaited us in the sanc- tuary. More intimate than the other ven- ues we had been in, the space was a good Vincent Dubois at the console of Hill Auditorium during his recital choice for pianist Nicole Keller from Baldwin Wallace University Conservatory Dr. Granzow is an assistant professor in an improvisation on the name of Louis of Music in Berea, Ohio, with the Univer- the University of Michigan Department of VIERNE, it was farewell until the next sity of Michigan School of Music, The- Performing Arts Technology. His resulting annual organ conference. Q atre, and Dance’s Ivalas Quartet members eerie sonance with Dr. Ng was stunning. (violinists Anita Dumar and Reuben Recently appointed continuing guest A native of Michigan, Linda Dzuris Kebede, violist Caleb Georges, and cel- artist at the University of Michigan, is professor of music and university list Pedro Sánchez) and award-winning Jason Alden Vincent Dubois regaled us with a clos- carillonneur at Clemson University in Australian cellist Richard Narroway. ing concert that completed our journey Clemson, South Carolina. She is also Mr. Narroway, who is pursuing a doctoral Tower’s instrument. Student carillonist through the organ symphonies of Vierne organist at Immanuel Lutheran Church degree with Richard Aaron at the Univer- Michelle Lam was joined by Handbell as he expertly performed Symphony II in Simpsonville, South Carolina. sity of Michigan, played Cello Sonata, op. Adventure, and was directed by Wm. in E Minor, op. 20, followed by Dupré’s 27, written when Vierne was 40 and prior Jean Randall for the performance of Symphonie-Passion, op. 23. With a rous- Photo credit: Colin Knapp, except to his third organ symphony. The perfor- a recent composition by Joseph D. ing, grand fi nale send-off in the form of where noted. mance was followed by String Quartet, Daniel. Mr. Daniel is an organ depart- op. 12, written some 16 years earlier. ment graduate, composer, and member Deeply committed to sharing string of the Guild of Carillonneurs in North quartet repertoire both new and old, the America. He was happy to be in atten- Ivalas Quartet graciously answered ques- dance to hear his Five Miniatures (2106) A Precious Gift tions posed by Michael Barone after their for the fi rst time while not having to spirited performance. We learned that op. direct or play. from the Past 12 is the fi rst composition by Vierne the At the Charles Baird Carillon, Dr. musicians have taken on, and that they Ng gave us some special collabora- were not familiar with any of his chamber tive, electroacoustic music composed for the Present pieces beforehand. The quartet agreed in 2017. The fi rst of two commissions they did fi nd it an interesting composition in this portion of the recital was The and the Future and they would indeed continue to hone Seer by Laura Steenberge (b. 1981), the work to include on future programs. who describes this scene: “High in her Supremely beautiful and blendable The penultimate conference event tower, [the Seer] weaves space and time tonal color – a Gift from the Venetian was a faculty recital by Tiffany Ng. together with the vibrations of the ring- School of organbuilding, a monumental part of our Again, the Mobile Millennium Carillon ing bells.” And the second commission, was featured as she played selections Euler’s Bell by John Granzow (b. 1976), JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH in tribute to Louis Vierne including an seamlessly merged live performance SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN athletic piece that referenced the West- with pre-recorded sounds created to minster chime and an arrangement of showcase the connection between bells Intriguing? Let us build your dream. Ravel’s impressionist-style La vallée des and history in the following way as cloches. Dr. Ng is responsible for the noted by the composer: commissioning of several pieces, three of which were heard Tuesday evening. An As history tells, bells are shattered in their belfries for easy transport to military advocate of new music for carillon with furnaces. If the bell withstands the con- a social signifi cance, she programmed cussion, it may rebound and spin on its Ashti by Jung Sun Kang (b. 1983) fi rst. mouth’s edge with ratios of wobble to rota- The composer, a Korean immigrant, was tion redolent of Euler’s Disk, a physics toy moved by the story of an artist acquain- used to investigate this type of oscillation. Euler’s Bell integrates the sound of such a Builders of Fine Pipe Organs to the World tance, an Afghan refugee. bell wobbling on the hard ground, a sound Handbells and mobile carillon that might forestall, just briefl y (and yet www.ruffatti.com combined during an alumni spotlight longer than you might expect) the peren- to allow Dr. Ng to relocate to Burton nial recycling of metals and history. Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2017 Q 23 Conference report

Prairie Voices: A Musforum Conference June 8–9, 2017, Omaha, Nebraska

Lynne Davis, Wilma Jensen, Gianna Manhart, and Crista Miller after the choral By Gail Archer concert at St. Cecilia Cathedral

usforum (www.musforum.org), Heinrich Scheidemann and Praeludium Ma network for women organists, in G Minor, BuxWV 150, by Dieterich held its second conference, Prairie Buxtehude. Edgington made these works Voices, in Omaha, Nebraska, June 8 and come alive with her precise articulation 9, 2017. Omaha was the conference site and colorful registrations, which were because it is the only American city in heightened by the meantone tuning. which a woman serves as music direc- She then turned to living women tor at both the Catholic and Episcopal composers for the remainder of the hour: cathedrals, Marie Rubis Bauer (at St. Patricia Van Ness, Cecilia McDowall, Cecilia Catholic Cathedral) and Marty Rachel Laurin, and Margaret Sandresky. Wheeler Burnett (at Trinity Episco- The Laurin pieces, “Fugue on a Bird’s pal Cathedral), respectively. Women Song” and “Scherzetto,” were taken from organists, composers, and conductors the Twelve Short Pieces, op. 64 (2012). from across the United States were the The light, vivacious gestures in both featured artists—from age 12, Gianna pieces reached to the highest range of Manhart, the youngest student at the St. the keyboard and delighted the audience Cecilia Institute, Omaha, to age 88, the with their humor and rhythmic verve. remarkable Wilma Jensen, who was our Sandresky’s “And David danced before keynote speaker. The events took place at the ark of the Lord,” from Five Sacred St. Cecilia Catholic Cathedral, Dundee Dances (1998), drew a fi ery and powerful Presbyterian Church, and First United performance from the recitalist. Yumiko Tatsuta, Shayla Van Hal, and Wilma Jensen presenting her keynote Methodist Church in Omaha. The con- Chamber music played by the wom- Sarah Johnson after their joint recital address ference was made possible, in part, by en’s ensemble, I, the Siren—Darci a generous grant from Barnard College, Gamerl, oboe, and Stacie Haneline, Columbia University, New York. piano—was featured in the late morning performance in the nave of St. Cecilia Thursday, June 8 Cathedral. The musicians presented The events began on Thursday morn- works by Bach, Mahler, Clara Schumann, ing, June 8, with a program of early Amy Beach, and Alyssa Morris. The Dutch and German music combined with splendid ensemble playing, sparkling contemporary music by women compos- dialogue, and nuanced phrasing were ers played by Rhonda Sider Edgington such a pleasure for the audience, as from Holland, Michigan. Edgington is these Omaha-based musicians have col- the organist and assistant music director laborated for many years. at Hope Church and a staff accompanist Our keynote address was provided by at Hope College in Holland, Michigan. Wilma Jensen from Nashville, Tennes- The Pasi organ at St. Cecilia Cathedral see. Jensen was the music director at St. is really two organs, a mean-tone instru- George Episcopal Church in Nashville ment and a well-tempered instrument and taught organ at Oklahoma City on which it is possible to play a program University, Vanderbilt University, and in ancient and modern temperaments. Indiana University. Her lively and amus- The program opened with the varia- ing address focused upon healthy key- tion set by Jan Pieterszoon Sweelinck, board technique. She emphasized, “Each Est-ce Mars, followed by Intabulation fi nger swings freely from the knuckle to on Alleluja, laudem dicte Deo nostro by the key, while the thumb rotates to the key to play. The thumb does not lift to play. Separating the action of the thumb Mary Perkinson, violin, Elisa Bickers, organist, and Sarah Tannehill Anderson, A. E. Schlueter Pipe Organ Co. from that of the fi ngers is often one of soprano, performed at St. Cecilia Cathedral. the most diffi cult tasks for keyboardists.” She demonstrated at both the organ and cathedral, which has a fi ne small pipe texts by Quentin Faulkner, J. S. Bach’s the piano, as we were in a classroom at organ and a piano. The organ was built Keyboard Technique: A Historical Intro- the St. Cecilia Institute adjacent to the in 2000 by Darron Wissinger of New duction, and Organ Technique Modern Hampshire and revoiced by Hal Gober and Early by George Ritchie and George in 2009 for its installation at St. Cecilia. Stauffer, as well as texts by Jon Laukvik, Jensen encouraged organists to practice John Brock, and Sandra Soderlund. The Sound of Pipe wisely using a gradual method for tempo. Musforum provided luncheon each “Once I know a passage thoroughly at a day and a wine and cheese gathering on Organs slow tempo, I take it a little faster, gen- Thursday afternoon. These social occa- M. McNeil, 191 pages erally only two metronome numbers, so sions are as important as the musical  New Instruments  Tonal Additions A new technical study of the that the mind and hands hardly notice events, as they give everyone a chance to the change. At each playing I increase the get to know each other and discuss our  Rebuilding  Maintenance relationships between scaling,  New Consoles  Tuning speed by two metronome numbers until I work in a relaxed and informal setting. voicing, the wind system, and reach a limit where I can still deliver the One of the problems for women who How can we help you? tuning. Search on the title at passage accurately but can’t exceed the are organists is that we are separated by the Organ Historical Society speed. There I stop.” Jensen also drew great distances and do not have regular 800-836-2726 and Amazon websites. attention to resources for ordinary touch opportunity for the conversations that www.pipe-organ.com of Baroque keyboard music and cited we enjoyed at the conference. The

24 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM Rae E. Whitney, presented by Marty from Retablos, Brenda Portman, Trio on Wheeler Burnett, who researched St. Helena, and Naji Hakim, “Rags” from these texts for her doctoral dissertation. Esquisses Persanes. We learned about Whitney’s fascinating All women, no matter what age or life story and sang a number of the hymn point in their professional career, are settings of her poetry together. There was welcome in the Musforum network. also a professional quartet of singers who Women organists are cordially invited to performed additional musical works set join us by sending me an email: garcher@ to Whitney poetry. Burnett emphasized barnard.edu, and I will add your name to the importance of including women’s the free listserve. Women need to move voices when planning music for worship. forward in the fi eld on the basis of merit: The afternoon concluded with a duo their education, skill, and accomplish- organ performance by Melody Steel ment. The world will be enriched by our and Ann Marie Rigler. Steel played musical gifts, and we will lift up hearts Sanctuary by Gwyneth Walker as a solo and minds by the beauty and powerful selection, and Rigler performed Psalm inspiration of our song. Q 151 by Emma Lou Diemer as a soloist. The duo organist repertoire was power- Gail Archer is an international concert ful and very exciting: Variations on Veni organist, recording artist, choral conduc- Creator Spiritus by David Briggs, Mar- tor, and lecturer who draws attention tyrs: Dialogues on a Scottish Psalm-tune, to composer anniversaries or musical op. 73, by Kenneth Leighton, and Rhap- themes with her annual recital series. She sody for Organ Duo by Naji Hakim. was the fi rst American woman to play The gala fi nal recital took place on the complete works of Olivier Messiaen Friday evening at St. Cecilia Cathedral for the centennial of the composer’s birth featuring Lynne Davis, Crista Miller, in 2008; Time Out New York recognized and myself, Gail Archer. A well-known the Messiaen cycle as “Best of 2008” of specialist in French repertoire, Davis classical music and opera. Her record- began with “Offertoire sur les Grand ings include her September 2017 CD, A Jeux” from the Mass of the Convents Russian Journey and The Muse’s Voice. by François Couperin, followed with Archer’s 2017 European tour took her to Choral II in Si mineur by César Franck, Germany, Italy, Great Britain, Russia, Gail Archer, Lynne Davis, and Crista Miller at the fi nal recital at St. Cecilia Cathedral and concluded with Te Deum by Jeanne Ukraine, and Poland. She is the founder Demessieux. My own program featured of Musforum, an international network The afternoon session concluded with Ceremonies Suite by Jennifer Higdon, for women organists, college organist at a reading session: “Women Composers Prelude and Fugue by Alexander Shaver- Vassar College, and director of the music for Lent” presented by Stacie Lightner. saschvili, and Power Dance by Joan program at Barnard College, Columbia Lightner serves as director of music at Tower. Tower and I worked together on University, where she conducts the St. Martin’s Lutheran Church in Annap- this piece on the organ at Vassar College Barnard-Columbia Chorus. Archer olis, Maryland. During the workshop, for nearly a year, and it was a great plea- serves as director of the artist and young we sang a number of the choral works sure to play the work at this event. Crista organ artist recitals at historic Central listed in the extensive 12-page resource Miller concluded the concert with works Synagogue, New York, New York. guide, which included both choral music by Fanny Mendelssohn, Prelude in G and organ literature appropriate for the Major, Pamela Decker, “Ubi Caritas” Photo credit: Abby Lee liturgical season of Lent, all composed Rhonda Sider Edgington after her by women. recital at St. Cecilia Cathedral The St. Cecilia Cathedral Choir under the direction of Marie Rubis Bauer presented an inspiring evening A gift subscription to concert, which included choral music by Omaha composers J. Michael McCabe, Marty Wheeler Burnett, and The Diapason Marie Rubis Bauer. Music arranged by Alice Parker, Hark, I Hear the Harps The perfect gift for Eternal and Be Thou My Vision, as well as the Messe pour deux voix egales, + organist colleagues op. 167, by Cécile Chaminade were + students featured in the program. Rubis Bauer played Ave Maris Stella by Girolamo + teachers Gianna Manhart before her performance Cavazzoni as the prelude and “Dia- + choir directors at St. Cecilia Cathedral logue sur les grandes Jeux” from Ave Maris Stella by Nicolas De Grigny as + organ builders conference schedule is deliberately the postlude. Certainly one of the most + clergy arranged so that we all attend every inspiring moments was provided by event and we all have suffi cient time to 12-year old Gianna Manhart playing meet our colleagues. Galleries ancient by Dennis Janzer. The Each month your gift will keep on giving by providing the important Organist Elisa Bickers and the beautiful music from the Latin Offi ce, news of the organ and church music fi eld. Send in the form below Bach Aria Soloists from Kansas City “O Caecilia felix! O felix Caecilia!” with your check and know that your gift will be just right. performed on Thursday afternoon in began the concert, and the audience For information, contact Donna Heuberger, 847/954-7986; St. Cecilia Cathedral. Soprano Sarah sang Magnifi cat on the Fifth Tone by [email protected]. Tannehill Anderson joined the violin- Kevin C. Vogt at the conclusion. ists and organist in arias by Claudio $40 one year USA ($50 foreign, $20 student) Monteverdi, Si dolce è’l tormento, and Friday, June 9 G. F. Handel, Da Tempeste il legno Our Friday morning session at THE DIAPASON infrante from the cantata Giulio Cesare Dundee Presbyterian Church began with 3030 W. Salt Creek Lane, Ste. 201 in Egitto, HWV 17. Bickers performed a fi ne organ recital by Chelsea Vaught, Arlington Heights, IL 60005-5025 the Variations on John Dowland’s ‘The music director and organist at First Pres- Prince of Denmark’s Galliard’ by Samuel byterian Church in Fort Wayne, Indiana, For: Scheidt and Toccata in F Major, BuxWV followed by a lecture/recital by Cath- 156, by Dieterich Buxehude. The varied erine Rodland on the choir and organ Name ______program also included chorale preludes, traditions at St. Olaf College, Northfi eld, Street ______Herzlich tut mich verlangen by Pamela Minnesota. The morning concluded with Decker and Wo Gott der Herr nicht three young women organists currently City ______bei uns halt by Cecilia McDowall. The enrolled in graduate study, playing a joint concert concluded with Prayer by recital, with half hour segments for each State ______Zip ______Olufela Sowande and Nun danket alle performer: Sarah Johnson at Boston Gott by Egil Hovland. The rich variety University, Yumiko Tatsuta at Indiana From: ______of the repertoire was the hallmark of the University, and Shayla Van Hal at the If a student, provide school and graduation year. programming, and this factor drew many University of Kansas. The afternoon ses- people from the general Omaha commu- sion began with a lively lecture on the ______nity to all of the performances. more than 500 hymn texts written by

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2017 Q 25 Cover feature

Emery Brothers, Allentown, Pennsylvania St. Stephen’s Episcopal Church, Richmond, Virginia Founded in 1911, St. Stephen’s Episcopal Church is not old by Virginia standards. Located in the Westhampton section of the city near the then recently relocated University of Richmond, the new Country Club of Virginia, and two diocesan schools, St. Christopher’s for boys and St. Catherine’s for girls, the church was begun by several families who wanted a more convenient loca- tion for their children to attend Sunday School. For this reason the church was known early on by the playful moniker St. Convenience, an appellation that in certain circles persists to this day. The new church fl ourished as did the neighborhood. Just before the stock market crash and Great Depression, a new church in the Gothic Revival style was built at the end of Grove Avenue. In the archives of the church there exists an elaborate elevation drawing showing the proposed new church in the Georgian style, which is ubiquitous throughout Richmond. I have never learned who prevailed on the new church to adopt Gothic, but it was probably inspired St. Stephen’s Episcopal Church, Richmond, Virginia by the new buildings of the University of Richmond, which were designed completely contained in the chamber by Ralph Adams Cram. The vestry and the façade of non-speaking pipes approached Cram about designing their was fl ush with the chancel wall. new church. By this time Cram, whose There was protracted correspondence wife was from Virginia, had completed between the church and Harrison the original buildings of the University about the new façade, which required of Richmond in its new Westhampton a few non-speaking pipes to form a link campus, as well as several other projects between the two original portions of the in Richmond and other locations in Vir- old façades, so that it would appear as ginia. But Cram replied he was too busy one continuous panel. Aeolian-Skinner to accept the commission, and he recom- typically did not do this type of work, as mended Frank Watson of Philadelphia. all casework was considered above and Watson designed the church with a seat- beyond the contract for a new organ. ing capacity of about 400. A new organ But representatives of the church were built by Hook & Hastings was installed adamant, and Harrison relented and in the new church. made the few required dummy pipes and In the years following World War woodwork to link the two. Also, by this II, the parish experienced exponential time post-World War II infl ation caused growth, to the point where the church Aeolian-Skinner, who typically took was considerably enlarged to a design three years to build an organ, to include by Philip Hubert Frohman, the archi- escalator clauses into their contracts, tect of Washington National Cathedral. which could increase the contract price Frohman’s design increased the seating to a ceiling amount should costs increase capacity to approximately 750 by extend- signifi cantly during the period it took to ing the original north aisle to become build the organ. Many potential buyers of a chapel, extending the nave two bays their organs balked at this, but those who westward, and creating an imposing truly wanted an Aeolian-Skinner organ three-portal entrance. For this enlarged accepted it. That Harrison reluctantly Console and façade church the Aeolian-Skinner Organ Com- agreed to waive this clause in the case of pany built its Opus 1110, designed and St. Stephen’s Church indicates to me that Aeolian-Skinner, and the results are evidence themselves. The provider of the tonally fi nished by G. Donald Harrison, the businessmen representing the church sobering in retrospect and portend bad report commented, “The fi rm in Hagers- and installed in 1951. Emerson Richards were iron-fi sted in their resolve that the times to come. Even though Aeolian- town had a rating in Dun & Bradstreet of was a consultant to the church, and it church pay no more than it absolutely Skinner was very busy at the time build- A-1 so we did not get a report on them. was he who was responsible for building had to, and is also evidence that Harrison ing some of its most famous organs, Between the two companies based on the shelf into the chancel to contain the really wanted to build the organ! the various vicissitudes that eventually the rating in Dun & Bradstreet I would Great and Pedal divisions outside the During these negotiations the church caused the demise of the company some prefer buying it from the Hagerstown chamber arch. The previous organ was ordered a Dun & Bradstreet report on two decades later were beginning to company other things being equal.”

Aeolian-Skinner Opus 1110 St. Stephen’s Episcopal Church, Richmond, Virginia

GREAT 4′ Flauto Traverso 68 POSITIV PEDAL 16′ Quintaton 61 2′ Octavin 61 8′ Holzgedeckt 61 32′ Resultant 8′ Principal 61 IV Plein Jeu 244 4′ Prinzipal 61 16′ Principal Bass 32 8′ Spitzfl öte 61 16′ Contre Hautbois (ext 8′) 12 4′ Spillfl öte 61 16′ Bourdon 32 8′ Bourdon 61 8′ Trompette 68 2′ Lieblichprinzipal 61 16′ Echo Lieblich (ext Sw 8′ St Diap) 12 1 4′ Principal 61 8′ Hautbois 68 1⁄3′ Larigot 61 16′ Quintaton (Gt) 4′ Rohrfl öte 61 4′ Clairon 68 1′ Siffl öte 61 8′ Principal 32 2 2⁄3′ Twelfth 61 Tremulant III Scharf 183 8′ Flute (ext 16′ Bourdon) 12 2′ Fifteenth 61 4′ Super Octave (ext 8′ Prin) 12 IV Fourniture 244 CHOIR (enclosed) ANTIPHONAL 4′ Spitzfl öte 32 II–III Cymbale 157 8′ Viola 68 8′ Prinzipal 61 IV Fourniture 128 8′ Trompette de Fête 61 8′ Viola Celeste 68 4′ Præstant 61 32′ Contre Bombarde (ext 16′) 12 4′ Clairon de Fête (ext 8′) 12 8′ Singendgedeckt 68 2′ Flachfl öte 61 16′ Bombarde 32 8′ Erzähler 68 IV–VI Mixture 289 16′ Contre Haubois (Sw) SWELL (enclosed) 8′ Kleine Erzähler 68 8′ Trompette de Fête (Gt) 8′ Trompette (ext 16′) 12 2 8′ Geigen Principal 68 2⁄3′ Nazard 61 4′ Clairon de Fête (Gt) 4′ Clairon (ext 16′) 12 8′ Stopped Diapason 68 2′ Blockfl öte 61 3 8′ Viole de Gambe 68 1⁄5′ Tierce 61 ANTIPHONAL PEDAL 63 stops 8′ Viole Celeste 68 8′ Clarinet 68 16′ Sub Prinzipal (ext Ant 8′) 12 69 ranks 8′ Flute Celeste II 124 Tremulant 3,999 pipes 4′ Principal 68

26 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM Removal of pipework

helped by a certain fl exibility of space entire fl oor of the church and chancel, within the small chancel. All the while making the entrances fully accessible, it was understood that the basic classic the redesign of the chancel, replacement “feel” of the divided chancel not be com- of the HVAC systems, and outfi tting the promised. The church invited Terry Byrd console with new controls and making Eason to visit the church, and over a year it movable. During the 18-month reno- of conversations and meetings with vari- vation, it was necessary to remove the ous stakeholders he developed a scheme entire organ due to the invasive nature of which, although it took almost 30 years, the work and the amount of dust created, is the basic plan that was implemented as the entire interior of the church space in 2016. This plan called for new marble was a major construction site. Services fl ooring, fl exible seating, extending the were held in the Parish Hall and Palmer chancel fl oor slightly westward into the Hall Chapel during this time. nave, and a movable organ console. Along with a full church I heard the As the original organ approached its spectacular results for myself at a concert 50th anniversary it began to show the and Evensong for the American Guild of telltale signs of aging leather. The vestry, Organists Regional Convention in June knowing the eventual need, opted to 2017 sung by the Choir of the Church undertake a complete restoration of the of the Epiphany, Washington, D.C., organ before it became critical. This work directed by Jeremy Filsell, with Erik consisted of taking the organ down one Wm. Suter, organist. Visually and tonally, The refurbished Aeolian-Skinner console section at a time to replace the leather the project is a thing of great beauty and components and clean all the pipework. was inspiring to experience. The organ was rather modest for the Williamsburg for Petty-Madden Organ- Some of the original stops were cone —Neal Campbell large new space. It consisted of three builders, for whom he then worked. It tuned, which resulted in some minor Trinity Church, Vero Beach, Florida manuals and forty-one ranks. The sound, was soon arranged for Steve to come by damage to the pipework, mainly in the while beautiful and conforming to all the the church, and the short story is that he, upperwork and mixtures. These pipes Aeolian-Skinner Opus 1110 is truly hallmarks of Harrison’s American Classic and later his brothers and co-workers, were repaired and outfi tted with new a beautiful instrument, especially in organ, fi lled the church in a similarly have lovingly maintained the organ ever tuning slides. All pipework (except the its recently improved acoustic envi- modest way. In 1968 Aeolian-Skinner since. In short order Steve took care of lowest basses) was removed to Emery ronment. In short this is a pipe organ made signifi cant additions to the organ: the mechanical repairs that were needed, Brothers’ shop for cleaning and repair most everyone will fi nd easy to love. a new Positiv division on the Epistle side but most important, he quickly found the as needed. This work was undertaken It has been our pleasure to maintain of the chancel, an Antiphonal Organ at best way to keep the various divisions in from 2002–2004. During this time, while this instrument for over 30 years. The the west end of the church surround- absolute tune. There may be others as various divisions were out, other por- project we undertook in the early 2000s ing a new stained glass window, several good, but there is no one who surpasses tions of the organ were available to cover included total mechanical renovation of ranks in the main organ, including a 32′ Steve as a tuner, as he just has the knack to services, and at no time was the liturgical the organ, releathering windchests and reed and a second mixture in the Great, understand diffi cult spatial arrangements schedule compromised or did the church reservoirs, tremolos, shade engines, and and a new four-manual console. The and inherent temperature fl uctuations. require a substitute organ to be brought pipework cleaning and restoration. In original three-manual console was sold He also coached us in the proper use of in. The newly restored organ was cel- 2014 we removed exposed pipework, to Trinity Church in Rutland, Vermont, the air conditioning system, especially ebrated in March 2004 in a weekend covered winchests, covered enclosed where it still exists today. These additions the length of time necessary to maintain of recitals, services, lectures, and tours divisions, and removed the console in were designed by Joseph S. Whiteford, a precise temperature for tuning sessions, featuring Judith and Gerre Hancock, preparation for a major construction who was by this time retired from the services, and concerts. The system, built Charles Callahan, and Steve Emery, who project in the church. company. But he was friends with the in the 1960s, was the fi nest available at the gave tours of the organ at various times This also presented the perfect oppor- organist of the church, Granville Mun- time, and the church wisely maintained a throughout the weekend and on Sunday tunity for a thorough console rebuild. The son (my predecessor), and had been a near-constant temperature throughout between and after services. At this time whole organ was rewired to a new Solid classmate of his at St. Alban’s School in the seasons, to the point where, summer Walker Technical Company provided a State Organ Sytems Multisystem, and Washington. So Whiteford left his retire- or winter, the temperature in the organ new solid-state combination action. The the console fi tted out with multi-level ment to work on the job, even donating fl uctuated only slightly. The church also old pneumatic combination action was memory, piston sequencer, and SSOS’s a new stop in honor of his friendship. benefi ted greatly from the fact that Steve disconnected, but left in place. newly unveiled Organist Palette. We also The only alteration to Harrison’s original and his coworkers traveled regularly to The one item of organ restoration that added internal casters to the console and organ was the reworking of the Swell their various jobs in the South. I cannot was not undertaken during 2002–2004 pedalboard to make the console movable. Flute Celeste, making it an 8′ stop; it had recall a signifi cant concert, recital, or was the console, which retained its We are deeply grateful to the people previously been a 4′ stop. recording session when they weren’t right pneumatic mechanism and wax-coated of St. Stephen’s for their ongoing com- This was the organ that I inherited there working alongside us all for a good wiring from 1968. Some of the less- mitment to Aeolian-Skinner Opus 1110 when I became organist of the church outcome. They were truly part of our invasive parts of Terry Eason’s design and for the opportunity to partner with in 1985. At about this time the long-time team in the music ministry of the church. were quietly implemented in the ensu- them in preserving and presenting this tuner of the organ retired and there were In my early years at the church we ing years, including work to make the fi ne instrument. a few deferred maintenance items that soon recognized the desirability of mak- main altar freestanding. However, the —Adam Dieffenbach needed attention. There were also tuning ing some modest changes in the chancel work on the console was tied to the rede- Owner, Emery Brothers irregularities inherent with the various area to refl ect the wide range of uses sign of the chancel and was undertaken spatial placements over a large area, and required of the church in its various after I left the church in 2006. I was not Photo credit: William T. Van Pelt the unusual effects of the air condition- pageants, concerts, and the then-yearly involved in this work, which was folded ing system. Through mutual associations organ recital series. The two diocesan into a massive, complete nine-million- Builder’s website: I learned of Stephen Emery, who was at schools also regularly held services and dollar renovation to the entire church www.emerybrothers.com that time installing an organ in nearby events in the church that would be in 2014–2016. It included replacing the Church website: www.ststephensrva.org

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2017 Q 27 New Organs

First Presbyterian Church, Monterey, California Schoenstein & Co. Pipe Organ Builders, Benicia, California The work of Murray M. Harris, the legendary Los Angeles organ builder whose fi rm built what is now the nucleus of Philadelphia’s Wanamaker organ, is much admired, especially here in the West where a few of his brilliant creations survive untouched. Organist, organ technician, and historian Thomas L. DeLay, serving as the consultant for First Presbyterian Church of Mon- Console in the Murray M. Harris style terey, California, contacted us about a new organ. DeLay told me that he had invited the committee to a church where he played a 1910 Murray M. Harris organ. This was an educational session just to show the committee the parts of an instrument and how they worked; it was not to talk about tone. In fact, he was a bit concerned that they might be put off by an “old-fashioned” Nameplate instrument. Much to his surprise and delight, when he demonstrated the a third manual that draws mainly solo instrument, the committee was abso- stops from the Great and Swell divisions. lutely captivated and said, “That’s the All of the original pipework was care- kind of sound we want!” fully cleaned and prepared in our voicing Tom asked if we could make some- rooms. Fortunately, the pipework had thing with a bit of the Murray M. Harris been well preserved over the years and character. We could, but wouldn’t it be not altered. The stoplist is very much better to have the real thing or something of the period with 69% of its stops at 8′ close to it? One of our long-term clients pitch or below, but they are brimming had an organ in storage with us that was with color and character. Typical of Harris about 90% from Murray M. Harris Opus organs, the upperwork adds a completely 91 of 1912. We also had in stock several satisfying and perfectly balanced glow to stops from Opus 83 of 1911. I suggested the sound. The Dolce Cornet is new but that we make a brand-new reproduction based strictly on Murray M. Harris models Murray M. Harris organ with mostly of Salicional scale. It has found multiple original pipes. The two churches got uses. Of special interest is the Harris tra- Chancel, First Presbyterian Church, Monterey, California together and made an arrangement dition of celestes that work with either favorable to both, and we set out on one medium or soft unisons. In this organ they of our most interesting projects. are found on both Swell and Great. The Schoenstein & Co. Pipe Organ Builders Every part of this two-manual, tonal result is a versatile church organ fully First Presbyterian Church, Monterey, California 26-voice, 28-rank organ is new and based suitable to modern demands. on the Schoenstein System except the Many modern instruments have been Three manuals and pedal, incorporat- 8′ Harmonic Flute (4′ Harm. Flute; original pipework. Our windchests hap- made on 18th- and 19th-century models, ing pipes from 1911 and 1912 Murray M. Aeoline & St. Diap. bass) pened to be appropriate for Murray M. but this reproduction in the early 20th- Harris organs: 26 voices, 28 ranks, electric- 8′ Vox Celeste II pneumatic action. 8′ Trumpet Harris pipes, having a similar expansion century style may fi nd a new audience 8′ Oboe chamber that elongates the wind path for just plain beautiful tone. The instru- GREAT (II – Expressive) 8′ Vox Humana (with Tremulant) between valve and pipe toe. The entire ment was presented in a recital on May 8′ First Open Diapason* 61 pipes Chimes† organ is under expression speaking down 6, 2017, featuring fi ve performers asso- 8′ Second Open Diapason 61 pipes Solo 16 ′ the long axis of the church with Great ciated over the years with the church: 8 Melodia* 61 pipes Solo Unison Off 8′ Unda-Maris (TC)* 49 pipes Solo 4 and Pedal in one chamber and Swell Tiffany Truett Bedner, Aaron Nee, Kitty 8′ Dulciana* 61 pipes †From existing organ in the other. The church went to great Du Vernois, organ consultant Thomas 4′ Octave 61 pipes lengths improving the organ chambers DeLay, and current organist Margaret 4′ Flute d’Amour* 61 pipes PEDAL 2 ′ ′ with effective insulation and tempera- Bellisomi. A formal dedication recital 2⁄3 Octave Quint 61 pipes 32 Resultant (Open Diapason/Bourdon) 2′ Super Octave 61 pipes 16′ Open Diapason (wood)* 32 pipes ture control. The previous organ had suf- was given by James Welch on September 16′ Trombone 12 pipes 16′ Bourdon (former Tibia)* 32 pipes fered badly from swings in temperature. 9 featuring works by Bach, Gounod, 8′ Tuba 61 pipes 16′ Lieblich Gedeckt (Swell) 8′ Clarinet 61 pipes 8′ Open Diapason (Great 2nd Open) (Yes, it happens in Monterey!) Hollins, Parry, Vierne, Clokey, Purvis, ′ The console is a reproduction of the and Nevin, among others. The organ Tremulant 8 Violin Diapason (Swell) Great 16 8′ Lieblich Gedeckt (Swell) Murray M. Harris style of the period. project manager for the church is Walt Great Unison Off 4′ Octave (Great First Open) An original console was thoroughly mea- Prowell, the music director is John Koza, Great 4 16′ Trombone (Great) 8′ Trumpet (Swell) sured and photographed. Every detail and the pastor is Reverend Mark Peake. ′ of the cabinetry is an exact match as are —Jack Bethards SWELL (III – Expressive) 4 Oboe (Swell) ′ *Murray M. Harris pipes drawknobs and other accessories. To President and Tonal Director 16 Bourdon* 61 pipes 8′ Violin Diapason* 61 pipes give the instrument added fl exibility, the Schoenstein & Co. 8′ Stopped Diapason* 61 pipes COUPLERS console is equipped with modern playing 8′ Salicional* 61 pipes Great to Pedal aids of the Peterson ICS system and has Photo credit: Louis Patterson 8′ Vox Celeste (TC)* 49 pipes Great to Pedal 4 8′ Aeoline* 61 pipes Swell to Pedal 4′ Fugara 61 pipes Swell to Pedal 4 4′ Harmonic Flute* 61 pipes Solo to Pedal 2′ Piccolo 61 pipes Solo to Pedal 4 Dolce Cornet III 171 pipes 8′ Trumpet 61 pipes Swell to Great 16 8′ Oboe* 61 pipes Swell to Great 8′ Vox Humana† 61 pipes Swell to Great 4 Tremulant Solo to Great Swell 16 Swell Unison Off Great to Solo Swell 4 Great to Solo 4 †with separate Tremulant Swell to Solo Swell to Solo 4 SOLO (I) MECHANICALS Great Stops Solid-state capture combination action 8′ First Open Diapason ′ with: 8 Second Open Diapason • 100 Memory levels 8′ Unda-Maris II ′ • Programmable piston range for each 8 Tuba memory level 4′ Flute d’Amour ′ • 40 Pistons and toe studs. 8 Clarinet • 7 Reversibles including Full Organ. Swell Stops • Record/Playback 8′ Violin Diapason ′ Crescendo pedal 8 Stopped Diapason Adjustable bench Great: note pipes of California Redwood. Swell: Dolce Cornet in fi rst three rows

28 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN Lessons & Carols; St. Mark’s Episco- This calendar runs from the 15th of the month pal Cathedral, Minneapolis, MN 5 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK 18 DECEMBER Feb. issue). All events are assumed to be organ Bloomingdale, IL Oratorio Society of New York, Handel, recitals unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO Messiah; Carnegie Hall, New York, NY chapter event, • •=RCCO centre event, +=new organ 8 pm dedication, ++= OHS event. Christopher Babcock Michael J. Batcho Information cannot be accepted unless it 19 DECEMBER Ray Cornils; Merrill Auditorium, Port- specifi es artist name, date, location, and hour in Director of Music writing. Multiple listings should be in chronological land, ME 7 pm St. Andrew’s by the Sea, order; please do not send duplicate listings. Syosset High School Chamber Sing- CATHEDRAL OF ST. JOHN ers; St. Patrick’s Cathedral, New York, Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. NY 4 pm 20 DECEMBER UNITED STATES Candlelight Vespers; Shadyside Pres- East of the Mississippi byterian, Pittsburgh, PA 7 pm Dean W. Billmeyer Lessons & Carols; Messiah Lutheran, 15 DECEMBER Germantown, MD 7:30 pm University of Minnesota The Thirteen; Christ Church, New Ha- Christine Kraemer; St. Luke’s Episco- ven, CT 7:30 pm pal, Evanston, IL 11:30 am Minneapolis 55455 • [email protected] Handel, Messiah; Lincoln Center, New Christmas Lessons & Carols; St. York, NY 11 am James Episcopal Cathedral, Chicago, IL The Salvatones; St. Patrick’s Cathe- 6:30 pm dral, New York, NY 4 pm 21 DECEMBER GAVIN BLACK Byron L. Blackmore TENET; All Souls Unitarian, New York, Musica Sacra, Handel, Messiah; NY 7 pm Princeton Early Keyboard Center Crown of Life Lutheran Church Carnegie Hall, New York, NY 7:30 pm Georgia Boy Choir; Peachtree Road Peter Madpak; Christ Church, Bra- 732/599-0392 Sun City West, Arizona United Methodist, Atlanta, GA 7 pm denton, FL 12:15 pm www.pekc.org Cathedral Handbell Ringers; Cathe- 623/214-4903 dral Church of the Advent, Birmingham, 22 DECEMBER AL 12:30 pm John Sherer; Fourth Presbyterian, Quire Cleveland; Trinity Episcopal Ca- Chicago, IL 12:10 pm THOMAS BROWN Carson Cooman thedral, Cleveland, OH 7:30 pm Lessons & Carols; St. Mark’s Episco- Bella Voce; Buchanan Chapel, Fourth pal Cathedral, Minneapolis, MN 7:30 pm UNIVERSITY Presbyterian, Chicago, IL 7:30 pm PRESBYTERIAN CHURCH Composer and Concert Organist 23 DECEMBER CHAPEL HILL, NORTH CAROLINA Harvard University 16 DECEMBER Tower Brass; Fourth Presbyterian, Chi- ThomasBrownMusic.com www.carsoncooman.com Canticum Novum Singers; St. Ignatius cago, IL 5 pm of Antioch Episcopal, New York, NY 2 pm Handel, Messiah; Lincoln Center, New 24 DECEMBER York, NY 7:30 pm Christmas Lessons & Carols; Duke JAMES DORROH, AAGO, PhD Georgia Boy Choir; Peachtree Road University Chapel, Durham, NC 11 pm DELBERT DISSELHORST United Methodist, Atlanta, GA 7 pm Saint Luke’s Episcopal Church Quire Cleveland; St. Christopher Cath- 25 DECEMBER Professor Emeritus Samford University olic Church, Rocky River, OH 7:30 pm Early Music New York; Cathedral of St. Birmingham, Alabama John the Divine, New York, NY 2 pm & University of Iowa–Iowa City Lessons & Carols; St. John Cantius Organ Consultant Organ Recitals Catholic Church, Chicago, IL 7 pm 5 pm Agape Ringers; Elmhurst Christian Reformed Church, Elmhurst, IL 4 pm 30 DECEMBER Bella Voce; St. Procopius Abbey, Lisle, TENET; St. Joseph’s Church, New STEVEN EGLER York, NY 7:30 pm JOHN FENSTERMAKER IL 7:30 pm Central Michigan University 31 DECEMBER School of Music TRINITY-BY-THE-COVE 17 DECEMBER Nathan Lively; St. Patrick’s Cathedral, Early Music New York; Cathedral of St. Mt. Pleasant, MI 48859 New York, NY 3:15 pm [email protected] NAPLES, FLORIDA John the Divine, New York, NY 2 pm Clarion; Cathedral of the Holy Trinity, Christmas concert; St. Ignatius Loyola New York, NY 5 pm Catholic Church, New York, NY 3 pm Cathedral Choir and Orchestra; Cathe- Norberto Carol sing; Madison Avenue Presbyte- dral of St. John the Divine, New York, NY rian, New York, NY 3 pm 7 pm Lessons & Carols; St. John’s Episco- Susan Goodson Guinaldo pal, Hagerstown, MD 10:15 am 1 JANUARY His Music Christmas Lessons & Carols; Emman- Clarion; Cathedral of the Holy Trinity, Emanuel United Church of Christ uel Episcopal, Cumberland, MD 5 pm New York, NY 5 pm Manchester, Michigan See—Listen—Buy Christopher Jacobson; Duke Univer- www.GuinaldoPublications.com sity Chapel, Durham, NC 5 pm 3 JANUARY Christmas Lessons & Carols; Grace TENET; Holy Trinity Lutheran, New Church Cathedral, Charleston, SC 7 pm York, NY 7:30 pm A Professional Card in Christmas Lessons & Carols; Cathe- The Diapason STEPHEN HAMILTON dral of St. Philip, Atlanta, GA 4 pm 5 JANUARY Carols by Candlelight; Peachtree Road Epiphany Evensong; Emmanuel Epis- For rates and digital specifi cations, recitalist–clinician–educator copal, Chestertown, MD 6 pm United Methodist, Atlanta, GA 5:30 pm contact Jerome Butera Epiphany Procession; Christ Church, www.stephenjonhamilton.com Advent Lessons & Carols; St. Paul’s 847/391-1045; [email protected] Episcopal, Delray Beach, FL 3 pm Grosse Pointe Farms, MI 7 pm Lessons & Carols; First Congregation- Simon Johnson; Rockefeller Memo- al UCC, Columbus, OH 3:30 pm rial Chapel, Chicago, IL 8 pm Quire Cleveland; St. Peter Catholic Church, Cleveland, OH 4 pm 7 JANUARY David Herman Scott Lamlein; St. John’s Episcopal, Lessons & Carols; Cathedral Church West Hartford, CT 12:30 pm of St. Paul, Detroit, MI 4 pm Trustees Distinguished Professor Emeritus of Music and University Organist J. William Greene; Holy Trinity Luther- Lessons & Carols; Christ Church, an, Lynchburg, VA 4 pm The University of Delaware Q [email protected] Grosse Pointe Farms, MI 4:30 pm Epiphany Lessons & Carols; Duke Lessons & Carols; Calvary Episcopal, University Chapel, Durham, NC 4 pm Louisville, KY 4 pm Chase Loomer; Cathedral of St. Lafayette Master Chorale, Lessons & Philip, Atlanta, GA 3:15 pm recital; 4 pm Carols; First Baptist, Lafayette, IN 4 pm Choral Evensong & 7:30 pm Choral Evensong; Christ Church, Lessons & Carols; First United Meth- Grosse Pointe Farms, MI 4:30 pm odist, Carbondale, IL 8:15 & 10:45 am Epiphany Choral Evensong; St. James Lorraine Brugh, Ph.D. Joseph Burgio; Madonna della Stra- Episcopal Cathedral, Chicago, IL 4 pm da Chapel, Chicago, IL 3 pm Professor of Music Caroling with the Carillon; St. Chrysos- 9 JANUARY University Organist tom’s Episcopal, Chicago, IL 3 pm Sergio Orabona; Central Synagogue, Valparaiso, Ind. Advent Vespers; Rockefeller Memorial New York, NY 12:30 pm Chapel, University of Chicago, Chicago, valpo.edu IL 4 pm 12 JANUARY 219.464.5084 Bella Voce; St. Luke’s Episcopal, Katelyn Emerson; St. James Episco- [email protected] Evanston, IL 7:30 pm pal, Fairhope, AL 7 pm

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2017 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church New York, NY 14 JANUARY The Chenault Duo; First Presbyterian, Syracuse, NY 13203-2816 Boyd Jones; United Church on the Gainesville, FL 4 pm www.andrewhenderson.net Green, New Haven, CT 7:30 pm David Higgs; Vanderbilt Presbyterian, (315) 471-8451 Simon Johnson; St. Ignatius Loyola Naples, FL 4 pm Catholic Church, New York, NY 3 pm Kola Owolabi; Hyde Park Community Jung Yeon Kim; Franciscan Monas- United Methodist, Cincinnati, OH 4 pm tery, Washington, DC 4 pm Louisville Three Choirs Festival; Cal- Richard Barrick Hoskins Brian Jones Alvin Blount; Cathedral of St. Philip, vary Episcopal, Louisville, KY 3:30 pm Director of Music & Organist Atlanta, GA 3:15 pm recital; 4 pm Choral Choral Evensong; Christ Church, Director of Music Emeritus Evensong Grosse Pointe Farms, MI 4:30 pm St. Chrysostom's Church TRINITY CHURCH Richard Benedum, Cynthia Rob- Choral Evensong; Cathedral Church of Chicago erts-Greene, & Ann Stephenson-Moe; the Advent, Birmingham, AL 3 pm [email protected] BOSTON Christ Church, Bradenton, FL 4 pm • Hymn festival; Western Springs Choral Evensong; Cathedral Church of Christian Reformed Church, Western St. Paul, Detroit, MI 4 pm Springs, IL 4 pm Choral Evensong; Christ Church, KIM R. KASLING JAMES KIBBIE Grosse Pointe Farms, MI 4:30 pm 30 JANUARY D.M.A. The University of Michigan Karen Beaumont; Salem Lutheran, Jack Mitchener; Peachtree Road Ann Arbor, MI 48109-2085 Milwaukee, WI 2 pm United Methodist, Atlanta, GA 7 pm St. John’s University Choral Evensong; St. Chrysostom’s Wesley Roberts; Campbellsville Uni- 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 Episcopal, Chicago, IL 4 pm versity, Campbellsville, KY 8 pm email: [email protected] 15 JANUARY UNITED STATES Jeremy Filsell; St. James Episcopal, West of the Mississippi David K. Lamb, D.Mus. Montclair, NJ 10 am 16 JANUARY 15 DECEMBER Director of Music Christmas concert; Highland Park Trinity United Methodist Church David Briggs; Cathedral of St. John ORGAN CONSULTANT the Divine, New York, NY 7:30 pm Presbyterian, Dallas, TX 7 pm New Albany, Indiana Katherine Meloan; Trinity Episcopal, www.gabrielkney.com 812/944-2229 17 JANUARY Reno, NV 12 noon Mark Frazier; St. Luke Catholic Handel, Messiah; Grace Episcopal Church, McLean, VA 12 noon Cathedral, San Francisco, CA 7:30 pm Christmas concert; Christ Cathedral, 18 JANUARY Garden Grove, CA 7:30 pm A.S.C.A.P. Shin-Ae Chun, with clarinet; First FELLOW, AMERICAN GUILD OF ORGANISTS Baptist, Ann Arbor, MI 12:15 pm 16 DECEMBER Lessons & Carols; St. Mark’s Episco- 345 SADDLE LAKE DRIVE pal Cathedral, Seattle, WA 7:30 pm ROSWELL-ATLANTA, GEORGIA 30076 19 JANUARY (770) 594-0949 Stephen Buzard; St. Luke’s Episco- Carol sing-along; Grace Episcopal Ca- pal, Evanston, IL 7:30 pm thedral, San Francisco, CA 11 am Choir of Clare College, Cambridge, 20 JANUARY UK; St. Margaret’s Episcopal, Palm Des- Nathan Laube; Spivey Hall, Clayton ert, CA 7 pm State University, Morrow, GA 3 pm Christmas concert; Grace Episcopal Cathedral, San Francisco, CA 7:30 pm Professor Emeritus – University of Michigan – Ann Arbor 21 JANUARY Professor of Organ for 67 years Martin Jean; Woolsey Hall, Yale Uni- 17 DECEMBER MarilynThe University’s longest-serving faculty memberMason versity, New Haven, CT 7:30 pm Lessons & Carols; Holy Rosary Catho- The King’s Singers; St. Ignatius Loyola lic Church, Seattle, WA 7 pm Catholic Church, New York, NY 4 pm Katherine Meloan; Cathedral of St. Monte Maxwell; Christ Church, Mary of the Assumption, San Francisco, A two-inch Professional Card in The Diapason Easton, MD 4 pm CA 4 pm Joey Fala & Jacob Montgomery; Christmas Concert; Grace Episcopal For information on rates and specifi cations, contact Jerome Butera: Duke University Chapel, Durham, NC Cathedral, San Francisco, CA 7:30 pm 5:15 pm [email protected] 608/634-6253 Gail Archer; Cathedral of St. Philip, 18 DECEMBER Atlanta, GA 3:15 pm recital; 4 pm Choral Brass and organ Christmas concert; Evensong Grace Episcopal Cathedral, San Fran- Adam Brakel; Cathedral of St. John, cisco, CA 7:30 pm Jacksonville, FL 4 pm Choral Evensong; Christ Church, 19 DECEMBER PHILIP CROZIER LARRY PALMER Grosse Pointe Farms, MI 4:30 pm Lessons & Carols; St. Mark’s Episco- Thom Gouwens; Loyola University, pal Cathedral, Seattle, WA 7:30 pm CONCERT ORGANIST Harpsichord – Organ Chicago, IL 3 pm Todd Wilson; Segerstrom Concert ACCOMPANIST Hall, Costa Mesa, CA 7:30 pm Professor of Music, Emeritus 22 JANUARY 3355 Queen Mary Road, Apt 424 Timothy Spelbring; Presbyterian 20 DECEMBER Montreal, H3V 1A5, P. Quebec Homes, Evanston, IL 1:30 pm Lessons & Carols; St. Mark’s Episco- SMU, Dallas, Texas pal Cathedral, Seattle, WA 7:30 pm Canada 23 JANUARY (514) 739-8696 Recitals — Lectures — Consultancies Students of Curtis Institute of Mu- 21 DECEMBER sic; Central Synagogue, New York, NY Lessons & Carols; St. Alphonsus Cath- [email protected] 12:30 pm olic Church, Seattle, WA 7:30 pm [email protected] + 214.350-3628 25 JANUARY 22 DECEMBER Choir of St. Luke in the Fields; St. Christmas concert; Peace Lutheran, Luke in the Fields Episcopal, New York, St. Louis, MO 7:30 pm NY 8 pm Northwest Boychoir, Lessons & Car- ols; Benaroya Hall, Seattle, WA 7:30 pm 26 JANUARY Christmas concert; Grace Episcopal A gift subscription to Stephen Tharp; Lutheran Church of Cathedral, San Francisco, CA 7:30 pm the Redeemer, Atlanta, GA 7:30 pm Charles Kennedy; Cathedral Church 24 DECEMBER The Diapason of the Advent, Birmingham, AL 12:30 pm Christmas Lessons & Carols; Grace Episcopal Cathedral, San Francisco, CA The perfect gift for 27 JANUARY 4 pm + organist colleagues + choir directors Yale Schola Cantorum; Christ Episco- pal, New Haven, CT 7:30 pm 31 DECEMBER + students + organ builders Todd Wilson; St. Bartholomew’s Epis- Christoph Tietze, Widor, Symphonie + teachers + clergy copal, Atlanta, GA 7:30 pm Gothique; Cathedral of St. Mary of the Assumption, San Francisco, CA 4 pm Each month your gift will keep on giving by providing the 28 JANUARY James Welch; St. Mark’s Episcopal, important news of the organ and church music fi eld. Know that Choral Evensong; St. John’s Episco- Palo Alto, CA 8 pm pal, West Hartford, CT 5 pm your gift will be just right. Edward Landin; Longwood Gardens, 6 JANUARY For information, contact Donna Heuberger, 847/954-7986; Kennett Square, PA 3 pm James Welch; The Tabernacle, Salt [email protected]. Or visit www.thediapason.com and Bach Cantata; Duke University Cha- Lake City, UT 12 noon click “subscribe.” pel, Durham, NC 5:15 pm Karen Black; Cathedral of St. Philip, 7 JANUARY $40 one year USA ($50 foreign, $20 student) Atlanta, GA 3:15 pm recital; 4 pm Choral Andrew Peters, silent fi lm; Second Evensong Presbyterian, St. Louis, MO 4 pm

30 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Epiphany Lessons & Carols; Cathedral David Baskeyfi eld; St. Margaret’s Southminster Presbyterian Church of St. Mary of the Assumption, San Fran- Episcopal, Palm Desert, CA 7 pm SHORT HILLS Arlington Heights, IL 60005 cisco, CA 4 pm 24 JANUARY 9 JANUARY James Welch; Utah State University, Jacob Benda; St. Louis King of France Logan, UT 7:30 pm A one-inch Professional Card Catholic Church, St. Paul, MN 12:35 pm DEREK E. NICKELS, DMA 26 JANUARY in The Diapason Church of the Holy Comforter 11 JANUARY David Baskeyfi eld; Texas Christian For information on rates and specifi cations, Mark Tylutki; St. Barnabas Lutheran, University, Fort Worth, TX 7 pm Kenilworth, IL 60043 Plymouth, MN 12:30 pm Gail Archer; Aspen Community contact Jerome Butera: Choir of Westminster Choir College; Church, Aspen, CO 4 pm (847) 251-6120 • [email protected] [email protected] 608/634-6253 Cathedral Basilica of St. Louis, St. Louis, Katelyn Emerson; Catalina United MO 8 pm Methodist, Tucson, AZ 7 pm 12 JANUARY 27 JANUARY Stephen G. Schaeffer Jeffrey Schleff, Ed.D. Ken Cowan, with Lisa Shihoten, vio- Haydn, Te Deum, Poulenc, Organ Organist – Teacher – Consultant lin; Christ Church, Little Rock, AR 8 pm Concerto & Gloria; First Presbyterian, Recitals – Consultations Dallas, TX 7:30 pm Director of Music Emeritus Sulphur Public Schools, Sulphur, OK 13 JANUARY Cathedral Church of the Advent First Presbyterian Church, Grand Prairie, Texas Parker Hinnenkamp & Tom Hamil- 28 JANUARY [email protected] ton; Sacred Heart Music Center, Du- Daryl Robinson; Highland Park Unit- Birmingham, Alabama luth, MN 2 pm ed Methodist, Dallas, TX 6 pm Jonathan Ryan; Grace Episcopal Ca- 14 JANUARY thedral, San Francisco, CA 4 pm Rev. Garrett Ahlers; Holy Trinity Ca- ROBERT L. thedral, New Ulm, MN 3 pm 30 JANUARY STEPHEN SCHNURR Martin Baker; Cathedral of the Mad- Hans Uwe Hielscher; St. Louis King SIMPSON of France Catholic Church, St. Paul, MN Saint Paul Catholic Church eleine, Salt Lake City, UT 8 pm Christ Church Cathedral David Troiano, with trumpet; Cathe- 12:35 pm Valparaiso, Indiana 1117 Texas Avenue dral of St. Mary of the Assumption, San Houston, Texas 77002 Francisco, CA 4 pm INTERNATIONAL

15 JANUARY 15 DECEMBER ] Nathan Laube; Benaroya Hall, Se- Biederitzer Kantorei; Cathedral, Mag- Joe Utterback attle, WA 7:35 pm deburg, Germany 7:30 pm Mark Steinbach ]] ] Britten, Ceremony of Carols; Westmin- www.jazzmuze.com 16 JANUARY ster Abbey, London, UK 5:45 pm Brown University Sharon Kleckner; St. Louis King of France Catholic Church, St. Paul, MN 16 DECEMBER 203 386 9992 12:35 pm Britten, Ceremony of Carols; Cathe- dral, Lincoln, UK 2 pm, 4 pm, 7 pm, & 19 JANUARY 9 pm Michael Kleinschmidt; St. Mark’s Epis- copal Cathedral, Seattle, WA 7:30 pm 17 DECEMBER Kevin Walters Jubilee concert; Abbey Church, Berne, David Wagner 20 JANUARY Netherlands 4 pm DMA M.A., F.A.G.O. Jeremy David Tarrant, masterclass; Lessons & Carols; St. German’s Ca- www.davidwagnerorganist.com Calvary and First Presbyterian, Spring- thedral, Isle of Man, UK 3 pm Rye, New York fi eld, MO 10 am Britten, Ceremony of Carols; Westmin- ster Abbey, London, UK 5:45 pm 21 JANUARY Simon Johnson, Messaien, La Na- Jeremy David Tarrant; Calvary and tivité; St. Paul’s Cathedral, London, UK First Presbyterian, Springfi eld, MO Alan G Woolley PhD 6 pm KARL WATSON 2:30 pm Lessons & Carols; St. Margaret’s Musical Instrument Research David Higgs; Trinity Episcopal Cathe- Church, London, UK 6 pm SAINT LUKE’S Edinburgh dral, Phoenix, AZ 3 pm Lessons & Carols; Cathedral, Lichfi eld, Isabelle Demers; First Congregation- UK 6 pm [email protected] ETUCHEN al, Los Angeles, CA 3 pm M Katelyn Emerson; Walt Disney Con- 18 DECEMBER cert Hall, Los Angeles, CA 7:30 pm Telemannchor; Cathedral, Magdeburg, Germany 4 pm 23 JANUARY RUDOLF ZUIDERVELD Dean Billmeyer; St. Louis King of 19 DECEMBER RONALD WYATT France Catholic Church, St. Paul, MN Richard Brasier; St. George’s, Ha- Illinois College, Jacksonville 12:35 pm nover Square, London, UK 1:10 pm Trinity Church Galveston First Presbyterian Church, Springfi eld

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Ex Cathedra; St. Paul’s Church, Bir- Lessons & Carols; Cathedral, Chester, Edmund Aldhouse; Westminster Ab- First Congregational UCC, Columbus, mingham, UK 7:30 pm UK 3 pm bey, London, UK 5:45 pm OH 3:30 pm Lessons & Carols; Cathedral, Bristol, First Baptist, Lafayette, IN 4 pm & 20 DECEMBER UK 3:30 pm 16 JANUARY 7:30 pm Ex Cathedra; St. Paul’s Church, Bir- Lessons & Carols; Westminster Abbey, Michael Overend; Grosvenor Chapel, First United Methodist, Carbondale, IL mingham, UK 7:30 pm London, UK 4 pm London, UK 1:10 pm 8:15 & 10:45 am Lessons & Carols; York Minster, York, St. Mark’s Episcopal Cathedral, Min- 21 DECEMBER UK 4 pm 17 JANUARY neapolis, MN 5 pm Britten, Ceremony of Carols; St. Paul’s Lessons & Carols; Cathedral, Lichfi eld, Stephen Tharp; Maison de la Radio, Holy Rosary Catholic Church, Seattle, Cathedral, London, UK 5 pm UK 6 pm Paris, France 8 pm WA 7 pm Lessons & Carols; St. Albans Cathe- St. German’s Cathedral, Isle of Man, dral, St. Albans, UK 7:30 pm 25 DECEMBER 20 JANUARY UK 3 pm Ex Cathedra; St. Paul’s Church, Bir- Choral Evensong; Westminster Abbey, Choir of Sidney Sussex College, Cam- St. Margaret’s Church, London, UK 6 pm mingham, UK 7:30 pm London, UK 3 pm bridge; St. Albans Cathedral, St. Albans, Lichfi eld Cathedral, Lichfi eld, UK 6 pm UK 5:30 pm 22 DECEMBER 19 DECEMBER Magdeburger Knabenchores; Cathe- 26 DECEMBER Christoph Hauser; Klosterkirche, 21 JANUARY St. Mark’s Episcopal Cathedral, Se- dral, Magdeburg, Germany 7:30 pm attle, WA 7:30 pm Britten, Ceremony of Carols; Cathe- Fürstenfeld, Germany 12:10 pm Martin Ellis; Methodist Central Hall, dral, Winchester, UK 1 pm Daniel Bishop; Liverpool Cathedral, London, UK 3 pm Liverpool, UK 11:15 am Gabriele Marinoni; St. Paul’s Cathe- 20 DECEMBER Lessons & Carols; York Minster, York, Messiah Lutheran, Germantown, MD UK 7 pm dral, London, UK 4:45 pm 31 DECEMBER Peter Holder; Westminster Abbey, 7:30 pm Lessons & Carols; St. Albans Cathe- St. James Episcopal Cathedral, Chi- Hans-André Stamm; Abteikirche, London, UK 5:45 pm dral, St. Albans, UK 7:30 pm cago, IL 6:30 pm Lessons & Carols; Manchester Cathe- Köln, Germany 10 pm Christoph Hauser, with trumpet; 26 JANUARY St. Mark’s Episcopal Cathedral, Se- dral, Manchester, UK 7:30 pm attle, WA 7:30 pm Ex Cathedra; St. Paul’s Church, Bir- Klosterkirche, Fürstenfeld, Germany Adrian Lucas; Cathedral, Ports- 10 pm mingham, UK 7:30 pm mouth, UK 8 pm 21 DECEMBER Matthias Mück, with trumpet; Cathe- Denis Bédard; Holy Rosary Cathe- dral, Magdeburg, Germany 10 pm St. Alphonsus Catholic Church, Se- 23 DECEMBER dral, Vancouver, BC, Canada 8 pm attle, WA 7:30 pm Jaap Kroonenburg; Nieuwe Kerk, St. Albans Cathedral, St. Albans, UK Maassluis, Netherlands 8 pm 1 JANUARY 27 JANUARY 7:30 pm Lessons & Carols; Westminster Abbey, Christoph Hauser, with trumpet; Martin Baker; Bloomsbury Central Klosterkirche, Fürstenfeld, Germany 4 pm London, UK 4 pm Baptist, London, UK 6 pm 22 DECEMBER Lessons & Carols; Cathedral, Bristol, 2 JANUARY St. Mark’s Episcopal Cathedral, Min- UK 6 pm 28 JANUARY neapolis, MN 7:30 pm Lessons & Carols; Cathedral, Chester, Alexander Pott; Grosvenor Chapel, Matthew Jorysz; Westminster Abbey, London, UK 1:10 pm Northwest Boychoir; Benaroya Hall, UK 6:30 pm London, UK 5:45 pm Seattle, WA 7:30 pm Lessons & Carols; Bath Abbey, Bath, 7 JANUARY York Minster, York, UK 7 pm UK 7 pm LESSONS & CAROLS St. Albans Cathedral, St. Albans, UK Ex Cathedra; St. Paul’s Church, Bir- Nicholas Freestone; St. Paul’s Cathe- 7:30 pm mingham, UK 7:30 pm dral, London, UK 4:45 pm Manchester Cathedral, Manchester, Lessons & Carols; Christ Church Ca- Benjamin Cunningham; Westminster 16 DECEMBER UK 7:30 pm thedral, Oxford, UK 7:30 pm Abbey, London, UK 5:45 pm St. John Cantius Catholic Church, Chi- cago, IL 7 pm 24 DECEMBER 14 JANUARY 23 DECEMBER St. Mark’s Episcopal Cathedral, Se- Westminster Abbey, London, UK 4 pm Lessons & Carols; King’s College, David Woodcock; St. Paul’s Cathe- attle, WA 7:30 pm Cambridge, UK 3 pm dral, London, UK 4:45 pm Bristol Cathedral, Bristol, UK 6 pm Chester Cathedral, Chester, UK 6:30 17 DECEMBER pm St. John’s Episcopal, Hagerstown, MD Bath Abbey, Bath, UK 7 pm 10:15 am Christ Church Cathedral, Oxford, UK Emmanuel Episcopal, Cumberland, 7:30 pm MD 5 pm Grace Church Cathedral, Charleston, 24 DECEMBER SC 7 pm Duke University Chapel, Durham, NC 11 pm Cathedral of St. Philip, Atlanta, GA 4 pm Grace Episcopal Cathedral, San Fran- St. Paul’s Episcopal, Delray Beach, FL cisco, CA 4 pm 3 pm King’s College, Cambridge, UK 3 pm Calvary Episcopal, Louisville, KY 4 pm Chester Cathedral, Chester, UK 3 pm Cathedral Church of St. Paul, Detroit, Bristol Cathedral, Bristol, UK 3:30 pm MI 4 pm York Minster, York, UK 4 pm Christ Church, Grosse Pointe Farms, Westminster Abbey, London, UK 4 pm MI 4:30 pm Lichfi eld Cathedral, Lichfi eld, UK 6 pm

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32 Q THE DIAPASON Q DECEMBER 2017 WWW.THEDIAPASON.COM Organ Recitals

RASHAAN ALLWOOD, St. James Unit- RICHARD HOSKINS, Presbyterian copal Church, Richmond, VA, June 28: Variation, op. 18, Franck; Finale (Symphonie ed Church, Montréal, QC, Canada, July 4: Homes, Evanston, IL, June 26: Plein Jeu: Pre- Kyrie, Gott heiliger Geist, BWV 671, Vater I in d, op. 14), Vierne. L’Ascension, Messiaen; Trois Dances, JA mier couplet du Gloria, Cromhorne sur la Taille, unser in Himmelreich, BWV 682, Bach; In- 120A, Alain. Fugue sur la Trompette, Récit de Chromhorne, termezzo, Moto perpetuo, Fugue triangu- JOHN SHERER, Fourth Presbyterian Elevation: Tierce en Taille, Offertoire sur les laire (Douzes courtes pièces pour orgue, op. Church, Chicago, IL, June 30: Trumpet Tune, FEDERICO ANDREONI, Church of St. Grands Jeux (Messe pour les Couvents), Cou- 43, vol. 1), Laurin; Mytò, Wammes; Cruci- Johnson; Carillon, Sowerby; Suite for Organ, John the Evangelist, Montréal, QC, Canada, perin; Psalm-Prelude No. 2, Howells; Pièce fi xus (Mass in b, BWV 232), Bach, transcr. DeLamarter; Summer Fanfare, Hakanpää; July 3: Praeludium in d, BuxWV 140, Buxte- d’Orgue, BWV 572, Bach; Benedictus, op. 59, Bouvard; Variationen über Weinen, Klagen, Fanfare, Miller; Spiegel im Spiegel, Pärt; Pre- hude; Corrente italiana, Cabanilles; Ciaccona no. 9, Reger; Final, op. 21, Franck. Sorgen, Zagen, Liszt. lude on Land of Rest, Sowerby; Festival Toc- (Selva di varie compositioni), Storace; Fugue cata, Fletcher. in G, BWV 577, O Mensch, bewein dein CHRISTOPHER HOULIHAN, Jacoby JOSEF MILTSCHITZKY, Cathedral, Lau- Sünde Groß, BWV 622, Passacaglia in c, Symphony Hall, Jacksonville, FL, June 14: sanne, Switzerland, June 23: Praeludium in g, DANIEL STIPE, St. James’s Episcopal BWV 582, Bach. Fantasia and Fugue in g, BWV 542, Bach; BuxWV 148, Buxtehude; Wir glauben all an Church, Richmond, VA, June 26: Pièce héroïque, Ludus, Lash; Andantino (String Quartet), De- einen Gott, Scheidt; Herr Jesu Christ, dich Franck; Ubi caritas et amor, Bennett; Concerto STÉPHANE BÉCHY, Cathedral, Laus- bussy, transcr. Guilmant; Transports de joie zu uns wend, Böhm; Jesus Christus, unser Grosso No. 1, Bloch, transcr. Stipe; Prelude and anne, Switzerland, July 14: Concerto in D, Bal- (L’Ascension), Messiaen; Suite, op. 5, Durufl é. Heiland, BWV 665a, Fantasia sopra Christ Toccata on Kingsfold, Bennett; Scherzo, op. 2, bastre; Cromorne en taille, Duo, Voix humaine, lag in Todesbanden, BWV 695, Bach; Jesu, Durufl é; Plymouth Suite, Whitlock. Choeur en rondo, Lasceux; Récit de hautbois, CHRISTOPHER KEADY, Washington meine Freude, Raphael; Ein feste Burg ist un- Rondo, G.-F. Couperin; Récit de fl ûte, Beau- National Cathedral, Washington, DC, June ser Gott, op. 67, no. 5, Reger; Wariacje kon- STEPHEN THARP, Conference Cen- varlet-Charpentier; Ariette lante, Trio, Marche 11: Prelude and Fugue in G, BWV 541, Bach; certowe, op. 3, Freyer. ter, Salt Lake City, UT, June 14: Overture des Marseillois et l’air Ça-ira, Balbastre. Sonata in E-fl at, Bairstow; Arioso, Sowerby; (Music for the Royal Fireworks), Handel, Fête, op. 51, Langlais. ROSALIND MOHNSEN, Methuen Me- transcr. Tharp; Pavane, op. 50, Fauré, R. MONTY BENNETT, Park Road Bap- morial Music Hall, Methuen, MA, June 28: transcr. Bird; Overture (St. Paul), Mendels- tist Church, Charlotte, NC, July 30: Paean, SAMUEL KUMMER, Cathedral, Laus- Concert Etude No. 4 in d, Whiting; Prelude sohn, transcr. Best; Intermezzo in A, op. 118, no. Chuckerbutty; Fantasia and Fugue in g, anne, Switzerland, June 16: Suite Française No. 2 in b, Paine; Roulade (Six Pieces, op. 2, Brahms, transcr. Tharp; Funérailles (Har- BWV 542, Bach; Scherzo, op. 37, no. 4, Bossi; improvisée sur le choral Vater unser im Him- 9), Bingham; Toccata-Sunshine (Longwood monies Poétiques et Religieuses), Liszt, transcr. Academic Festival Overture, op. 80, Brahms, melreich: Plain chant, Fugue, Duo, Recit de Sketches), Swinnen; Final, op. 21, Franck; Demessieux; Wotan’s Farewell, Magic Fire transcr. Gay; Toccata, Weaver; Alleluyas, Tierce en Taille, Basse de Trompette, Trio, Pastorale, Roger-Ducasse; Feux follets (Pièces Music (Die Walküre), Wagner, transcr. Le- Preston; Evening Song, Hurd; Reverie (Suite Dialogue sur la Trompette et le Cromorne, de Fantaisie, op. 51), Vierne; Toccata (Deux- mare; La Valse, Ravel, transcr. Fagiani. Sebastienne), Kerr; Joshua Fit de Battle ob Fugue à 5, Dialogue sur les Grands Jeux; Wir ième Symphonie, op. 26), Dupré. Jericho, Sowande; Melody in Mauve, Purvis; glauben all an einen Gott, BWV 681, Vater un- MARIJIM THOENE, Shrine of Our Lady First Sonata, Price. ser im Himmelreich, BWV 682, Bach; Improvi- CHRISTA RAKICH, First Lutheran of Guadalupe, La Crosse, WI, June 11: Fugue sation: Fantaisie sur le chorale Ein feste Burg Church, Boston, MA, June 15: Fantasia cro- in E-fl at, BWV 552ii, Bach; Suite Médiévale, MATT GERHARD, Christ Church, Michi- ist unser Gott; Prélude, Adagio, et Choral Varié matica, SwWV 258, Ballo del Granduca, Langlais; The Dance of the Shulammite gan City, IN, June 21: Toccata Brilliante, Bock; sur le thème du Veni Creator, op. 4, Durufl é. SwWV 319, Sweelinck; Fantasia super Io son (Four Biblical Dances), Eben; Outer Hebri- Marche (Recueil de Six Morceaux, op. 38), Le- ferito lasso, Scheidt; Magnifi cat VIII Toni, des, Halley. fébure-Wély; Prelude in Classic Style, Young; NATHAN LAUBE, Meyerson Symphony Scheidemann; Magnifi cat primi toni, Schildt; Toccata and Fugue in d, BWV 565, Bach; Center, Dallas, TX, June 14: Sonata Eroïca, Fantasia on Komm, heiliger Geist, Herre Gott, COLIN WALSH, Westminster Cathedral, Fountain Reverie, Fletcher; A New Name in op. 94, Jongen; Première Evocation, Baker; Tunder; Praeludium in g, BuxWV 149, Buxte- London, UK, June 21: Introduction and Pas- Glory, arr. Bish; Standin’ in the Need of Prayer, Première Fantaisie, Deuxième Fantaisie, hude; Passacaglia in c, BWV 582, Bach. sacaglia, Alcock; Fantaisie in D-fl at, Saint- arr. Utterback; Toccata Jubilate, Bock; Yankee Alan; Deuxième Evocation, Baker; Fantasia Saëns; Toccata and Fugue in d, BWV 538, Doodle with Variations, Hewitt, ed. Gerhard; and Fugue in g, BWV 542, Bach; Sonata in STEPHEN SCHNURR, Holy Cross Cath- Bach; Choral No. 2 in b, Franck; Petite rapso- Festival Toccata, Fletcher. c, Reubke. olic Church, Kaukauna, WI, June 28: Prelude die improvisée, Tournemire, transcr. Durufl é; and Fugue in C, BWV 547, Bach; Sonata I in Choral, op. 37, no. 4, Jongen; Symphonie III THOMAS GOUWENS, Fourth Presbyte- MARK LAUBACH, St. Bridget Catholic f, op. 65, no. 1, Mendelssohn; Variations de in f-sharp, op. 28, Vierne. rian Church, Chicago, IL, June 9: Sonata on Church, Richmond, VA, June 28: Prelude and Concert, op. 1, Bonnet. the First Tone, Lidon; Canzonetta, op. 78, no. Fugue in D, BWV 532, Bach; Wondrous Love: DANIEL ZARETSKY, Cathedral, Laus- 2, Mathias; Kyrie, Gott heiliger Geist, BWV Variations on a Shape-Note Hymn, op. 34, DAVID SCHRADER, St. Paul of the anne, Switzerland, June 30: Fantasia super 671, Meine Seele erhebt den Herren, BWV 648, Barber; Gospel Prelude on What a Friend We Cross Catholic Church, Park Ridge, IL, June Komm heiliger Geist, Herre Gott, BWV 651, Ach bleib bei uns, Herr Jesu Christ, BWV 649, Have in Jesus, Bolcom; A Refi ned Refl ection, 11: Toccata, Adagio, and Fugue in C, BWV Schmücke dich, o liebe Seele, BWV 654, Wir Kommst du nun, Jesu, vom Himmel herunter, Paulus; Academic Festival Overture, op. 80, 564, Bach; Sonata III in A, op. 65, no. 3, glauben all an einen Gott, BWV 680, Bach; BWV 650, Bach; Cortège et Litanie, op. 19, no. Brahms, transcr. Lemare. Mendelssohn; Alleluias sereins d’une âme qui Nun danket alle Gott, Liszt; Choral et Post- 2, Dupré; Stèle pour un enfant défunt (Trip- désire le ciel, Transports de joie d’une âme ludium, Below; Toccata, Mushel; Passacaglia, tyque, op. 58, no. 3), Vierne; Choral varié sur le RENÉE ANNE LOUPRETTE with devant la gloire du Christ qui est la sienne Kuschnarew; Variations sur l’Ancien Hymne thème du Veni Creator, op. 4, Durufl é. CRYSTAL JONKMAN, St. Michael’s Epis- (L’Ascension), Messiaen; Prelude, Fugue, and National Russe, Köhler.

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Wanted: Organists visiting Maui. Lahaina’s Organs of Oberlin chronicles the rich history of Music for the Christmas season from Fruhauf Ed Nowak, Chicago-area composer, arranger, Holy Innocents Episcopal Church invites visit- organs at Oberlin College, the Conservatory of Music Publications: a complimentary reissue and church musician, announces his new web- ing organists to play its Beckerath Positiv organ Music, and the town of Oberlin, Ohio. The hard- of a 4-page chorale prelude for organ on Rosa site, featuring Nowak’s original choral works, at Sunday services. Built in 1972 by Rudolf von bound, 160-page book with many illustrations Mystica (Lo, How a Rose). Please visit www. hymn concertatos, chamber and orchestral Beckerath and then-apprentice Hans-Ulrich is the most comprehensive study of traceable frumuspub.net to access the PDF booklet fi le, works, organ hymn accompaniments, organ Erbslöh for Honolulu’s Lutheran Church, the 408- organs from 1854 to 2013. The book measures posted on FMP’s home page bulletin board. and piano pieces, electronic music, and psalm pipe Shrankpositiv has a 54-note “split” manual, 8½″ x 11″ and features a dust jacket with color- settings. The website offers scores and recorded 30-note pedal, 11 stops, 8 ranks, and 6 registers. ful illustrations not found in the book. Organs by examples that are easy to sample and can be Holy Innocents acquired the instrument in 1977 Kola Owolabi of the University of Michigan purchased in downloaded (PDF and MP3) or the Skinner Organ Company, Aeolian-Skinner, and moved it to Maui where it has been played plays on a new Raven CD, Four Suites from the printed form. Visit ednowakmusic.com. by parish musicians such as Carol Monaghan C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, Second Livre d’Orgue by Jacques Boyvin, on the and visiting artists including Angus Sinclair of and many others are featured. Text by Stephen 1732 Andreas Silbermann organ in Ebersmunster Canada and Dalibor Miklavcic of Slovenia. The Schnurr, foreword by James David Christie; at Saint-Maurice Abbey Church. Raven OAR-997 Pipe Organs of the Keweenaw by Anita instrument is extremely responsive and fi lls the photographs by William T. Van Pelt, Trevor $15.98 postpaid. Raven, Box 25111, Richmond, Campbell and Jan Dalquist, contains his- worship space beautifully. The parish community Dodd, Halbert Gober, as well as rare vintage VA 23261; 804/355-6386, RavenCD.com. tories, stoplists, and photos of some of is “exemplary in its hospitality to all visitors,” and examples. $50, plus $5 shipping. Visit www. the historic organs of the Keweenaw Pen- that especially includes visiting organists. For organsofoberlin.com. insula, the northernmost tip of Michigan’s information: 808/661-4202; holyimaui.org. The OHS 2018 Calendar celebrates the 63rd Upper Peninsula. Organs include an 1899 Annual Convention of the OHS—Rochester, New Barckhoff and an 1882 Felgemaker. The booklet Grant Peace, We Pray, a new choral work by York, July 29 to August 3, 2018—showcasing a ($8.00 per copy, which includes postage) is PUBLICATIONS / RECORDINGS David Herman, is available as a free download. diverse collection of American and European available from the Isle Royale and Keweenaw Luther’s text, with its 16th-century melody, is organs from the 18th to 21st centuries. Photo- Parks Association, 49445 US Hwy 41, Hancock, graphs by Len Levasseur include the “Craighead- Certifi ed appraisals—Collections of organ set for SAB choir and organ and was written to Michigan 49930. For information: 800/678-6925. Saunders Organ,” an original 18th-century Italian books, recordings, and music, for divorce, commemorate the 2017 Reformation anniver- Baroque organ, two late 19th-century Hooks, estate, gift, and tax purposes. Stephen L. Pinel, sary. Available from the composer at herman@ an early 20th-century New York builder C.E. Appraiser. 629 Edison Drive, East Windsor, udel.edu. HARPSICHORDS FOR SALE Morey, the 2008 Fritts at Sacred Heart Cathedral, NJ 08520-5205; phone: 609/448-8427; e-mail: modernist designs by Holtkamp and Schlicker, [email protected]. Single-manual, Italian-style harpsichord Organa Europae calendars featuring famous neo-historical cases from C. B. Fisk and Taylor built by Paul Irvin (1983). Pine case and lid, 70″ pipe organs of Europe; years 1969 to 1977. & Boody, and the Hope-Jones Opus 2 at First long; cherry screw-in legs. GG–d3, transposing Bells of Bethlehem. A Spanish carol in a $10.00 each. 219/662-0677, [email protected]. Universalist Church. Nathan Laube’s article keyboard (440–415), two registers. Padded describes the convention offerings. Member modern setting. Luscious harmonies, multiple cover included. Regularly maintained, recently price: $14.99; mon-member price: $19.99. For changes of registration, and a grand fi nale. rebuilt; $7,500. Chicago area; 847-858-9173; information: organhistoricalsociety.org. www.guinaldopublications.com. ChicAGO Centenary Anthology, by Alan J. [email protected]. Hommerding, Paul M. French, Richard Proulx, et al. This joint effort of the Chicago Chapter of the In 2017 I have responded to requests for The new Nordic Journey series of CD record- American Guild of Organists and World Library PIPE ORGANS FOR SALE more spiritual arrangements. “Deep River,” ings reveals premiere recordings of symphonic by C. A. J. Parmentier, is his published impro- Publications presents specially commissioned organ music—much of it still unpublished—from visation of this beloved spiritual and it’s a good organ works by Chicago composers, as well Nordic composers, played by American organist Gabriel Kney 2-manual, 9-stop organ, circa choice. It is simple enough that everyone will as rare or unpublished pieces by earlier organ- James Hicks on a variety of recently restored 1989. Fully mechanical action, superb condition, recognize the melody but contains enough ists from the city including Leo Sowerby. Also Swedish organs. It’s a little bit like Widor, Reger, commissioned for Brandon University. $20,000 chromatic harmony to show his theatrical includes a jubilant Bailado Brasileiro by Richard and Karg-Elert, but with a Nordic twist. Check it (US). Contact Mark Cramer for more informa- musical roots. Recording by Steve Schlesing. Proulx, the AGO’s 2006 Composer of the Year! out at www.proorgano.com and search for the tion: [email protected], 204/727-7462. michaelsmusicservice.com; 704/567-1066. 003074, $25.00, 800/566-6150, Wlpmusic.com. term “Nordic Journey.” http://gabrielkney.net/specs_BrandonUniv.html.

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1991 Wilhelm Opus 123. Three-manual, 54-rank Casavant–Létourneau pipe organ for Excellent used pipes, like-new Austin actions Complete Pipe Organ Services from the Organ 39-stop free-standing mechanical action organ sale with 10-year warranty: $949,000. Orgues half price, all sizes of re-leathered bellows and Clearing House: 450 vintage pipe organs avail- in like-new condition for US$350,000. Installa- Létourneau is offering a 50-stop rebuilt pipe solid-state equipment. Milnar Organ Company, able, renovation, tuning, consultation. Other tion by Karl Wilhelm, on-site voicing and trans- organ in like-new condition for US$949,000. The 615/274-6400, [email protected]. services include transportation, cleaning and portation included. This instrument requires core is Casavant’s Opus 2518 from 1959 with renovation of carvings, etc. Call John Bishop at approximately 480 sq.ft. with a minimum 24-foot electro-pneumatic wind chests; the revised spec- 617/688-9290. [email protected]. ceiling, installation in balcony. For more details, ifi cation can incorporate up to sixteen new stops Consoles, pipes and numerous miscellaneous email: [email protected]. built by Létourneau. Installation costs, on-site parts. Let us know what you are looking for. voicing, an allowance for casework in red oak, E-mail [email protected] (not comcast), ANNOUNCEMENTS phone 215/353-0286 or 215/788-3423. Aeolian-Skinner opus 1480. 2 manuals, 20 a rebuilt three-manual solid-state console, and ranks, 4 divisions, enclosed and unenclosed a ten-year warranty are included. Transportation THE DIAPASON E-Newsletters are e-mailed Great. Details: [email protected]. from Québec is not included. This organ requires ′ ′ ′ monthly to subscribers who sign up to receive ′ ′ Gothic White Oak Organ Case. 25 x 25 x 12 approximately 570 sq. ft. with 20 ceiling for 16 deep. Excellent condition. Spiky towers, lots of them. Don’t miss the latest news, featured artists, ranks. For more details, visit www.letourneauor- and classifi ed ads—all with photos—some before fi ligree. The Organ Clearing House, 617/688- BIGELOW Opus 23 (1992), II/15 tracker. Big gans.com, e-mail [email protected] or they appear in print! Visit www.TheDiapason. 9290, [email protected]. sound, 16′ Posaune. Quartered white oak case, call Andrew Forrest at 450/774-2698. com and click on Subscribe to our newsletter. For 19′ high x 13′ wide x 5′ deep. $70K + move/ assistance, contact Stephen Schnurr, 847/954- install. [email protected], 801/756- 7989, [email protected]. 5777; bigeloworgans.com, click on news. George Hutchings, rebuilt by Philip Beaudry. SERVICES / SUPPLIES 2 manuals, 29 stops, tracker action, detached Releathering all types of pipe organ actions console, good condition, Boston, MA. No sale Consider a gift subscription to THE Kohl Organ Company, Rochester, New price, new owner is responsible for removal and mechanisms. Highest quality materi- York, 1933. 16 ranks and chimes. Rebuilt and DIAPASON for all your friends who love and relocation. Contact John Bishop, the Organ als and workmanship. Reasonable rates. enlarged by Joseph Fitzer. Meidinger blowers, the organ, harpsichord, carillon, and Clearing House, [email protected]. Columbia Organ Leathers 800/423-7003. electro-pneumatic and direct electric chests, church music. Your $40 gift will be www.columbiaorgan.com/col. Peterson key, stop, and 8-level combination remembered throughout the year. (And action (8 generals). $30,000. Buyer to remove. Aeolian-Skinner Opus 968 (1937, 1939, don’t forget our special bargain for stu- Mary Gifford, 708/267-6485. 1955, 1964). Rebuilt Kinzey-Angerstein Do you have a pipe organ that you would dents at $20!) Visit www.thediapason. (1977), rebuilt Létourneau (1995), four manu- like to interface with an electronic or digital com and click “subscribe.” Or con- als, 85 stops. $40,000. Contact John Bishop, organ? We can interface any digital organ or tact Donna Heuberger, 847/954-7986; Circa 1860 Pfeffer eight-rank organ, available [email protected]. rebuilt and custom fi nished. Also 1884 choir Organ Clearing House, 617/688-9290, john@ any organ console with any pipe organ. For more organ by Louis Debierre. Both are pictured on the organclearinghouse.com. information e-mail [email protected] (not Redman website: www.redmanpipeorgans.com. Comcast) or call 215/353-0286. Postal regulations require that mail to THE Kilgen Petit Ensemble, 2-1/2 ranks, two manu- DIAPASON include a suite number to assure Historic 1859 ROBJOHN, II+Ped, 11 ranks. als, 17 stops. Full AGO pedalboard, original Aeolian/Robert Morton-style maroon delivery. Please send all correspondence to: ′ ″ Drop dead gorgeous rosewood case, 14 -2 tall. ivory keys. In tune, played regularly. In a church leather is now available from Columbia Organ THE DIAPASON, 3030 W. Salt Creek Lane, Suite Lovely for chapel, large residence, or museum. until late 1980s, refi nished case, in private home Leathers! Highest quality. 800/423-7003, 201, Arlington Heights, IL 60005. www.bigeloworgans.com. Click on News. since. $14,000. Contact: 225/975-6758. www.columbiaorgan.com.

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George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Stephen Buzard Chelsea Chen Katelyn Emerson 2016 AGO National Competition Winner Available 2016-2019

Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Stefan Engels*

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