THE DIAPASON NOVEMBER 2020

Jim Whelan Boardwalk Hall Atlantic City, Cover feature on pages 14–20 PHILLIP TRUCKENBROD CONCERT ARTISTS

ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE LYNNE DAVIS

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

CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS

RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ

JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄt®Äě٠THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 11, 20 Under 30 Class of 2021 Whole No. 1332 The Diapason’s 20 Under 30 Class of 2021 will recognize NOVEMBER 2020 young women and men whose career accomplishments place Established in 1909 them at the forefront of the organ, church music, harpsichord, Stephen Schnurr ISSN 0012-2378 carillon, and organbuilding fields—before their 30th birthday. 847/954-7989; [email protected] Please consider students, colleagues, or friends worthy of this www.TheDiapason.com An International Monthly Devoted to the Organ, honor. (Self-nominations are not accepted.) Nominees will be the Harpsichord, Carillon, and Church Music evaluated on the basis of how they demonstrate such traits a three-year subscription. (Digital and student subscrip- and accomplishments as leadership skills, creativity and inno- tions receive one free CD for a one-year subscription.) CONTENTS vation, career advancement, technical skills, and community Visit www.thediapason.com/subscribe. outreach. Evaluation will consider such things as awards FEATURES An organbuilder’s early career and competition prizes, publications and compositions, In this issue explorations: Bedient Opus 1 offices held, and significant positions. Nominations will open Our cover feature is the 1929–1932 Midmer-Losh, Inc., by Gene Bedient 10 December 1, 2020, and close February 1, 2021. Opus 5550 in Boardwalk Hall of Atlantic City, Creating a : Artisans at work, Nominees cannot have reached their 30th birthday before New Jersey. This monumental instrument has experienced Part 3 January 31, 2021. Nominees not selected in a previous year can by Steve Riskind 12 considerable ongoing restoration efforts, and the result of this be nominated again. work is apparent as the organ is now played publicly often in NEWS & DEPARTMENTS Evaluation of nominations and selection of the members demonstrations and recitals. Editor’s Notebook 3 of the Class of 2021 will take place in March. The awardees Gene Bedient provides a brief account of his early days and Letters to the Editor 3 will be announced in the May 2021 issue of The Diapa- experiences in organbuilding, as the firm he founded, Bedi- Here & There 3 son. For information and to nominate (after December 1), ent Pipe Organ Co., recently marked its fiftieth anniversary. Appointments 6 visit www.thediapason.com and click on 20 Under 30. We present the third and final installment of Steve Riskind’s Nunc Dimittis 6 photographic essay on organbuilding artisans at work, featur- In the wind . . . by John Bishop 8 A free gift with new subscriptions and ing the Peragallo Pipe Organ Company and A. David Moore, REVIEWS gift subscriptions Inc. John Bishop, in “In the wind . . .,” remembers Alan Book Reviews 21 A subscription to The Diapason makes the perfect gift Laufman on the twentieth anniversary of his death. Laufman New Organ Music 21 for friends who share your interest in the organ, church was a singularly important figure in resurrecting appreciation New Recordings 22 music, harpsichord, and carillon. Just in time for the holidays, for older American pipe organs in the late twentieth century New Handbell Music 23 we are extending our promotional offering of new Raven and was the first director of the Organ Clearing House. “New NEW ORGANS 13 CDs for new and gift subscriptions. For print subscrip- Organs” features a two-manual instrument by David E. Wal- tions, receive one free CD for a one-year subscription; lace & Company Pipe Organ Builders, LLC, for the Canadian CALENDAR 24 two CDs for a two-year subscription; and three CDs for Reformed Church of Ancaster, Ontario. Q RECITAL PROGRAMS 25 CLASSIFIED ADVERTISING 26 Letters to the Editor

Tour company refunds Concept Tours, but there was no men- Recital at Bridges Hall review I never wanted to be one of the tion of my funds being returned. I would Thank you for your recent review of people that would write a letter like this, assume this company would have had William Peterson’s recording on the but having received very little response insurance for a catastrophic situation Fisk organ at Pomona College on our from this tour company, I have resorted like this. I would assume they applied Loft Recordings label (September 2020, to this. for a paycheck protection loan as a small pages 22–23). The review stated that an In January 2020 I booked a tour for business. I would assume that the State online booklet was not available. Perhaps my husband and myself with Concept of New York would have funds for dis- we have hidden it too well! Tours for the World Bach Tour. I believe tressed businesses considering the pan- With the exception of a few very old Concept Tours has advertised occasion- demic. I wrongly assumed a company releases, all albums available on the ally with The Diapason. As soon as a would not keep someone’s money when Gothic Catalog website (www.gothic- deposit had been placed, I was informed they have rendered no services for that catalog.com) have online booklets. On that the tour was not a “go” yet because money. I have filed a complaint with the an album’s product page, just double it had not filled its quota of participants. Better Business Bureau of New York. I click on the CD’s cover image to reveal COVER Midmer-Losh, Inc., Merrick, Long Island, The tour was canceled in March, pre- have filed a complaint with the New York the booklet. For most recent releases, New York, Opus 5550 (1929–1932); sumably because of COVID, although I Attorney General. I have had an attorney the online booklet is in full color, format- Jim Whelan Boardwalk Hall, was never informed there were enough write Concept Tours for an explanation. ted for an iPad or iPhone screen, and Atlantic City, New Jersey 14 participants for the tour to happen in With all due respect, I would like my may contain additional information not spite of the pandemic. I was promised money returned. found in the printed book. Online book- that a refund would be forthcoming for Those of us wanting to participate in lets are available for reading without Editorial Director STEPHEN SCHNURR my deposit of over $4,000.00. tours had better be careful of this type of purchase on the product page, where and Publisher [email protected] 847/954-7989 I kept in touch with the staff regard- fraud. Has anyone else had similar issues one can also listen to audio samples of ing the process for a reimbursement, with this company or any other vendor? each track. President RICK SCHWER but it was never forthcoming. Within a Thank you for considering this problem. Roger Sherman [email protected] 847/391-1048 couple months I received a letter from Shelley Hardin The Gothic Catalog the owner stating they were closing Pocatello, Idaho gothic-catalog.com Editor-at-Large ANDREW SCHAEFFER [email protected]

Sales Director JEROME BUTERA Here & There [email protected] 608/634-6253 Circulation/ Subscriptions THE DIAPASON Correction Events The Cathedral of St. Mary of the P.O. Box 300 In Colin MacKnight’s article, Assumption, San Francisco, California, Lincolnshire, IL. 60069-0300 “Schumann’s B-A-C-H Fugues: the gen- resumes recitals, Sundays at 4:00 p.m.: [email protected] Toll-Free: 877/501-7540 esis of the ‘Character-Fugue’” (October November 1, St. Mary’s Cathedral Choir, Local: 847/763-4933 2020, pages 12–15), the first sentence Ash Walker, director, and Christoph of the second paragraph should have Tietze, organ, Duruflé,Requiem ; 11/8, Designer KELLI DIRKS read: “In German musical parlance, B is Agnieszka Peszko, violin, with Astghik [email protected] B-flat and H is B-natural, allowing one Sakanyan, piano; 11/15, Crista Miller, Contributing Editors LARRY PALMER to turn Bach’s surname into the motive organ; 11/22, Jin Kyung Lim, organ; Harpsichord B-flat, A, C, B-natural.” The editor 11/29, Jonathan Kroepel, organ. BRIAN SWAGER regrets the error. Cathedral of St. Mary of the Assumption, St. Mary’s Cathedral houses a 1971 Carillon San Francisco, California, Ruffatti organ Fratelli Ruffatti organ of four manuals, ³ page 4 JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of GAVIN BLACK Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles On Teaching 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Subscriptions: 1 yr. $44; 2 yr. $81; 3 yr. $112 (United States and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. Reviewers Stephen Schnurr Canada and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specific written permission of the Editor, except that libraries are authorized to make Charles W. Steele 3 yr. $112 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading Joyce Johnson Robinson only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fifteen students. Such copies may be reused for other John L. Speller Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the Leon Nelson 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

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³ page 3 89 ranks. These events are available livestream. For information: www.stmarycathedralsf.org.

Raymond Nagem at his home setup for Tuesdays at 6 concerts

The Cathedral Church of St. John James Kennerley at the console of the the Divine, New York, New York, Kotzschmar Organ, Merrill Auditorium, Young Artists Organ Camp participants announces organ recitals, Tuesdays at Portland, Maine 6:00 p.m., except where noted: Novem- The annual Philadelphia Young Artists Organ Camp was held June 21–26 via ber 10, Raymond Nagem; 11/17, David James Kennerley will perform with Zoom. With funds in place from a generous grant from the Sansom Foundation and Briggs; 11/24, David Briggs; December 1 Jonathan Boyd and Malinda Haslett, facilitated by the Friends of the , it was decided to put technology (7:30 p.m.), Raymond Nagem, Messiaen, the Pine Tree Bell Ringers, two pieces to the test and continue the mission of engaging young promising students in a week La Nativité du Seigneur; 12/8, Raymond from The Nutcracker with dancers of total immersion. Daily lessons were held with Alan Morrison (repertoire), Peter Nagem; 12/15, Raymond Nagem. Recit- from Maine State Ballet, also with Richard Conte (transcriptions), and Matthew Glandorf (improvisation and hymn als are accessible through the cathedral’s brass accompaniment. The concert is playing), followed by a daily class in organ literature. A final recital was held through Facebook and YouTube pages. For infor- available for online purchase via Port- uploaded content on YouTube, and all participants and invited guests watched together mation: stjohndivine.org. TIX.com (or by calling 208/842-0800). and applauded from afar. All students attend on full scholarship, therefore space is limited. The six students selected this year were Daniel Colaner (Ohio), Dominic VocalEssence announces its Fiacco (New York), Michael Gibson (Virginia), Josh Kraybill (Pennsylvania), Alex- 2020–2021 online . Concerts ander Leonardi (New York), and Jo Ellen West (Texas). For more information on will be released on premiere dates and how to apply, contact Alan Morrison, [email protected]. will be available anytime afterward. Chorus and Ensemble Singers Series: December 6, Welcome Christmas; Competitions Chouinard, and Louis Jullien, joined March 14, 2021, Witness: Power of art to by Ensemble Sequenza 9.3, directed change the world; June 17, Singing the by Catherine Simonpietri. The jury will World Awake: showcasing the music of award a first prize and a second prize for Minnesota; each category. Singers of This Age Series, featur- Deadline for submission of works for ing high school singers: November 28, large organ is July 1, and the deadline for Imagine; January 16, Believe; March 6, works with organ and voices is August 1. Create; May 1, Celebrate; For each category, first prize is €4,000, Story and Sing, for children: Novem- second prize is €2,000, and audience ber 14, December 12, February 6, March prize is €1,000. For information: aross.fr/ 20. For information: vocalessence.org. Church of the Transfiguration, Orleans, en/composition-competition/. Massachusetts The Friends of the Kotzschmar Organ, Portland, Maine, will offer their The Church of the Transfigura- People annual “Christmas with Kennerley” tion, Orleans, Massachusetts, announces concert from Merrill Auditorium in a recital in celebration of the completion an online-only viewing event this year. of its organ, December 5, 7:30 p.m. The Saint-Sulpice, Paris, France, Cavaillé- The concert will be pre-recorded and featured artist will be Thomas Murray. Coll organ available online between December 12 For information: and 28. Portland Municipal Organist churchofthetransfiguration.org. The Association pour le ray- onnement des orgues Aristide Cavaillé-Coll de l’église Saint- Sulpice celebrates its 30th anniversary with a composition competition. The competition has two categories: a work for large organ and a work for small

organ and voices. The jury is Philippe Hersant (chair), Martina Batic, Estelle Lowry, Kaija Saariaho, Yves Castagnet, Bernard Foccroulle, and Thomas Lacôte. They Christopher Ganza will select four works for each category that will be performed at Saint-Sulpice Christopher Ganza will present an Church, Paris, France, November 21, All Souls’ Day recital, November 2, 7:30 2021. Organists at the event will include p.m., at the Cathedral of St. Paul, St. Paul, Shin-Young Lee, Yoann Tardivel, Lori- Minnesota. The event will be presented ane Llorca, Constance Taillard, Ronan ³ page 6 pipe organ kit Proud builders of the

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4 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM

Here & There

1–2 low instruments in C and piano or Appointments guitar, voice ad lib., arranged and edited Andrew Schaeffer is by Dagmar Wilgo and Nico Oberban- appointed adjunct instructor of scheidt. The Buxheim Tablature Book music (organ) at Ripon College, (c. 1460/70) (EW1110, €21.80), includes Ripon, Wisconsin. Established 25 two- to three-part pieces for melody in 1851, Ripon College is a small instruments or a keyboard in a practical liberal arts school of nearly 800 playing score, edited with an introduc- students. In addition to pipe tion by Martin Erhardt. For information: organs by Wicks and Bruce Case, edition-walhall.de. the main teaching organ in Dem- mer Recital Hall is a four-manual, MorningStar Music Publishers 30-stop, mechanical action organ announces a new instrumental work for built by the Bedient Organ Com- Thanksgiving: Now Thank We All Our pany and designed by Ripon’s Andrew Schaeffer God: Three Hymn Settings for Clarinet former organ professor, Donald in B-flat, Horn in F, and Piano (25-878, Spies, in consultation with Gene Bedient. Schaeffer succeeds Sarah Mahler $20, downloadable score also available), John J. Binsfeld, III, at the Wanamaker Kraaz, who recently retired. Schaeffer holds degrees from St. Olaf College, by Anne Krentz Organ. Hymntune set- Organ Yale University, and the University of Oklahoma, and will be continuing his tings include Nun danket alle Gott, full-time work as director of music at Luther Memorial Church in downtown The Ash Grove, and Wie lieblich at age 17 to study organ with Alexander Madison, Wisconsin, and as editor-at-large of The Diapason. Q ist der Maien. For information: McCurdy. In 1964, while studying at Cur- morninstarmusic.com. tis, he was selected as organist and choir- master at historic Old Christ Church, ³ page 4 John Passion, BWV 245 (BA 5037-91, Philadelphia, where he remained for in person (with Covid-19 precautions in €9.95), by Johann Sebastian Bach, edited 45 years until his retirement in 2009. In place) as well as streaming online, with by Arthur Mendel; Stillae (Drops) (BA addition to Sunday worship services, he works by Richard Proulx, Maurice Duru- 8528, €4.95), by Mårten Jansson; and fostered many musical events at Christ flé, James Biery, and George Thalben- Field Mass, H. 279 (TP573, €18.95), by Church including a summer organ recital Ball. The cathedral houses organs built Bohuslav Martin͐, edited by Paul Wingi- series that provided an outlet for many by the Skinner Organ Company and by eld, for solo baritone, male choir, wind organists, established an international Aeolian-Skinner. For information: www. instruments, piano, harmonium, and recital series, as well as the First Friday cathedralsaintpaul.org. percussion. For information: Recital Series. He also encouraged many baerenreiter.com. established musical groups to curate their own series at Christ Church. Social media Choristers Guild announces new John Binsfeld’s work in the concert The Instituto de Órganos Históri- handbell publications: Good Christian world as well as on the lecture circuit as cos de Oaxaca, A.C. (IOHIO) Friends, Rejoice (Now Sing We, Now a spokesperson for music in the church announces its new YouTube channel, Rejoice) (CGB1176), arranged by Cathy enhanced the reputation of Christ Church which offers aficionados of Oaxaca cul- Moklebust, for 2 or 3 octaves handbells and aided in putting it on the musical ture the opportunity to hear the varied or handchimes; Christmas for Four map. Not very many members of his par- sounds of its historic pipe organs. The Ringers (CGB1184), arranged by Anna ish were aware of John’s outside musical channel is inaugurated with the CD Laura Page, for four handbell ringers activities due to his insistence on keeping Música Oaxaqueña en el Órgano de (2 octave range) and piano; A Welsh a low profile, believing that the ministry la Catedral de Oaxaca, presented by Folk Tune (Slumber Song) (CGB1181), A Respectable Inhabitant of This City: of music was the most important voice. organist Cicely Winter and percussion- arranged by Margaret R. Tucker, for 3, John Geib and Sons, Organ Builders & His ambassadorship of goodwill regard- ist Valentín Hernández. The music is 4, or 5 octaves handbells or handchimes; Piano Forte Manufacturers ing Christ Church extended nationally complemented with photographs that and Easy Favorites for the Handbell and internationally, always the champion correspond to each of the 22 songs and Soloist, Volume 3 (CGB1183), arranged Sigal Music Museum announces of worship as opposed to performance. dances. For information: youtube.com/ by Cathy Moklebust, accompaniments publication of a book by Thomas During those Philadelphia years, Bins- playlist?list=PL60D2UQ6A0aODlRCM by David Moklebust, for handbell soloist Strange, A Respectable Inhabitant of feld was a staff recitalist at the then John FnokttvjDEqhdqeT. with keyboard. For information: This City: John Geib and Sons, Organ Wanamaker store in Center City Phila- choristersguild.com. Builders & Piano Forte Manufacturers delphia, where he was heard in concert ($40). At 199 pages and 129 full color weekly. In his retirement John resided in Publishers Editions Walhall announces new illustrations this book traces the work Ocean City, New Jersey, where he served Bärenreiter announces new cho- publications. Europe for Advanced of the Geib family of music instrument frequently as a guest organist at St. Peter’s ral scores: Mass in C Major, op. 86 Musicians: 16 Great Christmas Songs makers, including the history of the United Methodist Church, Ocean City. (BA9039-91, €7.95), by Ludwig van (EW1038, €16.50), includes a selection Geib firm in London and America. For John Binsfeld influenced a generation Beethoven, edited by Barry Cooper; St. of little-known Christmas songs for information: sigalmusicmuseum.org or of private organ students and singers lulu.com. whom he mentored. He taught on the organ faculties of the Archdiocesan Seminary of St. Charles Borromeo in Nunc Dimittis Wynwood and of Philadelphia’s Temple John J. Binsfeld, III, died in Ocean University. He served on the committee City, New Jersey, on September 23. Born for the International Congress of Organ- in Pottstown, Pennsylvania, on June 4, ists and was a member of the American 1944, he began as a young child studying Guild of Organists. keyboard with Lotta Young and Barbara John J. Binsfeld, III, is survived Hartenbauer. While still a student at Pott- by brothers John Frantz and his wife stown High School, he became minister Lurene of State College, Pennsylvania, of music at Trinity Reformed Church and Richard Frantz and his wife Mary where he served the congregation from of Pottstown, Pennsylvania; his sister Pat April 1961 to June 1964. Hagey of Pottstown; and extended fam- At the Curtis Institute of Music in ily. A funeral service from Christ Church, Philadelphia, he won a full scholarship Philadelphia, was held on October 3.

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6 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM Here & There

Recordings (OAR-165) features Aude Heurtematte Summa, and Sieben Magnificat-Antipho- performing music composed in France, nen. For information: Germany, and the Netherlands on a cugate-classics.com. three-manual organ built in 2010 and unique in France because of its design TENET Vocal Artists announces a to play early keyboard music. Built by new double-disc recording of the Green Orgue Dominique Thomas of Stavelot, Mountain Project’s final New York City Belgium, the instrument represents the performance. For the past ten years, style of organs built in France ca. 1630, the Green Mountain Project has been but expanded to 14 notes per octave and composed of Baroque specialists in the a 37-note , both with split United States for concerts of Claudio keys, to widen the repertoire that can be Monteverdi’s Vespro della Beata Vergine played on its meantone temperament. (Vespers of 1610). This live recording Selections include works by Eustache is a culmination of years of musical col- Du Caurroy, Pierre Attaingnant, Jean laborations, marking a decade of perfor- For All the Saints: Anthem, Hymns and Titelouze, Louis Couperin, Hieronymus mances. For information: tenet.nyc. Motets Praetorius, Hans Leo Hassler, Jan Piet- Liturgy of St. John Chrysostom erszoon Sweelinck, Samuel Scheidt, and Works featured include several hymns as Franz Tunder. The organ is located at the Cappella Records announces new well as contemporary motets by Tavener, Church of the Assumption, Champcueil. CDs: Liturgy of St. John Chrysostom Pärt, and four premiere recordings of For information: ravencd.com. (2 discs, CR 421, $29.99), by Benedict Phillips’s new compositions. For infor- Sheehan, is the premiere recording of mation: gothic-catalog.com. this choral work reminiscent of medi- eval Eastern chant, minimalism, and American folk singing, with homage to Arvo Pärt and late Romanticism. It is performed by the Saint Tikhon Choir, conducted by the composer. Lost Voices of Hagia Sophia (2 discs, CR420-CDBR, $29.99), features Cap- Voices of Earth and Air: Works for Cho- pella Romana, Alexander Lingas, rus, Volume III music director, performing medieval Byzantine chant for the Feast of the Navona Records announces a new Holy Cross in Constantinople. For infor- CD: Voices of Earth and Air: Works mation: cappellaromana.org. Arvo Pärt: Works for Choir for Chorus, Volume III. The disc fea- tures the Kühn Choir of Prague, Czech Gothic announces a new CD: For All Cugate Classics announces a Republic, Lenka Navrátilová, conduc- the Saints: Anthems, Hymns and Motets new CD: Arvo Pärt: Works for Choir tor, and Vox Futura, Andrew Shenton, from All Saints’, Beverly Hills (G-49325, Organ Musique - Musik - Muziek 1530– (CGC051CD, CGCD051LP), per- conductor. Composers featured include $18.98, individual track downloads avail- 1660 formed by the Vilnius Municipal Choir Kong-Yu Wong, Scott Anthony Shell, able). On this recording, the All Saints’ Jauna Muzika, directed by Vaclova Deborah Anderson, Theresa Koon, and Choir is directed by Craig Phillips, Raven announces a new CD: Organ Augustinas. Featured works include others. For information: with Jason Klein-Mendoza, organist. Musique - Musik - Muziek: 1530–1660 The Beatitudes, Nun Eile Ich Zu Euch, parmarecordings.com. Q

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In memory of Alan Laufman: June 18, 1956, four days after the death OHS to allow him to spin “The List” into the birth of the of G. Donald Harrison. an independent company, and by 1962, Organ Clearing House On June 27, less than two weeks after Alan Laufman was listed as director of I have written often about the Harrison’s death, with the AGO conven- the Organ Clearing House on the mast- dynamic renaissance that dominated tion in full swing, a group of ten people head of The Tracker.* the history of the pipe organ in the interested in historic American organs United States in the second half of the gathered in the choir room of Saint Alan Miller Laufman (1935–2000) twentieth century. In the 1950s and Bartholomew’s Church on Park Avenue Alan was born in Arlington, Mas- 1960s, E. Power Biggs toured Europe, to discuss the possibility of forming an sachusetts. He taught English at Saint bringing home recordings of distin- organization for like-minded people. Thomas Choir School and later at the guished historic instruments, catching Present were Horace Douglas, Dorothy Thomas More School in Harrisville, the ears of the listening public. A large, Ballinger, Robert Clawson, Albert F. New Hampshire. He was interested four-manual tracker organ by Rudolf Robinson, Barbara J. Owen, Donald in the organ as a child, an interest that von Beckerath was installed at Trinity Paterson, Kenneth F. Simmons, Char- was surely nurtured during his time at Lutheran Church in Cleveland, Ohio, in lene E. Simmons, Homer D. Blanchard, Saint Thomas. In the early days of the 1957, the same year that Biggs arranged and Randall E. Wagner. They discussed Organ Clearing House, Alan was able to for the installation of the iconic Flentrop the possibility of maintaining a list of turn the list into action, finding homes organ in the museum formerly known as endangered instruments and publish- for organs slated for destruction. He the Busch-Reisinger at Harvard Uni- ing a newsletter for the exchange of organized deals between churches that versity in Cambridge, Massachusetts. information of interest to members, and would cover moving costs and solicited American organbuilders and organists the was born. thousands of hours of volunteer labor developed a renewed interest in organs Barbara Owen and Randy Wagner are from organbuilders, organists, and with mechanical key actions and low the two survivors of that group.* enthusiasts. Parishioners provided lodg- Alan Laufman in 1979 at a Stevens or- wind pressures because of the clarity One of the many reasons why historic ing and meals, and organs were moved gan, Blue Hill, Maine (photo credit: William of tone and sensitivity of touch. Many organs were being threatened came by the dozen at low cost. T. Van Pelt) new firms devoted to building tracker- from an act of Congress. The Federal Decades before the introduction of action instruments were established, Aid Highway Act passed in 1956 led to cell phones, Alan would commandeer candidates. The snapshots were taped to and with that came renewed interest the creation of the Dwight D. Eisen- the phone of the church where he was the three-hole page and showed up on in nineteenth-century American organs hower National System of Interstate and working, calling all over the country to the faxes as black blobs. “Laufman and with their mechanical action and low- Defense Highways (the Interstate High- arrange the next deal. Gradually, the his black blobs” was a common snicker pressure . way System). As commander of Allied operation became professional. Organs between organbuilders. Looking back, The change of direction affected Forces in Europe during World War II, were delivered to organbuilders’ work- it seems primitive, but it sure was effec- electro-pneumatic instruments as well. Eisenhower had been impressed by the shops for restoration. A permanent, paid tive, and I know many other organ guys In June 1956, G. Donald Harrison was importance of the German autobahn sys- crew was established, many of whom listened to the munching and creaking as hurrying to finish the new Aeolian- tem in the mobilization of the military, joined the company because they hap- they received their black blobs. Skinner organ at Saint Thomas Church and building highways was a priority of pened to live near where a project was on Fifth Avenue in New York City, a his presidency. It is difficult to imagine underway. Alan would approach a group A few examples substantial “American Classic” rebuild the United States without interstate of kids, asking if they wanted to “earn In 1981, the Metropolitan Museum of the original Skinner organ built in highways, but their construction caused some money over the weekend.” Amory of Art in New York City acquired an 1912. The national convention of the significant collateral damage as rights of Atkins, who first worked with Alan in organ built in 1830 by Thomas Appleton American Guild of Organists would be way were carved through American cit- 1978, and Joshua Wood, who joined in through the Organ Clearing House. held in the city later that month, and ies causing the destruction of countless 1986, became Alan’s business partners Sacred Heart Catholic Church in Plains, Pierre Cochereau, organist of the Cathe- buildings, including churches and their and are officers in the company today. Pennsylvania (near Wilkes-Barre), was dral of Notre Dame in Paris, France, pipe organs. Dozens, then hundreds of wonder- closing, and the OCH removed the was scheduled to play the new organ Barbara Owen was the first keeper of ful organs of all sizes by such builders organ and delivered it to the workshop for the convention. There was both a the endangered organ list. She solicited as Hook, Hook & Hastings, Hutchings, of Mann & Trupiano for restoration. It heat wave and a taxi strike in New York, information from colleagues around the Stevens, Erben, Jardine, Barckhoff, and was installed in the balcony in the grand and after working into the evening on country and published the list in the Appleton were given “second wind” acoustic of the marble Equestrian Gal- June 14, Harrison had to walk home to mimeographed (remember that smell?) through Alan’s efforts. Organs facing lery of the Pierpont Morgan Wing where his apartment on Third Avenue. After newsletter of the foundling OHS. demolition typically were moved without it joined the museum’s iconic collec- dinner, while watching Victor Borge on Within a couple years, the newsletter purchase price; so, from the beginning, tion of musical instruments. The organ television, G. Donald Harrison died of a was replaced by the society’s profession- the OCH charged a finder’s fee to the has more recently been removed for massive heart attack. He was sixty-seven ally printed journal, The Tracker, and recipient of an instrument rather than cleaning and renovation and returned years old. Alan Laufman became interested in the receiving a sales commission. to its lofty location concurrent with the By coincidence, John Scott, the bril- movement to preserve historic organs. Alan maintained the list of available renovation of the gallery. The oldest liant British organist whose tenure as Around 1960, Alan assumed responsi- organs in large, three-ring binders, typi- organ in the United States was built by organist at Saint Thomas ended with bility for the list of endangered organs; cally one page per organ. He called the Snetzler of London in 1762—it is located his untimely death in 2015, was born on in 1961, he petitioned the board of the binders “The Family Album.” There in the Congregational Church of South would be a snapshot, a stoplist, and a Dennis, Massachusetts. There are a few brief description of the organ, its loca- British-built instruments in the Boston tion, and situation. In the late 1980s and area dating from around 1800, and there through the 1990s, I was running the is a two-manual organ built in 1800 by Bishop Organ Company in the Boston David Tannenberg at Old Salem, North area, and I was able to sell several organs Carolina. With those, the Appleton organ to my clients through OCH with Alan’s at the “Met” is one of the earliest extant 2020-2022 Projects help. I recall the lengthy phone calls as I American-built organs and perhaps the described the buildings where an organ second oldest with two manuals. 86$LU)RUFH$FDGHP\3URWHVWDQW&DGHW&KDSHOĆ&RORUDGR6SULQJV&R might be installed. Alan was often casu- One of the grandest OCH relocation Rebuild III/83 Moller/Holtkamp ally munching on something as he rifled projects involved the 1871 organ with through those binders. I would hear the three manuals and fifty-four stops built 86$LU)RUFH$FDGHP\&DWKROLF&DGHW&KDSHOĆ&RORUDGR6SULQJV&R click as he snapped the rings open and by E. & G. G. Hook of Boston for Saint Rebuild III/33 Moller/Holtkamp the creak of his desk chair as he swiv- Alphonsus Catholic Church on West eled toward the fax machine. Through Broadway in New York City, near the 7KH)R[7KHDWUHĆ$WODQWD*D the miracle of then-modern technology, entrance to the Holland Tunnel. The Rebuild “Mighty Mo” Moller theater I would receive pages describing a few church was to be demolished to make %URDG6WUHHW3UHVE\WHULDQ&KXUFKĆ&ROXPEXV2K organs Alan thought might be good space for a parking garage. There is a luxury apartment complex at that Build V-manual console with new windchests and more 0LOQDU2UJDQ&RPSDQ\ address today. This massive organ is 6W$QGUHZ(SLVFRSDO&KXUFKĆ)RUW3LHUFH)OD over fifty feet tall, including the seven- foot-tall angels perched high atop the New III/31 pipe organ ([FHOOHQWXVHGSLSHV pedal towers. Ithaca, New York, area St Simons Island Presbyterian ChurchĆ6W6LPRQV,VODQG*D  organbuilder Culver “Cullie” Mowers New III/38 pipe organ told of transporting those angels from 9HU\FOHDQOLNHQHZ New York to New Haven in his “Beech 3OXVPRUHSURMHFWVIRUQHZFRQVROHVQHZIDFDGHV Wagon.” Driving through a toll booth UHEXLOGLQJDQGUHVWRUDWLRQRIYLQWDJHLQVWUXPHQWV FRVWRIQHZSLSHV on Interstate 95, the toll-taker took a look and asked, “Where are you taking How can we help you? -- them?” Alan gathered a large crew to GHQQLV#PLOQDURUJDQFRP remove the organ from its original home ZZZSLSHRUJDQFRPĆ ZZZPLOQDURUJDQFRP and created a consortium of organbuild- ers to renovate the instrument and install

8 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM By John Bishop

and get something decent in there.” After a stunned silence, Alan replied, “Because it is a noteworthy instrument on a global basis that significantly merits preservation.” Now David was stunned, “. . . here was the sacrosanct nineteenth- century organ hero Alan Laufman advo- cating for an over-the-hill twentieth- century orchestral organ.” Alan went on to say that each individual organ should be looked at with an eye for what it has to offer, not only its past but also what it can carry to the future. Recently, the organ has been thoroughly renovated and is in terrific condition well into its second century. (photo credit: Félix Müller)

1871 E. & G. G. Hook Opus 576, Saint And the rest is history. We prepare empty organ chambers Mary’s Catholic Church, New Haven, Since Alan’s death, the Organ Clear- for the installation of an organ, building Connecticut (photo credit: William T. Van Pelt) ing House has continued the work of level floors, repairing leaking gallery 1830 Thomas Appleton organ, Metropol- maintaining information about available windows, plastering and painting, and itan Museum of Art, New York, New York Opus 322 (1863). Thomas Murray organs, placing instruments in appropri- working with HVAC, plumbing, electri- (photo credit: William T. Van Pelt) played the organ, and I’ll not forget the ate new homes. The pace has slowed to cal, and fire protection contractors to experience of singing St. Clement an average of about fifteen sales a year, ensure a safe home for the organ. And it at Saint Mary’s Catholic Church in (“The day Thou gavest, Lord, is ended and the emphasis has changed from we have enhanced, renovated, and New Haven, Connecticut. The project . . .”) with the vast, musically sophisti- the ubiquitous ten-stop Hook & Hast- installed organs under our own name. started in 1981, the same year as the cated congregation. ings organ to three and four-manual We are especially proud of the three- relocation of the Appleton organ, and Alan lived in Harrisville, New Hamp- electro-pneumatic instruments. With manual 1915 Casavant organ we moved was completed in 1982. shire, for many years, a community he organists’ renewed interest in orchestral from Maine to the Upper East Side of served as a selectman. He brought a transcriptions and complex Romantic New York City, transforming it from Transitions one-manual Hook organ to Saint Denis music, the organs most likely to sell a country organ to a city organ, and In July 2000, the Organ Historical Catholic Church, which he played for are those with lots of solo voices and from a “downstairs church organ” to an Society held its convention in Boston services when he was at home. His fundamental tone, at least two expres- “upstairs church organ.” at the Park Plaza . Though he was ashes were interred in Saint Denis sive divisions (preferably more), and I have been director of the Organ suffering from cancer, Alan addressed Cemetery, enclosed in a box made by a state-of-the-art consoles with the latest Clearing House for twenty years, and the convention, traveling across town colleague organbuilder from an old bass of whizbang solid-state gadgets allowing I’m the new guy. Amory Atkins, Joshua from the hospital to speak about the pipe. hundreds of changes at the Wood, Terence Atkin, and I all worked history of the Organ Clearing House. Among his many accomplishments, speed of light. with and for Alan, and his influence During that lecture, he estimated that in Alan was especially proud of the twenty- The company has evolved to offer is very much alive in our work. I was nearly forty years he had been involved seven issues of The Organ Handbook he new services. With the experience of invited in 2008 to visit Madagascar by directly or indirectly in the relocation produced annually as editor from 1972 dismantling hundreds (thousands?) of the country’s Federal President, Marc of more than two thousand pipe organs. until 1999. Those publications were pipe organs, we are specialists in hoist- Ravalomanana, who was also an official Later that week, Amory, Joshua, and I the program guides for conventions of ing and rigging delicate and heavy com- of the national Protestant Church, to met with Alan in his hospital room to the Organ Historical Society, and along ponents inside ornate buildings chock study the possibility of bringing Ameri- discuss my succeeding Alan as director with schedules and recital programs, full of precious artworks, and we are can organs to Malagash churches. My of the OCH, allowing the company to they included organ specifications and frequently engaged to assist organbuild- “cold call” came from Madagascar’s continue supporting their families and to historical essays about each instrument ers in the installation of new organs, Ambassador to the United Nations, continue the work that Alan had started visited. Alan spent months in each con- erecting scaffold towers with hoisting Zina Andrianarivelo. Zina took me to and nurtured. We all shook hands, and vention city, visiting each instrument equipment that rolls along I-beams on the Presidential Palace in Antananarivo, Amory made the quip that has defined and researching the history of the organs trolleys, and engaging truck transporta- the capitol city. Sitting in an upholstered my life since, “Okay John, you kill ’em, and their buildings. Each volume was tion and overseas shipments. We have chair waiting for my meeting with the and we’ll skin ’em.” scholarly, comprehensive, and impec- sent organs to Madagascar, Bolivia, New president, I thought, “Alan would have As Alan’s condition worsened, hospice cably accurate. Complete sets of these Zealand, China, Australia, Great Britain, loved this.” Q care was set up for him in the front room vital books documenting hundreds of and Germany. We cover organs for pro- of Amory’s house in Cambridge, Mas- organs are to be seen in the offices of tection during building renovation, and * Thanks to the Organ Historical Soci- sachusetts, where friends and family, organists and organbuilders all across we provide consultation services, advis- ety Library and Archives and archivist colleagues and associates traveled from the country.* ing owners of organs about their care, Bynum Petty for supplying and confirm- far afield to visit Alan. The number of Organbuilder David Wallace of improvement, and replacement. ing this historical information. people who passed through that house Gorham, Maine, first met Alan at the during the fall of 2000 is tribute to Alan’s 1963 OHS convention in Portland, influence on the world of the pipe organ Maine, and has been associated with Scattered leaves ... from our Scrapbook and the wide reach of his professional- the Kotzschmar Organ (Austin Organ ism and friendships. Amory, his wife Company, 1912, five manuals, ninety-six Virginia, and children Ty and Sydney ranks) in Portland’s City Hall since he gave Alan a profound gift by making the was a child. David tells of a conversa- farewell procession possible. He passed tion with Alan at the 1983 OHS/AGO “Our time has produced music away during the evening of November convention in Worcester, Massachusetts, that is based on systems, 30, 2000. that has helped guide his career. Alan Alan’s memorial service was held at was asking David about the efforts to that makes do with systems, the Church of the Immaculate Concep- preserve the Kotzschmar Organ that was tion, the Jesuit Urban Center in Boston, by then in poor condition having fallen and which therefore home of the monumental four-manual victim to municipal budget cuts a few could very well 1902 Hook & Hastings organ, created years earlier. A passerby cut in, “Why by the rebuilding of E. & G. G. Hook’s don’t they get rid of that piece of junk have been devised by a congenitally deaf person.”

Ernst Toch, 1964

Schoenstein & Co. Established in San Francisco š 1877 www.schoenstein.com ❧ (707) 747-5858

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2020 Q 9 Organbuilding history

An organbuilder’s early career explorations Bedient Opus 1

By Gene Bedient

y foray into organbuilding was the church, probably selected because the Mresult of a series of accidental dis- console was on a raised platform in the coveries and explorations. Entering the front, and the platform had the essen- University of Nebraska, fall semester, tial open spiral staircase to mount and 1962, I was an electrical engineering descend! It was stiflingly hot and humid student, also taking a one-hour piano in the church. The sanctuary became class lesson at the School of Music. Sub- hotter and even less pleasant when sequently, I became a piano major with a Fox asked the ushers to shut all of the minor in industrial arts. windows mid-performance so we could During my sophomore year, I was “fully enjoy” the quietest sounds of the Bedient Opus 1 introduced to the first pipe organ of my organ without distraction of outside life—a 1960 Reuter organ at Holy Trinity street noise! At the end, those attend- Episcopal Church, Lincoln, Nebraska. ing staggered out into the evening for Having always loved machines, technical breaths of fresh air! things, and music, it captivated my imagi- Biggs played at Saint Anne’s Episcopal nation in ways I would not have imagined! Church on a new Flentrop organ. He I subsequently explored organbuild- was well aged by then, and the program ing as much as I could by way of the was not particularly engaging. For me, university library music section, which the excitement occurred when, right had a rather extensive organ collection after the recital, a young John Weaver thanks to professor of organ, Myron sat down to try the organ and played a Roberts. Concurrently, I learned about dazzling Prelude and Fugue in A Minor, the American Guild of Organists and BWV 543, by Bach, from memory. The Diapason magazine. I was able to As part of the trip, we visited the one- study organ performance as my instru- manual Tannenburg organ at the Single mental minor. Brothers’ House in Winston-Salem, The next major event was attending North Carolina. the 1965 AGO Region VI convention The organ installation was informative in Boulder, Colorado. A three-stop, and educational, and I did my best to be mechanical-action organ had been as useful as possible. At the end of the brought to the convention by Charles summer, back at the shop in Kansas City, Bedient Opus 1 stopknobs McManis, organbuilder from Kansas and I was determined to build my Opus City. I learned that actual persons made 1, and Charles good-naturedly gave me Denver and had a tour of their shop needed a blower. I went to the local these captivating instruments! Charles from his salvage inventory an Aeolian- before returning to my western Nebraska Sears, Roebuck and Company store was encouraging and based on my Skinner 4′ Harmonic Flute and a tenor C home. The Meunier people had given downtown, bought a ½-horsepower described woodworking skills and see- 8′ Dulciana by Möller. The latter I cut in me a keyboard from an old tracker organ. motor, and made a blower! The impeller ing a couple of wooden pipes I made, half and made into a 2′ quasi-Principal. Thus, full of ideas, pipes, a keyboard, was contained in a plywood/sheet metal months later he wrote a letter offering a Armed with information from Die and a few completed pipes, my housing with the motor standing verti- job for the following summer. Kleine Orgel by Walter Supper, with Opus 1 began to take shape. It would cally on top. It produced plenty of wind Arriving in Kansas City, I worked in assistance from an art department have the disposition of 8′ Gedackt, 4′ and also the equivalent amount of noise the shop for some weeks before we left professor, and some #2 pine from the Harmonic Flute, 2′ Principal (49 notes), of a 20-horsepower Spencer blower! on a trip to Florida, where we were to local lumber yard, I had already been one-manual. With the organ complete prior to install a sizable instrument in Sarasota, engaged in making an 8′ Gedackt stop in I was very lucky to have many inter- the end of my fifth undergraduate year, at Church of the Redeemer. Enroute, we the industrial arts shop at the university. ested professors in various disciplines Neil Munson wanted to have an organ made an unforgettable stop at the 1966 Thus, Opus 1 had begun before I real- of the university, and I was able to do recital in the industrial arts shop, which AGO national convention in Atlanta. ized it had begun. then what one probably could not do he arranged and invited professors and There, I heard both Virgil Fox and At the time I attended the regional today—build an organ in a department friends from across campus for my per- E. Power Biggs give performances. Fox convention in Boulder, I met Nor- of the university! As an industrial arts formance of Bach, Froberger, Sweelinck, played on a Möller organ in a Baptist man Lane of Meunier organ works in student, I was required to complete a etc. He was so excited to see this event project that would make use of the vari- accomplished; I think it was one of the ous disciplines that I had learned over high points of his career! There were Subscribe now to receive the coursework of the program. For this many small visits to the organ and dem- project, I would receive one credit hour, onstrations that followed as curiosity got and my project was to build a three-stop, the better of people. mechanical-action pipe organ! I could What to do with the completed instru- not have accomplished this task without ment? I was fortunate that C. Richard the support and encouragement of one Morris—organist, mentor, and dear Through December 31, new subscribers and professor in particular: Neil Munson, friend, the person who had introduced FFREEgift RsubscriptionsEE can receive MusicM one freeus Ravenic professor of industrial arts. As an old- me to the Reuter organ years previ- world gentleman interested in all of the ously—arranged for my Opus 1 to be CD for a one-year subscription, two free creative arts, he was not only fascinated used at the chapel of First Plymouth CDs for a two-year subscription, and three that I would want to do this project, but Church in Lincoln, preceding the arrival free CDs for a three-year subscription. was forever helpful. of a Schlicker organ. The instrument was As the project neared completion, I eventually disassembled, moved several For details and to begin your new or gift subscription, was in need of a wind supply. A small times, and on the occasion of leaving horizontal bellows with rubber cloth my 18th and “L” shop in Lincoln after visit www.thediapason.com/subscribe. marzolino - stock.adobe.com gussets had been constructed, but I eleven years occupancy, most of the

10 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM Bedient Opus 1 at First Plymouth Church chapel, Lincoln, Nebraska

Carved head stopknobs

NORTH AMERICA’S PREMIER PIPE , REBUILDING AND SERVICE FIRMS Gene Bedient in 1966

OUR MEMBERS WHY CHOOSE AN APOBA FIRM? BUILDER MEMBERS: For most people, purchasing a pipe organ is a once Andover Organ Company Bedient Pipe Organ Company in a lifetime experience. It’s hard to know what Berghaus Pipe Organ Builders, Inc. questions to ask, let alone how to get the answers. Bond Organ Builders, Inc. APOBA provides a simple way for people to take Buzard Pipe Organ Builders, LLC advantage of the expertise of the top people in Casavant Frères Dobson Pipe Organ Builders Ì iwi`]“>˜ÞœvÜ œ“LÀˆ˜}Ì iiÝ«iÀˆi˜Vi C.B. Fisk, Inc. of the several generations who preceded them. Foley-Baker, Inc. APOBA has developed publications to help organ Paul Fritts & Co. Organ Garland Pipe Organs, Inc. committees make Goulding & Wood, Inc. informed decisions Holtkamp Organ Company and manage their Kegg Pipe Organ Builders Neil Munson Létourneau Pipe Organs pipe organ projects Muller Pipe Organ Company organ was discarded. The only parts effectively, whether Patrick J. Murphy & Associates that remain are the four stopknobs. purchasing an Parsons Pipe Organ Builders Pasi Organbuilders, Inc. Enamored by the photo in The Organ in organ or planning Quimby Pipe Organs, Inc. Church Design by Joseph Blanton of the a program for Schoenstein & Co. nineteenth-century keydesk at the Jako- renovation or service. Taylor & Boody Organbuilders bikirche, Hamburg, with its impressive A. Thompson-Allen carved head stopknobs, my Opus 1 had to have them! One for each of the three stops and one for wind. They are what OUR VISION SUPPLIER MEMBERS: remain of my Opus 1! Q Integrated Organ Technologies, Inc. OSI - Total Pipe Organ Resources Our vision is focused on the organ effectively serving Gene Bedient founded the Bedient Peterson Electro-Musical Products Solid State Organ Systems Organ Company in 1969 and was the the musical and liturgical needs of each congregation Syndyne Corporation director until his retirement in 2010. for generations to come. Since retirement, he has traveled with his spouse, Gwen, who is an employee of the Whether building a new organ or ensuring the US United States Department of State. They longevity of your existing instrument, CONTACT have lived in Algeria, Paris, Zimbabwe, APOBAwÀ“Ã>Ài>ÌޜÕÀÃiÀۈVi° Morocco, and currently, Brussels. He has carried out occasional tuning, service, and repair work on organs at these vari- APOBA.com Call or email today for Please watch and share ous locations. He spends his retirement 800.473.5270 time traveling, cooking, practicing the APOBA’s free 84+ page our short video at: color prospectus! apoba.com/video harpsichord, studying French, reading, 11804 Martin Road and fixing things that are not in working Waterford, PA 16441 order. When Gwen retires in 2021, they will be living in their California home in the Sacramento area.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2020 Q 11 Pipe organ builders

Panorama of the A. David Moore main shop area

Creating a pipe organ Artisans at work, Part 3 By Steve Riskind

Editor’s note: the first two parts of this Erickson never encouraged us to photo- series are found in the August 2020 issue graph the subjects he chose, I am certain of The Diapason, pages 12–13, and in that he was responsible for my early love the October 2020 issue, pages 16–17. of high-contrast, structured, and often grainy black and white images. Growing his is the final installment in a series up in Chicago, it was easy to love the Tof photographs of two pipe organ urban landscape. builders. Peragallo Pipe Organ Com- My second interest in photography is pany in Paterson, New Jersey, was one portraiture, a love that came later in my of four firms I photographed for a series life. For many summers I photographed about small artisan businesses, and musicians at the Marlboro Chamber Installing façade pipes. The instrument, built for the Cathedral of Saints Simon and these images were later incorporated Music Festival in southern Vermont. Jude in Phoenix, Arizona, is in the Peragallo erecting room. into my book, “art | commerce.” The These two interests—landscape pho- second organbuilder, A. David Moore, tography and portraiture—fused in the Inc., of North Pomfret, Vermont, was exploration of small artisan businesses. suggested to me by the staff of The A visual artist I was photographing Diapason as a contrast because of their once spoke of artists as “transforming very different approach to creating a their materials.” This description, I have pipe organ. since come to realize, defines what I am My interest in photography has taken trying to capture when I photograph two directions. The first is looking at our artisan businesses. Indeed, organbuild- industrial landscape. This interest grew ing is about skilled people transforming naturally from my first photography materials into musical instruments. In studies in Chicago with Robert Donald photographing each organbuilder, I was Erickson, a brilliant and extremely cre- attempting to bring this transformative ative photographer, graphic designer, process to life. and teacher. Erickson’s own work As discussed in the two previous explored Chicago’s Loop, bridges, and introductions, David Moore’s operation Wiring the valve-opening mechanism. Soldering the seam on a metal pipe. the people who inhabited Chicago in is very different from that of the Pera- Beneath each pipe in the windchest With the exception of the seam area, the 1 is a solenoid, which, when energized, pipe is coated with “size”—a of the mid-twentieth century. While Bob gallo Pipe Organ Company. But for both opens the valve to allow wind to flow ground calcium carbonate and gum ara- into the pipe. (Peragallo) bic. The solder does not adhere where the pipe is coated with size. (Moore)

organbuilders, the act of transformation Notes is a critical part of their work. My goal 1. See The Lens of the Total Designer, by in this series has been to show artisans Robert Donald Erickson and Diane Erickson, in their work settings, in effect, the published by The Stephen Daiter Gallery, landscape, and to show the intensity of Chicago, Illinois, 2003. skilled people at work. This is not classic portraiture. The subject is not interact- Steve Riskind, an independent photog- ing with the camera (and ultimately the rapher based in Ridgewood, New Jersey, viewer), but rather with the task. Light- is best known for his portraits of clas- “one of this era’s ing, finding a background that is infor- sical musicians. In recent years he has most adventurous mative and not distracting, and manag- concentrated on artisans and fine art- interpreters of ing the depth of field so that the most ists at work, capturing the relationship the classical important part of the image is in focus, between skilled creators and materials. ” are key elements as I record my subjects As a long time lover of pipe organ music, NY MUSIC DAILY at work. Viewing the photographs on photographing organbuilders has been a the computer and then deciding how to wonderful addition to this project. Steve improve the images taken on the next Riskind’s book “art | commerce: four arti- visit is critical. Out of the hundreds of san businesses grow in an old New Jersey pictures in a typical photo shoot, a good city” has just been published. Visit: www. day is when ten percent of the images steveriskind.com. are “keepers.” I learned so much more about organ- All photographs by Steve Riskind. building in my interactions with David Moore and the Peragallos. This project Peragallo Pipe Organ Company has been a joy—the opportunity to pho- Telephone: 973/684-3414 tograph intelligent and skilled people Email: [email protected] building pipe organs, an instrument I have loved since my high school days. It A. David Moore, Inc. is a pleasure to share these photographs Telephone: 802/457-3914 INFORMATION TO PURCHASE MORE : gailarcher.com : meyer-media.com with readers of The Diapason. Q Email: [email protected]

12 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM New Organs

David E. Wallace & Co. Pipe Organ Builders, LLC, Gorham, Maine Canadian Reformed Church, Ancaster, Ontario, Canada Early in 2011, members of the Cana- dian Reformed Church in Ancaster, Ontario, contacted David E. Wallace & Co. Pipe Organ Builders about provid- ing an instrument ideally suited for their worship space. When the building was constructed the plan had been to acquire a pipe organ at some point in the future. The “future” finally arrived when their temporary instrument had suffered one catastrophic malfunction after another. The church body decided the time had come for a permanent solution and determined that their musical needs could be best served by having a fully mechanical organ designed to fit on a relatively small footprint at the front of The Swell stopjamb the room. After several years of discus- sion, planning, and development, the robust sounding celeste with the swell church signed a contract with David E. box open and a subtle and warm celeste Wallace & Company early in 2016, and tone with the box closed. construction began a few months later. The two unified ranks of the Pedal Visually, structurally, and mechani- division stand on mechanical slider cally our Opus 78 draws inspiration from chests. Unification of these stops by organs built in New England from the means of a second pallet and channel early- to mid-nineteenth century. We divider assures that pipes speak con- designed the new case to support the sistently whether played from the 16′ interior components of the organ as a or 8′ stop. The Pedal 16′ Double Open single cohesive unit that renders the Diapason was scaled to provide a strong instrument as pleasing to view on the but articulate diapason sound, suitable inside as on the outside. We constructed to underpin both full organ and lighter all interior and exterior elements in the registrations. The Pedal division deliv- classic manner, with traditional mortise- ers a combination of gravity and clarity and-tenon and dovetailed joinery. The necessary to support a church filled with design of the wind system is historically inspired singers. inspired as well, with a main reservoir Installation of the organ was com- patterned after an 1893 George Hutch- pleted in August 2018, and the instru- David E. Wallace & Co. Pipe Organ Builders, LLC, Opus 78, Canadian Reformed ings example feeding wind through ment was presented to an enthusiastic Church, Ancaster, Ontario, Canada traditional wooden wind trunks. The key public during an open house at that action design is centered on simplicity time. We share the pleasure of the and uses techniques that have stood the congregation in anticipating that this test of time to provide the organ with a new organ will provide solid, enduring light and articulate touch. musical support for their worship ser- At ten stops, the Great offers dynam- vices, and has already started to serve as ics that range from colorful flutes that an inviting base for long-term musical have their foundation in a 16′ Bourdon outreach to area organists, teachers, to a powerful principal chorus. The and music programs. Great chorus is topped by a IV The project team for Opus 78 included that can either stand out as a solo voice Nick Wallace, Seth Doyle, Jake Hanin, or blend well with the Great chorus. Rebecca Schnell, Joe Lendway, Marissa The foundation of the Swell chorus is Hall, Nicole Pelonzi, Alex Stewart, Blair a generous scale 8′ Violin Diapason that Batty, Derek Verveer, and David Wal- gives the Swell division its own source lace. Additional information and pho- of power and color while maintaining tographs of this project appear on our its ability to complement or contrast the Facebook page. Great. The Swell division also includes The Ancaster organ is our first a Diapason Celeste, a stop that offers a installation of an instrument in

David E. Wallace & Co. Pipe Organ Builders, LLC, Opus 78 Canadian Reformed Church, Ancaster, Ontario, Canada

GREAT (Manual I, 58 notes) PEDAL (30 notes) 16′ Bourdon 16′ Double Open Diapason 8′ Open Diapason 16′ Bourdon (Gt) 8′ Viola da Gamba 8′ Clarabella (ext 16′) 8′ Melodia 4′ Choral Bass 4′ Octave 16′ Trombone 4′ Flute d’Amour 8′ Trumpet (ext 16′) 2′ Fifteenth 2′ Mixture III Couplers 4′ Cornet IV Great to Pedal 8′ Trumpet Swell to Pedal Swell to Great SWELL (Manual II, 58 notes, enclosed) Swell expression shoe 8′ Violin Diapason Wind (Blower switch) 8′ Diapason Celeste (TC) The keydesk 8′ Stopped Diapason Builder’s website: 4′ Principal www.wallacepipeorgans.com 4′ Flute Harmonique Church website: https://ancasterchurch.on.ca Canada. We have previously placed of our instruments continues to offer a 2 2⁄3′ Nazard an organ in Belgium, 1854 E. & G. G. unique and enjoyable set of challenges 2 manuals 2′ Flageolet Hook Opus 173, and relocated a large, for our shop. 3 25 stops 1⁄5′ Tierce modern two-manual tracker organ —Nick Wallace ′ 27 ranks 8Oboe 1,358 pipes from Germany to a client church in David E. Wallace & Co., New Jersey. International placement Pipe Organ Builders, LLC

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Midmer-Losh, Inc., Merrick, Long Island, New York Opus 5550 (1929–1932) Jim Whelan Boardwalk Hall, Atlantic City, New Jersey If you ask the average person what Atlantic City, New Jersey, is known for, the most likely response would be “gam- bling.” However, Atlantic City boasts an international treasure that predates the 1976 referendum legalizing gaming in the seaside resort by more than four decades. Tucked within the walls of Jim Whelan Boardwalk Hall, originally known as the Atlantic City Conven- tion Hall, is an instrument of colossal The Atlantic City , now known as Boardwalk Hall. Construction began in August 1926, and the building was of- proportions boasting seven manuals, ficially opened in June 1929. The main arena, where the Midmer-Losh organ is located, measures 487 feet long, 288 feet wide, 449 ranks, and some 33,112 pipes. Built and 137 feet high. between 1929 and 1932 by the Midmer- Losh Organ Company of Merrick, Long Island, the organ is a monument of music and technology. The end of the 19th century and the beginning of the 20th century ushered in a dramatic shift in the art of organ- building. Electricity brought about daily changes in all aspects of life, and organbuilders were eager to harness its possibilities. No longer bound by the limitations of mechanical or tubular- pneumatic actions, pipes could be located remotely throughout a building or in some extreme cases, other buildings and outdoors! Builders were pioneering their own electric actions, eager to outdo their competitors and build on their own successes. The Hutchings-Votey Organ Company built a sizable instrument for Yale’s Woolsey Hall from 1902 to 1903 that would see great expansion over the next two decades into the superlative instrument we know today. At the same time, the Los Angeles Art Organ Com- pany was building a lavish instrument for the 1904 St. Louis World’s Fair. At the time of its construction, it was the larg- est pipe organ in the world with more than 10,000 pipes. It would later become the nucleus of the Wanamaker Organ in A second, “portable” console is currently on display in the lobby of Boardwalk There are ten 32′ stops in the organ, Philadelphia, where it has nearly tripled Hall. It was connected by a multi-core cable measuring 150 feet and has five man- including the Pedal-Left Diapason uals and 673 stopkeys. seen here. The 32′ pipe (at left) has a in size. diameter of 24 inches and is thought In the early 20th century, Atlantic City to be the world’s heaviest metal organ went through a radical building boom, In November 1923, Mayor Edward configuration, the building was a multi- pipe—2,200 pounds. It is made from and many of the seaside resort’s cottages L. Bader initiated a public referendum purpose room that could serve as a con- 5/16′′ thick zinc that was cold-rolled on a machine designed for making ocean and boarding houses were replaced with at which time residents approved the vention hall, sports arena, and concert liner funnels. large . The moderate summer construction of a convention hall. Con- venue. Fixed seating in balconies ran temperatures and ocean breezes brought struction began in August 1926, and along three of the walls, but the bulk of contributions to organbuilding cannot visitors by the thousands. By the 1920s, the building was officially opened in the seating was in bleachers or moveable be overstated. tourism was at its peak, causing many June 1929. At the time of its construc- chairs on the main floor. When opened It was Richards who was the cham- historians to deem that era “Atlantic tion, the building was the world’s largest the arena could hold more than 40,000 pion and mastermind behind the instal- City’s Golden Age.” Prohibition was auditorium and covered seven acres. people at full capacity. Following a $90 lation of a pipe organ in the Convention enacted in 1919 but went largely unen- The arena, where the Midmer-Losh million renovation in 1999, the capacity Hall. While a pipe organ would not have forced in Atlantic City. With many local organ is located, measures 487 feet long, of the arena was reduced to just over been uncommon in a civic building of officials turning a blind eye to the illegal 288 feet wide, and 137 feet high. The 14,000 but with greatly improved sight the time, the senator used his influence sale and consumption of alcohol, spirits barrel-shaped ceiling is supported by the lines and better access and amenities. to convince city officials that it would be could be readily obtained at restaurants building’s walls rather than pillars, grant- One of the key players responsible more cost effective to spend a large sum and speakeasies, and the resort’s popu- ing an unobstructed view from one end for the creation of the mammoth organ of money up front to build an organ and larity grew further still. of the room to the other. In its original was a senator by the name of Emerson then only need one organist to play it, Lewis Richards. A lawyer and politician rather than to hire a large orchestra or by profession, Richards was enthralled band every time live music was needed by pipe organs from an early age. He in the hall. The size of the instrument was well-traveled, spending a great deal would have to be enormous to fill the of time in Europe studying historical space and lead 40,000 people in song. instruments, and was well acquainted Richards’s initial design called for an with many of the finest organbuilders astonishing 592 ranks and 43,641 pipes. and organists of the time. His family’s Space and budget constraints mercifully wealth enabled him to install numerous intervened, and the revised scheme was pipe organs in his palatial home, located reduced to 403 ranks and 29,646 pipes. only ten blocks from Convention Hall. By the time construction was complete, His home instruments were a laboratory the instrument grew to its present 449 for testing new pipework, and he was ranks and 33,112 pipes. The twenty divi- notorious for swapping ranks of pipes sions of the organ are located in eight with some frequency. One of the largest chambers at the front and center of the of his residence instruments, Aeolian- room. W. W. Kimball, M. P. Möller, and Skinner Opus 1047 (four manuals, 146 Midmer-Losh submitted bids for the ranks), was built for the senator in 1944 contract. Kimball’s price was the highest and moved a few years later in 1948 to at $467,617. Möller came in lower at AUSTINORGANS.COM First Baptist Church of Denver, Colo- $418,850, and the lowest bid of $347,200 t8PPEMBOE4U)BSUGPSE$5 rado, where it still resides. His vision came from Midmer-Losh. All of the of the “perfect” pipe organ morphed bids were still over the $300,000 budget considerably throughout his life, and his established by the city, but Richards

14 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM Emerson Richards demonstrates the ergonomic design of the console by reaching for the furthest keys of the uppermost manual while manipulating the outermost stop-keys on the oppo- site side. pointed out that if the instrument was to fit the budget exactly, it would have to be smaller than what was, at the time, the largest organ—the Wanamaker organ in nearby Philadelphia. The fact that the city provided the extra money suggests that perhaps having the world’s largest organ was indeed part of Atlantic City’s agenda. Ultimately, Richards was able to insert a clause into the contract, which This photograph of the 1964 Democratic National Convention shows the Hall’s original seating configuration, capable of hold- the builder accepted; it gave him the ing more than 40,000 people. power as the architect of the organ to make any change to the contract at any time with the builder bearing the cost. Richards invoked the clause on numer- ous occasions with devastating financial results for the Midmer-Losh company. Construction on the organ, Midmer- Losh’s Opus 5550, began in May 1929 and was completed in December 1932. The first two divisions to be played were the Brass Chorus and String II on July 28, 1929. They were played from a used three-manual Möller console. As construction continued the instrument was played from the five- The final disposition of the twenty divisions located in the front and center of the room manual “portable” console until the seven-manual console was completed. The complex machinery to control 1,235 1984 succeeded Rosser as the third cura- the Atlantic City Convention Hall Organ James Winter, an electrician for Midmer- stop tabs and 240 pistons was located tor of organs. McGurk recalled, “Pretty Society was formed to raise awareness Losh, gave the first public recital on May in two rooms in the basement below much all of the organ was working of the instrument and begin the process 11, 1932, during the Atlantic City Fair. the stage. The combination of delicate when I arrived in 1959. Since that time, of fundraising for its restoration. This The contract for the organ was signed metal traces and machinery contained however, it has slowly but surely gone group was instrumental in protecting only a few months before the Great in wooden boxes proved a disastrous downhill. Roof leaks in the ’70s caused the instrument during the 1998 build- Depression began, but the money for pairing, especially with a steam line most of the damage in the two upper ing renovation and furthering McGurk’s the organ was not affected and construc- running through one of the rooms! The chambers, and the simple fact of the advocation that the instrument be saved tion continued. In fact, in some ways, the combination action was so troublesome matter is that the authorities had little and not relegated to the scrap pile. Great Depression may have contributed that it was decommissioned after only interest in spending money on repairs My first visit to Atlantic City was in the to the success of the instrument. While two years. The great Atlantic hurricane at a time when the City as a whole was winter of 2007. At that time, the organ other organbuilding firms were downsiz- that struck the island in 1944 inundated in decline.” McGurk had the unenviable could not be played from the console, but ing or ceasing operation altogether, there the basement levels of the hall with 15 and discouraging task of keeping what that did little to dampen my excitement. was plentiful work in Atlantic City and million gallons of seawater, permanently little of the organ he could playable with The sheer size of the room, the scaling many of the best and brightest minds in damaging the combination action and limited budget and materials. But, per- of the pipework, and seemingly endless organbuilding were associated with the requiring extensive repair to the blowers haps his greatest contribution was keep- chambers were enough of a sensory over- project. Employees from Estey, Steere, and their motors. ing those who wished to simply discard load for a first visit. The downside to the Odell, Marr & Colton, Dennison, Gott- Evans retired in the early 1950s, and the instrument at bay, thus preserving it visit was the confirmation of my study of fried, and all found their way his successor was William Rosser. Rosser for future restoration. McGurk retired at and readings concerning the condition of to Atlantic City, and their contributions continued the daunting effort of single- the end of 1998. Prior to his retirement, the organ and the sad state of affairs of can be seen and heard throughout the handedly trying to keep the largest pipe instrument. In the end, however, the organ in the world playing. The organ was project was not exempt from the finan- used for the 1964 Democratic National Saving organs throughout cial struggles of the Depression, which Convention held at the Hall, but by that led to the Midmer-Losh company and time the instrument was already exhibit- Atlantic City to be in conflict over the ing problems. By 1962, the Gallery I America....affordably! completion of the instrument. reeds were no longer being used. There The contentious end to the construc- may have been other portions that were tion of the instrument was perhaps a unplayable or only marginally playable foreshadowing of its future. Following by then as well. While there is consider- the official completion of the organ, able documentation from Evans’s tenure, signed on December 5, 1932, the Mid- there are no records from Rosser’s time. mer-Losh company was required for one A stipulation for holding the 1964 con- year to keep two men at the job to carry vention in Atlantic City was the installa- out maintenance and, in effect, continue tion of air conditioning. While no doubt the tonal regulation that would have oth- enjoyed by convention attendees and erwise been completed during the actual many others in the following years, leaks construction period. One of the men from condensate pans caused significant tasked with this assignment was Roscoe problems and plunged more of the Evans, who would remain in Atlantic instrument into silence. Dennis McGurk 1-800-621-2624 City and become the organ’s first curator. joined Rosser as his assistant in 1959. His greatest challenge was the combina- While he had no background in organ- Proud Member of APOBA foleybaker.com tion action for the seven-manual console. building, he was a quick learner and in

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Midmer-Losh staff and others associated with the project. At the height of constuc- The organ restoration staff (left to right): James Martin, shop apprentice; Carl Her- tion Midmer-Losh employed more than sixty people. som, shop apprentice; Scott Banks, membership and events coordinator; Brant Duddy, senior shop technician; Nathan Bryson, curator of pipe organs; Chuck Gib- son, professional assistant to the curator the instrument. Thankfully by that time, ranks of pipes were sent to Oyster Pipe there was a glimmer of hope as Carl Works of Louisville, Ohio, for restoration sparkle. The Harmonic Flute 8′ and its changes no fewer than three times Loeser, the fourth curator of organs, was and repair. Celeste are the softest stops in the divi- throughout the compass, and metal leading his staff and volunteers to miti- On-site work at Boardwalk Hall is sion and are hauntingly beautiful. Three construction from 8′ C up with harmonic gate the worst of the damage and prevent accomplished by a staff of six; four are pairs of celestes provide lushness, and and double harmonic length resonators further destruction or loss. full-time and two are part-time. We are unison strings at 16′, 8′, and 4′ provide gives this voice powerful treble ascen- Fast forward to September 1, 2015, assisted in our efforts by a significant additional clarity. Two reed choruses dency and allows it to bloom into a pow- when I began my tenure as the fifth group of dedicated volunteers. While this on 15 inches and 30 inches crown the erful solo voice in the upper register. The curator of organs. The Midmer-Losh was may seem like a large number by today’s ensemble. The lower-pressure chorus is Major Posaune 16′ is voiced on 50 inches basically a large two-manual instrument standards, at the height of construction based on the chocolatey Double Horn and is a staggeringly powerful voice with about 25% functionality. Only the the Midmer-Losh company employed 16′ and is a darker and more noble cho- reminiscent of a trombone playing fff. Right Stage chamber was working, with more than sixty! An early aid was a work rus. The high-pressure chorus adds fire Finally, the Fagotto 32′ with its smaller the Great, Solo, and Solo-Great divisions symposium co-sponsored by the Ameri- and gravity to the full ensemble with the resonators and relatively lower pressure playing from their respective keyboards can Institute of Organbuilders and the Field Trumpet 8′ blazing through for a of 20 inches finds great use under softer with limited sub and super coupling Historic Organ Restoration Committee final punch. Perhaps the most unique ensembles and is equally at home under- available to other manuals. Expression (the 501(c)(3) non-profit organization reed in the Swell division is the Muted girding a full string ensemble. was negligible, and the shades were now overseeing the restoration of the Trumpet 8′. Its 3/4-length, thin-scaled By the latter half of 2018, the restora- more for visual effect, flapping earnestly pipe organs at Boardwalk Hall). The resonators remind one of an orchestral tion work in the Left Stage chamber was for the audience to see, but doing little symposium was held in February 2016 oboe. While its tone is quite lovely alone, largely complete, and we were able to to change the actual volume or timbre of and brought fifteen organbuilders from it is perhaps most useful in coloring other turn some of our attention back to the the sound emanating from the chamber. across the country to join the staff and stops, and its application opens up a Right Stage chamber. The Right Stage Making music was a challenge at best, volunteers at Boardwalk Hall. During wealth of solo possibilities. chamber has always been considered the and subtlety and nuance were almost that symposium, we focused on the On paper, the Swell division is curi- “show chamber” due to its immediate totally elusive. By 2015, much restora- restoration and releathering of much of ously devoid of mutations, particularly proximity to the organ shop and curator’s tion work had already been done to the the Pedal Left chest work. These efforts given its large number of ranks! The office. Even during the darkest days of Swell division in the Left Stage chamber, combined with the work completed answer lies immediately adjacent to the Dennis McGurk’s tenure when he was but much more work in the chamber in the Unenclosed Choir and String I Swell. The appropriately named Swell- forced to shut off large portions of the needed to be completed before pipe- allowed those divisions to be played pub- Choir division is meant to supplement instrument, he was able to continue to work could be returned to the Swell licly for the first time in decades during both the Swell and Choir divisions with maintain and care for this chamber. The chests. The other divisions in the Left the Organ Historical Society convention the entirety of its resources playable inde- timing was fortuitous as another con- Stage chamber—Swell-Choir, Unen- on July 1, 2016. pendently from both the Swell and Choir vention was looming: the Mid-Atlantic closed Choir, and String I—all must be The Swell division is the powerhouse keyboards. This division provides color regional convention of the American accessed through the Swell, and to have of the Left Stage chamber, boasting 55 reeds, softer flues, and an extensive array Guild of Organists was to be held on July put in even a few ranks in the Swell ranks, twenty of which are mixtures. of mutations. Independently expressive 3, 2019. While the chamber had been would have been far too risky. Work While most Swell divisions are usually from the Swell, the division contains playing regularly since 2013, it was still began in earnest to remove pipework based on a 16′ string or stopped flute, 3rd, 5th, 7th, 9th, and 11th mutations. riddled with dead notes and problematic and chests for restoration. The Swell- the chorus here is based on a 16′ Double Their use is further enhanced through issues. Carl Loeser completed consider- 2 Choir manual windchests were sent to Diapason. The diapason chorus contin- unification providing pitches from 6 ⁄5′ able work in 2013 and 2014, releathering 1 Columbia Organ Leathers of Columbia, ues with two 8′ diapasons and extends all the way up to ⁄4′. Also available in the the three large pitman chests in the Solo Pennsylvania, for restoration, while the logically upwards to the lower-pitched Swell-Choir are a clarinet, oboe, and vox division. This made it the most reliable of offset chests, , and regulators Furniture V, the spicy Cymbal VIII, and humana, all available at 16′, 8′, and 4′. the divisions in the Right Stage chamber. were completed in-house. Fifty-eight finally the Plein Jeu VII for brilliance and A trio of gemshorns, one celeste tuned Several of the lower and more accessible sharp and the other flat, further expand windchests in the Great division had also the utility of this division. Also in the been releathered under the supervision Left Stage chamber is the String I divi- of Dennis McGurk. To best utilize time sion. Twenty ranks of strings all voiced and materials, we took on the task of on 25 inches of wind provide unmistak- releathering and repairing chests with the ably powerful beauty. Housed within its loudest and most important stops in the own expression box, the String I division Great. The 30-inch-pressure windchest rounds out the immense expressive capa- containing the First and Second 8′ Open bilities of the Left Stage chamber. Diapasons and Rausch Quint II was While the vast majority of the Left taken out of the chamber and completely Stage chamber’s resources are enclosed, restored. Two levels above it, the chest the loudest and softest voices are unen- holding the Furniture VI was repaired closed. The Unenclosed Choir is voiced in place. The Grand Great chests, the 3 on 3 ⁄4 inches, the lowest pressure in the upward extensions of the Pedal Right organ, and was a significant forerunner of stops, were also taken out of the chamber the . By contrast, for complete restoration with new leather, the Grand Choir division is the upward gasketing, and magnets. A systematic extension of the Pedal Left voices and process of rebuilding all of the pedal pri- boasts pipework voiced on 20 inches to maries has eliminated the vast majority of 50 inches. In the Pedal Left division, the the irritating dead notes in the pedal. Bombarde 32′ has wooden resonators The Great division boasts an incred- for the 32′ and 16′ octaves giving it a ible ten 8′ diapasons, each with its own darker, heavier bass. Shallot construction character through the use of various

16 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM During a $90 million renovation in 1999 the original seating was dramatically reconfigured providing greatly improved sightlines and amenities. construction techniques and pressures. stop in the world: the Grand . off and rewired, allowing all the thumb but it is often overshadowed by its larger These ten 8′s are undergirded by a 32′ Voiced on 100 inches of wind, it is actu- and toe pistons to be used. While it is a neighbor. The Kimball organ is largely Sub Principal and three 16′ Double Dia- ally a pedal stop that is extended up to departure from our desire to restore the playable and restored thanks to efforts pasons. Continuing up the chorus, you 85 notes to allow it to play on the seven- organ to its original state, the incorpora- by previous curator Carl Loeser who will find no fewer than five 4′ Octaves octave Great keyboard. In the Pedal, the tion of a modern multilevel combination had the console restored by the Crome and three 2′ Fifteenths. An eleven-rank stop plays at 16′ and gives an unrelenting action has proven remarkably beneficial, Organ Company. Through the gener- Grand Cornet, five-rank Major Sesquial- power to the pedal line, while in the and organists are now able to showcase osity of the American Theatre Organ tera, and two mixtures serve to complete manuals its sheer power and tone cut the instrument as it was intended. Society, a pair of grants were awarded to the chorus. In a letter dated April 11, through even the largest of registrations With the completion of the Left Stage HORC to complete the releathering of 1932, Senator Richards wrote to Henry with ferocious clout. When a chord is chamber and the extensive repairs com- chests in the Main (left stage) and Solo Willis, III, saying “When the whole cho- released its tone seems to reverberate in pleted in the Right Stage chamber, the (right stage) divisions and to restore the rus is on from 32′ up to Mixtures, even the cavernous hall, long after the rest of organ is now a reliable and manageable Brass Trumpet, a unique example of this the 50-inch reeds have no chance with it the organ’s sound has died away. The 64′ instrument. We have turned the corner stop in a Kimball organ. in power and brilliance. A demonstration Dulzian, one of only two real 64′ stops in from simply having a large collection of Both pipe organs at Boardwalk Hall that reeds are unnecessary except for a the world, gives a final dramatic punch pipes to hearing a beautiful and truly have now returned to regular use and are change in color.” Indeed, the Great reed when a 32′ just won’t do! musical instrument. At the time of this a significant part of the life and events chorus is quite small considering the size A continuing project since 2017 writing, 238 of the 449 ranks are play- here. Recitals are enjoyed every week of the division, with only three trumpets has been the restoration of the Choir ing—53% of the organ—all in only two year-round on Wednesdays at noon and at 16′, 8′, and 4′ pitches, albeit playing on division. Located in the Left Forward of the eight chambers! With each rank every weekday during the summer sea- 30 inches of wind. chamber, this is the first of the Gallery brought online and the instrument son from Memorial Day through Labor The Solo division stands its own level chambers that we have addressed. becoming a more cohesive whole, the Day. In 2019, we welcomed 1,688 visi- ground with a powerful Stentor Diapa- Funding already in place from a settle- brilliance of the organ’s designer and tors for the Curator’s tour, 1,249 for the son 8′, Octave 4′, and Grand Chorus IX ment following damage to the winding architect, Senator Emerson Richards, brief tour, and 4,093 visitors for the noon mixture; the division includes two sets and relay for this chamber during the becomes ever more apparent. New and recitals. Through creative collaboration of celestes and a complete flute chorus 1999–2000 renovation of the building exciting projects are already on the hori- with the management of Boardwalk Hall, including the soaring Rex. The made this the most logical and financially zon as we work to restore the first of the we are able to offer the organ for use to division’s real claim to fame, however, is feasible chamber to begin with (outside ranks in the Center chambers. Both of a multitude of events. The Midmer-Losh its brilliant reed chorus. With pressures of the two main chambers). The Choir the 100-inch reeds in Gallery I will soon has been requested to play the pre- ranging from 30 inches to 100 inches, the division is no diminutive organ, boasting come online as we work to bring more lude to a rodeo as well as for wrestling chorus includes a softer Trumpet Pro- 37 ranks. It has a wealth of undulat- sound to the center of the room. Upon championships, numerous graduation funda playing at 16′, 8′, and 4′, frequently ing stops, complete diapason chorus, the completion of the Choir division, we ceremonies, and pageants. used as a chorus reed. By contrast the orchestral and high-pressure reeds, and will move to the Gallery I and II divisions, Likewise, the Kimball organ sees regular Tuba Magna, also 16′, 8′, and 4′, plays on multiple open 16′ stops. Restoration is across to Gallery III and IV, and finally to use for award ceremonies, banquets, and 50 inches and has a powerful, clear tone. now approximately 50% complete with the String II and Brass Chorus, complet- religious gatherings in the Theater. We Providing blazing clarity is the brass all of the offset chests, tremulants, and ing the work on the Gallery level divi- look forward to bringing more of the Bugle 8′, also on 50 inches. Finally, the four of the six large pitman chests com- sions before we undertake the herculean instruments back online and furthering whole ensemble is crowned by the Tuba pleted. restoration has been task of restoring the Echo and Fanfare their outreach to the Atlantic City com- Imperial, voiced by Roscoe Evans and completed in house or by A. R. Schopp’s organs in the ceiling of Boardwalk Hall. munity and the world! playing on 100 inches of wind. Where Sons of Alliance, Ohio, who restored Not to be forgotten is the magnificent —Nathan L. Bryson, Curator of Pipe the Solo division excels in sheer power, the badly damaged Dulciana, Dulciana W. W. Kimball pipe organ located in the Organs at Boardwalk Hall the neighboring Solo-Great division Celeste, and Acuta VI. Along with other Adrian Phillips Theater, adjacent to the shines through with subtlety and color. projects in the shop, work will continue main arena where the Midmer-Losh The organ’s stoplist follows on the next Divided into separately expressible flue on this chamber as time permits. organ resides. In any other setting, this three pages. and reed ensembles, the Solo-Great is Perhaps the most significant musical organ would be the showcase instru- similar in concept to the Swell-Choir turning point for the Midmer-Losh organ ment with four manuals and 55 ranks, Cover photo credt: Michael Sluzenski. division in the Left Stage chamber. Like in modern times has been the installa- the Swell-Choir, the Solo-Great has a tion of a new combination action. While 2 1 wealth of mutations from 10 ⁄3′ to ⁄4′, it was a technological marvel of its time, two sets of softer celestes, and delicate its complexity and installation in a diffi- flutes. Eleven ranks of color reeds, six cult environment prevented it from ever extended down to 16′, provide a wide working properly. The initial plan had array of solo choices. been to restore the movable five-manual Where the Pedal Left division is pre- console first and the larger seven-manual dominately darker in order to support console at a later date. However, as more the expressive divisions above it, the and more of the instrument was brought Pedal Right division must stand up to the online, it became clear that not having bold choruses in the Great and Solo divi- a functioning combination action was Church of Saint Jude the Apostle sions. The 32′ Tibia is colossal in scale, a major hindrance. After many months Wauwatosa, Wisconsin and more than a few pipes in the 32′ of tracing cables and intensive study, we Three manuals – forty ranks octave have been repaired by crawling determined that a portion of the exist- in the mouth and standing upright in the ing system in the seven-manual console A RTISTRY – R ELIABILITY – A DAPTABILITY pipe. The 32′ Bombardon is voiced on 40 could be put to use again. The existing inches of wind and has metal resonators, tablets and their magnets were in good the lowest of which is 24 inches in diam- working order, and the boxes containing eter. The Diaphone Phonon 16′ on 50 the mechanical components for the sys- inches is unmistakable in its power from tem in the basement made for a logical practically anywhere in the building. and accessible location to tie new wiring Perhaps the most notorious stop on the into the system. The piston rails from Midmer-Losh organ is the loudest organ each of the seven keyboards were taken

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2020 Q 17 Cover feature

Midmer-Losh, Inc., Opus 5550 (1929–1932)

2 PEDAL RIGHT 10 ⁄3′ Stopped Quint Persian Cymbal 16′ Contra Oboe 85 pipes 2 64′ Diaphone 10 ⁄3′ Cone Quint Persian Cymbal 16′ Bass Clarinet 97 pipes 32′ Sub Principal 8′ Octave Gemshorn Chinese Gong Roll 16′ Bass 97 pipes 32′ Contra Tibia 97 pipes 8′ Octave Diaphone (50′′) Chinese Gong Strike 8′ Oboe 1 21 ⁄3′ Tibia Quint 8′ Octave Diapason Cymbal 8′ Clarinet 16′ Diaphone Phonon (50′′) 39 pipes 8′ Octave Phonon Snare Drum Roll 8′ Vox Humana 16′ Diapason 8′ Gross Flute Snare Drum Roll 4′ Octave Oboe 16′ Principal 109 pipes 8′ Flute Clarabella Bass Drum Roll 4′ Octave Clarinet 16′ Diapason 8′ Cello Bass Drum Strike 4′ Vox Humana 2 16′ Geigen Principal 6⁄5′ Terz Bass Drum Roll 8′ Marimba Repeat 1 16′ Tibia Major 85 pipes 5⁄3′ Twelfth Bass Drum Strike 8′ Marimba Stroke 61 bars 4 Bass Drum Roll 16′ Grand Bourdon 4⁄7′ Octave Septieme 4′ Marimba Repeat 16′ Major Flute 4′ Fife (50′′) Bass Drum Strike 4′ Marimba Stroke 16′ Wald Flute 4′ Super Octave FF Contra Drum Roll 4′ Glockenspiel Single 49 bars 16′ 4′ Gemshorn Fifteenth FF Contra Drum Strike 4′ Glockenspiel Repeat 16′ Viol 85 pipes 4′ Flute Fifteenth MP Contra Drum Roll 2′ Glockenspiel Single 4 ′ 1 ′ Bass Drum Strike 12 ⁄5 Gross Tierce 68 pipes 3⁄5 Tierce ′ 2 ′ ′′ 2 ′ 16 Piano 10 ⁄3 Diaphone Quint (50 ) 2⁄3 Nineteenth ′ SWELL (Manual III) 2 2 8 Piano 10 ⁄3′ Tibia Quint 2⁄7′ Twenty-First 16′ Double Diapason 104 pipes 2 Chimes 10 ⁄3′ Tibia Quint 2′ Gemshorn Twenty-Second 16′ Contra Gamba 104 pipes 2 10 ⁄3′ Principal Quint 2′ Twenty-Second 8′ Diapason 80 pipes 2 ′ PEDAL SECOND TOUCH ′ 10 ⁄3 Minor Quint 2′ Fife ′ 8 Diapason 80 pipes 1 ′ 64 Dulzian Diaphone ′ 9⁄7 Septieme 68 pipes 1′ Twenty-Ninth ′ ′′ 8 Waldhorn 80 pipes 32 Diaphone (50 ) ′ 8′ Octave Principal Stentor Sesquialtera VII 224 pipes ′ 8 Tibia Plena 80 pipes 16 Diaphone ′ 8′ Octave Major Grave Mixture VI ′ 8 Hohl Flute 80 pipes 16 Tibia Major ′ 8′ Octave Diapason 32′ Contra Bombard (50′′) 97 pipes ′ 8 Gross Gedeckt 80 pipes 16 Contra Viol ′ 8′ Octave Geigen 32′ Fagotto 109 pipes ′ 8 Harmonic Flute 80 pipes 8 Tibia Major ′ 8′ Gross Gemshorn 16′ Major Posaune (50′′) 44 pipes ′ 8 Harmonic Flute Celeste 80 pipes 8 Viol ′ 8′ Tibia Major 16′ Bombard (50′′) ′ 8 Gamba 80 pipes 4 Tibia ′ 8′ Tibia Clausa 16′ Trumpet ′ 8 Gamba Celeste 80 pipes 4 Viola ′ 8′ Doppel Gedeckt 16′ Horn ′ 8 Violin 80 pipes 64 Dulzian ′ 8′ Octave Viol 16′ Bass Clarinet ′ ′′ 8 Viol Celeste I (2 ranks) 148 pipes 2 ′ ′ 32 Contra Bombard (50 ) ′ 6⁄5 Gross Tierce 16 Fagotto ′ 8 Viol Celeste II (2 ranks) 148 pipes 1 ′ ′ 32 Contra Bombardon ′ 5⁄3 Tibia Quint 16 Oboe ′ ′′ 4 Ocarina 80 pipes 1 ′ ′ 16 Ophicleide (100 ) ′ 5⁄3 Principal Quint 16 Vox Humana ′ 4 Octave 80 pipes 1 ′ ′ ′′ 16 Posaune ′ 5⁄3 Tibia Quint 8 Major Posaune (50 ) ′ ′′ 4 Octave 4 16 Bombard (50 ) 7′ ′ ′′ 4′ Traverse Flute 80 pipes 4⁄ Gross Septieme 8 Octave Bombard (50 ) 16′ Bombardon ′ ′ 4′ Silver Flute 80 pipes 4 Super Octave 8 Octave Clarinet 8′ Octave Ophicleide (100′′) ′ ′ 4′ 4 Super Octave 8 Octave Fagotto 8′ Posaune (50′′) Viol Salicet 4′ Tibia Fifteenth 8′ Octave Oboe ′ 4′ Viol Gambette 80 pipes ′ 1 ′ 8 Bombardon ′ 4 Flute Fifteenth 5⁄3 Horn Twelfth 8′ Dulzian 2 Fifteenth 80 pipes 4′ Viol Fifteenth 4′ Bombard Fifteenth ′ ′′ 2′ Orchestral Piccolo 80 pipes 1 ′ ′ 4 Bombard (50 ) 3⁄5 Tierce 4 Oboe Fifteenth ′ Plein Jeu VII 560 pipes 2 4 Dulzian 2⁄3′ Flute Nineteenth 4′ Horn Fifteenth Cymbal VIII 640 pipes 2 2 Chimes ′ 3′ Furniture V 400 pipes 2⁄3 Tibia Major Nineteenth 2⁄ Horn Nineteenth Brass Chorus (floating) 2 ′ ′ ′ 2⁄3 Viol Nineteenth 2 Fagotto Twenty-Second Fanfare (floating) 16 Double Trumpet 104 pipes 2 ′ ′ 2⁄7 Septieme String I (floating) String I (floating) 16 Double Horn 104 pipes 2′ Tibia Twenty-Second String II (floating) 8′ Harmonic Trumpet 80 pipes ′ String II (floating) ′ 2 Flageolet String III (floating) Gallery Reeds I (floating) 8 Field Trumpet 80 pipes 3 ′ ′ 1⁄5 Octave Tierce Gallery I Reeds (floating) Gallery Diapasons III (floating) 8 Posaune 80 pipes 1 ′ 1⁄3′ Tibia Twenty-Sixth Gallery II Flutes (floating) 8 Cornopean 80 pipes 1 ′ 1⁄7′ Octave Septieme Gallery III Diapasons (floating) SWELL-CHOIR (Manual III) 8 Muted Trumpet 80 pipes 1′ Flute Twenty-Ninth Gallery IV Orchestral (floating) ′ 8′ Flugel Horn 80 pipes 16 Gross Gedeckt 97 pipes ′ Mixture 16′ Stopped Diapason 104 pipes 8 Krummhorn 80 pipes PEDAL RIGHT GALLERY ′ 64′ Dulzian 85 pipes 16′ Cone Gamba 97 pipes 8 Vox Humana 80 pipes 2 ′ 3′ 32 Contra Violone ′ 4′ Trumpet Clarion 80 pipes 42 ⁄ Contra Dulzquint ′ 8 Gemshorn 97 pipes 32′ Contra Bombardon 85 pipes 16 Diaphone ′ 4′ Trumpet Clarion ′ 8 Gemshorn Celeste 97 pipes ′ 32′ Contra Dulzian 16 Flute Maggiorre 8′ Gemshorn Celeste 97 pipes 4 Octave Horn 1 ′ 3′ 16 Flute Bourdon ′ Brass Chorus (floating) 21 ⁄ Dulzian Quint ′ 8 Dopple Gedeckt 16′ Grand Ophicleide (100′′) 85 pipes 16 Spire Flute 8′ Dopple Spitz Flute 97 pipes Gallery I Reeds (floating) ′ ′′ 16′ Contra Bass ′ Gallery II Flutes (floating) 16 Tuba Magna (50 ) ′ 8 Clarabella 92 pipes 16′ Bombardon 16 Contra Viol 8′ Stopped Diapason Gallery III Diapasons (floating) ′ 16′ Double Bass ′ Gallery IV Orchestral (floating) 16 Trumpet Profunda ′ 8 Muted Gamba 16′ Dulzian 16 Contra Viol 2 ′ String I (floating) ′ 6⁄5 Terz 97 pipes 16′ Trumpet 97 pipes 16 Contra Gamba 1 ′ String II (floating) 2 ′ 5⁄3 Major Fifth 97 pipes 16′ Saxophone 10 ⁄3 Flute Quint 1 ′ String III (floating) ′ 5⁄3 Gamba Quint 16′ Krummhorn 8 Cone Flute 1 ′ ′ 5⁄3 Gemshorn Quint FANFARE (Manual V) 16′ Oboe Horn 8 Viol 4 ′ ′ 4⁄7 Septieme 97 pipes ′ 16′ English Horn 4 Viol ′ 16 Major Flute 85 pipes ′ ′′ 4 Octave Gemshorn 8′ Stentor Diapason (fr. Stentor VII) 16′ French Horn 16 Trumpet Sonora (100 ) 4′ Spitz Flute ′ 16′ Tuba D’Amour 8′ Stentorphone 61 pipes 16 Vox Baryton 4′ Clarabella ′ 2 ′ 16′ Chalumeau 8 Stentor Flute 61 pipes 10 ⁄3 Bombard Quint 4′ Dopple Flute ′ 2 ′ 16′ Contra Bassoon 8 Pileata Magna 61 pipes 10 ⁄3 Dulzian Quint 4′ Stopped Flute ′ ′ ′′ 16′ Vox Baryton ′ 8 Gamba Tuba 61 pipes 8 Ophicleide (100 ) ′ 4 Zauber Flute 97 pipes ′ 8′ Octave Bombardon 8 Bassoon ′ 8 Gamba Tuba Celeste 61 pipes 4 Cone Flute 4′ Stentor Octave (fr. Stentor VII) 8′ Octave Dulzian 5 ′ 3⁄9 Ninth 85 pipes 4′ Major Flute 8′ Bugle (50′′) PEDAL LEFT GALLERY 1 ′ ′ 3⁄5 Major Tenth 4′ Flute Octaviante 61 pipes ′ 16 Grand Diapason 1 ′ 8 Trumpet ′ 3⁄5 Gemshorn Tenth ′ ′ 16 Dulciana 10 4 Gamba Clarion 61 pipes 8 Octave Krummhorn 2⁄11′ Eleventh 85 pipes 2 ′ 2⁄3′ Twelfth Recorder 61 pipes ′ 16 Major Flute 2 ′ 8 Vox Baryton ′ 2⁄3 Gemshorn Twelfth ′ 1 ′ 16 Double Melodia 2 2 Fife 61 pipes 5⁄3 Trumpet Quint 2⁄3′ Twelfth 1 8′ Melodia Flute Stentor VII 427 pipes 5⁄3′ Bombardon Quint 2 ′ ′ 2⁄3 Flute Twelfth Cymbal V 305 pipes 4′ Dulzian Fifteenth 32 Contra Trombone 2 ′ ′ ′′ 2⁄3 Stopped Flute Twelfth Harmonic Mixture VI 366 pipes 4′ Trumpet Fifteenth 16 Posaune (50 ) 2 ′ 16′ Bombardon 2⁄7 Octave Septieme 16′ Contra Posaune (50′′) 85 pipes Reed Mixture V ′ 2′ Gemshorn Fifteenth ′ Brass Chorus (floating) 16 Trombone ′ 16 Contra Bombardon 97 pipes 16′ Trombone 2 Gedeckt Fifteenth 16′ Contra Trombone 97 pipes Pedal Divide ′ 2 ′ 2 Magic Flute 10 ⁄3′ Tromba Quint 85 pipes 16 Saxophone 7 ′ 2 ′ 1⁄9 Sixteenth 8′ Harmonic Tuba (50′′) 73 pipes PEDAL LEFT 10 ⁄3 Tromba Quint 3 ′ ′ ′′ ′ 1⁄5 Major Seventeenth 4′ Tuba Melody (melody coupler) 32 Diaphone (50 ) 97 pipes 8 Trombone 3 ′ ′ ′ 1⁄5 Gemshorn Seventeenth 8′ Ophicleide (50′′) 61 pipes 32 Diapason 97 pipes 8 Tromba 5 ′ 2 1⁄11 Eighteenth ′ ′′ ′ ′′ 5′ 8 Posaune (50 ) 16 Diaphone (50 ) 6⁄ Tromba Tierce 1 ′ 1 1⁄3 Major Nineteenth ′ ′ 3′ 8 Bombard 16 Major Diapason 32 pipes 5⁄ Tromba Quint 1 ′ 1 ′ 1⁄3 Gemshorn Ninteenth 8′ Tromba 16′ Diaphone 85 pipes 3⁄5 Tromba Seventeenth 1 1⁄7′ Twenty-First ′ 16′ Diapason 8 Trombone 1′ Twenty-Second 2 ′ PEDAL PERCUSSION 6⁄5′ Tromba Tierce 73 pipes 16 Diapason ′ 1 1 Zauber Flute Twenty-Second 5⁄3′ Tromba Fifth 16′ Tibia Clausa 85 pipes Cymbal 8 ⁄9′ Twenty-Third 1 ′ Persian Cymbal 5⁄3′ Trombone Fifth 16 Doppel Gedeckt 4 ′ ′ Snare Drum Roll ⁄5 Twenty-Fourth 4′ Harmonic Clarion (50′′) 16 Stopped Diapason 8 ′ ′ Snare Drum Roll ⁄11 Twenty-Fifth 4′ Major Clarion (50′′) 61 pipes 16 Bass Viol 85 pipes 2 ′ ′ Snare Drum Strike ⁄3 Twenty-Sixth 4′ Octave Posaune (50′′) 16 Bass Viol 1 ′ ′ FF Bass Drum Strike ⁄2 Twenty-Ninth 4′ Clarion 16 Bass Gamba 1 ′ FF Bass Drum Roll ⁄3 Thirty-Third 4′ Trombone Clarion ′ 1 16 Cone Gamba 4′ 1 2 FF Contra Drum Roll ⁄ Thirty-Sixth 5′ 3′ 3⁄ Tromba Tenth 10 ⁄ Quint Diapason ′ 2 FF Contra Drum Strike 32 Fagotto 2⁄3′ Tromba Twelfth

18 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM Jim Whelan Boardwalk Hall, Atlantic City, New Jersey

2 2′ Clarine Fifteenth 16′ String II Melody (melody coupler) CHOIR-SWELL (Manual I) 2⁄3′ Major Twelfth 73 pipes Gallery I Reeds (floating) 4′ String II Melody (melody coupler) 16′ Doppel Gedeckt 2′ Fifteenth I 73 pipes Gallery II Flutes (floating) String II Pizzicato 16′ Stopped Diapason 2′ Fifteenth II 73 pipes Gallery III Diapasons (floating) 16′ Cone Gamba 2′ Fifteenth III 73 pipes Gallery IV Orchestral (floating) STRING III (floating) 8′ Doppel Gedeckt 2′ Principal ′ 1 String I (floating) 8 Cello Celeste I (2 ranks) 146 pipes 8′ Stopped Flute 5⁄3′ Rausch Quint 146 pipes ′ 2 String II (floating) 8 Cello Celeste II (2 ranks) 146 pipes 8′ Clarabella 2⁄3′ Rausch Quint 146 pipes String III (floating) 8′ Viola Celeste (2 ranks) 146 pipes 8′ Spitz Flute Grand Cornet XI 803 pipes 8′ Violins I (2 ranks) 146 pipes 8′ Gemshorn Major Sesquialtera V 365 pipes GALLERY I (floating) 8′ Violins II (2 ranks) 134 pipes 8′ Gemshorn Celeste I Furniture VI 414 pipes 16′ Contra Diaphone 85 pipes 8′ Violins III (2 ranks) 146 pipes 8′ Gemshorn Celeste II Schulze Mixture V 365 pipes 8′ Diaphone 8′ Violins IV (2 ranks) 134 pipes 8′ Muted Gamba Scharff Mixture III ′ 2 8 Diapason (fr. Mixture Mirabilis VII) 8′ Viol Secundo (2 ranks) 146 pipes 6⁄5′ Third Doublette Mixture II ′ 1 ′ 4 Octave (fr. Mixture Mirabilis VII) 8′ Cor Anglais 73 pipes 5⁄3′ Fifth 16 Trumpet 73 pipes 1 ′ Mixture Mirabilis VII 511 pipes 16′ Grand Piano 5⁄3′ Cone Gamba Fifth 8 Harmonic Trumpet 73 pipes ′ ′′ 1 ′ 16 Trumpet Mirabilis (100 ) 85 pipes 8′ Grand Piano 5⁄3′ Gemshorn Fifth 4 Clarion 73 pipes ′ 4 16 Trumpet Melody (melody coupler) 4′ Grand Piano 7′ Brass Chorus (floating) ′ ′′ 4⁄ Seventh 8 Tuba Maxima (100 ) 73 pipes 4′ Doppel Flute Chimes 37 tubes 8′ Trumpet Imperial (100′′) UNENCLOSED CHOIR (Manual I) ′ 8′ Harp 61 bars ′ ′′ 4 Stopped Flute 4 Clarion Mirabilis (100 ) 16′ Quintaton 73 pipes 4′ Clarabella 4′ Harp 4′ Clarion Melody (melody coupler) 8′ Diapason 73 pipes ′ 4′ Xylophone 49 bars ′ ′′ 4 Spitz Flute 4 Clarion Real (100 ) 8′ Holz Flute 73 pipes 4′ Zauber Flute 2′ Xylophone 4′ Octave 73 pipes 4′ Gemshorn Snare Drum Roll GALLERY II (floating) 2′ Fifteenth 73 pipes 4′ Cone Flute Snare Drum Tap 16′ Flute Maggiore 97 pipes 5 Rausch Quint II 146 pipes 3⁄9′ Ninth Snare Drums Roll 8′ Jubal Flute 73 pipes 1 Snare Drums Tap Mixture II 146 pipes 3⁄5′ Tenth 4′ Jubal Melody (melody coupler) 1 Triangle 3⁄5′ Gemshorn Tenth 8′ Harmonic Flute 73 pipes 10 Tambourine CHOIR (Manual I) 2⁄11′ Eleventh 4′ Melodic Flute ′ 2 Castinets 16 Contra Melodia 109 pipes 2⁄3′ Flute Twelfth ′ ′ 2 Wood Block Stroke 4 Harmonic Flute 73 pipes 16 Contra Dulciana 92 pipes 3′ 2 2⁄ Flute Twelfth 2⁄3′ Harmonic Twelfth 61 pipes 8′ Diapason 73 pipes 2 ′ Wood Block Roll ′ 2⁄3 Gemshorn Twelfth 2′ Harmonic Piccolo 61 pipes 8 Diapason 73 pipes 2 ′ Tom Tom ′ 2⁄3 Twelfth Harmonic Mixture III 183 pipes 8 Gemshorn 73 pipes 2 ′ Chimes S. T. ′ 2⁄7 Fourteenth Drums Muffled S. T. 8 Gemshorn Celeste 73 pipes 2′ Flute GALLERY III (floating) 8′ Dulciana ′ String I (floating) ′ 2 Magic Flute 16′ Contra Diapason 97 pipes 8 Dulciana Celeste 73 pipes ′ String II (floating) ′ ′ 2 Gemshorn String III (floating) 8 Diapason I 73 pipes 8 Philomela 73 pipes 7 ′ ′ ′ 1⁄9 Sixteenth Gallery I Reeds (floating) 8 Diapason II 73 pipes 8 Melodia 3 ′ ′ ′ 1⁄5 Gemshorn Seventeenth Gallery II Flutes (floating) 4 Octave I 73 pipes 8 Concert Flute 73 pipes 3 ′ ′ 8′ Unda Maris 73 pipes 1⁄5 Seventeenth Gallery III Diapasons (floating) 4 Octave II 5 ′ ′ 8′ Nachthorn 73 pipes 1⁄11 Eighteenth Gallery IV Orchestral (floating) 2 Fifteenth 73 pipes 1 ′ 8′ Viola Pomposa 73 pipes 1⁄3 Nineteenth Mixture IV 292 pipes 1 ′ ′ 8′ Viola Celeste 73 pipes 1⁄3 Gemshorn BRASS CHORUS (floating) 16 Grand Piano 1 ′ 1⁄7′ Twenty-First ′ 8′ Grand Piano 8 Voix Celeste II 134 pipes 16 Trombone 73 pipes 1 ′ 1′ Twenty-Second ′ 4′ Grand Piano 5⁄3 Dulzquint 8 Trombone 73 pipes 4′ Fugara 73 pipes 1′ Gemshorn Twenty-Second 8′ Tromba 73 pipes 8 ′ 1 4′ Dolce 85 pipes ⁄9 Twenty-Third 5⁄3′ Tromba Quint 73 pipes GALLERY IV (floating) 4 ′ ′ 4′ Spindle Flute 73 pipes ⁄5 Twenty-Fourth 4′ Trombone 73 pipes 16 Contra Saxophone 85 pipes 8 ′ 2 ′ 4′ Flute Overte 73 pipes ⁄11 Twenty-Fifth 2⁄3′ Tromba Twelfth 73 pipes 8 Brass Trumpet 73 pipes 2 2 ′ ′ 2⁄3′ Melodia Twelfth ⁄3 Twenty-Sixth 2′ Trombone 73 pipes 8 Egyptian Horn 73 pipes 2 ′ 1 ′ ′ 2⁄3 Dulzard ⁄2 Gemshorn Twenty-Ninth Tierce Mixture III 219 pipes 8 Euphone 73 pipes ′ 1 ′ 8′ Major Clarinet 73 pipes 2 Flageolet 73 pipes ⁄4 Gemshorn Thirty-Sixth ′ 2′ Melodia 32′ Fagotto GRAND GREAT (Manual II) 8 Major Oboe 73 pipes ′ ′ 2 Dulcett 16′ Contra Oboe 8′ Principal 8 Musette Mirabilis 73 pipes 1 1⁄3′ Dulce 16′ Clarinet 8′ Tibia Clausa 8′ Cor D’Orchestre 73 pipes ′ ′ 1 Dulcinett 16′ Vox Humana 8′ Tibia Major 8 Saxophone Acuta VI 438 pipes ′ ′ 4′ Octave Saxophone 8 Oboe 4 Tibia Melody (melody coupler) Flute Mixture III 219 pipes 8′ Clarinet 8′ Viol Brass Chorus (floating) ′ ′ STRING I (floating) 8 Vox Humana 4 Viol Melody (melody coupler) 16′ Contra Tromba 97 pipes 4′ Oboe ′ 16′ Contra Basso 97 pipes ′ 4 Octave ′ 8 Tromba Real 73 pipes 4′ Clarinet 2′ Super Octave 8 Cello 73 pipes 8′ Brass Cornet 73 pipes ′ ′ ′ 8′ Cello Celeste I (2 ranks) 146 pipes ′ 4 Vox Humana 32 Dulzian (currently playing at 16 ) ′ 8 French Horn 73 pipes Chimes 16′ Trombone 8 Cello Celeste II (2 ranks) 134 pipes 8′ Clarinet 73 pipes ′ ′ 8′ Violins I (2 ranks) 146 pipes ′ 8 Marimba Repeat 8 Trombone Melody (melody coupler) 8 Bassett Horn 73 pipes 8′ Marimba Stroke 8′ Ophicleide (100′′) 8′ Violins II (2 ranks) 134 pipes 8′ Cor Anglais 73 pipes ′ 4′ Glockenspiel Repeat 8′ Trumpet 8 Violins III (2 ranks) 146 pipes 8′ Kinura 73 pipes ′ ′ 8′ Violins IV (2 ranks) 134 pipes ′ 4 Glockenspiel Single 4 Clarion 4 Tromba Clarion 2′ Glockenspiel Single ′ 8′ Viol Secundo I (2 ranks) 146 pipes String I (floating) 4 Clarion Melody (melody coupler) 8′ Viol Secundo II (2 ranks) 134 pipes Snare Drum Roll String II (floating) Snare Drum Tap 4′ Octave Viola String III (floating) GREAT SECOND TOUCH ′ Snare Drums Roll (Manual II) 4 Viol Secundo (2 ranks) 146 pipes Gallery I Reeds (floating) Snare Drums Tap ′ 16′ String Melody (melody coupler) Gallery II Flutes (floating) 8 Viol Phonon ′ Wood Block 8′ Viol Cello 4 String Melody (melody coupler) Gallery III Diapasons (floating) Castinets ′ String Pizzicato Gallery IV Orchestral (floating) 8 Viol Triangle 8′ Viol Tom Tom ′ STRING II (floating) GRAND CHOIR (Manual I) 8 Solo (coupler) ′ ′ ′′ 4′ Solo (coupler) 16 Double Bass 97 pipes 16 Diaphone (50 ) GREAT (Manual II) ′ 16′ Contra Bass 97 pipes 16′ Diapahone Melody (coupler) ′ 8 Fanfare (coupler) 32 Sub Principal 121 pipes String I (floating) 16′ Contra Viol 97 pipes 8′ Diaphone (50′′) ′ ′ ′ 16 Double Diapason I 97 pipes String II (floating) 8 Viola Diapason 73 pipes 8 Diapason 16′ Double Diapason II 73 pipes 8′ Viol Cello 73 pipes 8′ Diaphonic Diapason Gallery I Reeds (floating) 16′ Double Diapason III 73 pipes Brass Chorus (floating) 8′ Cello Phonon 73 pipes 8′ Tibia Clausa 2 10 ⁄3′ Sub Quint 73 pipes 8′ Cello 73 pipes 8′ Viol Cello ′ ′ ′′ 8 Principal GREAT-SOLO (Manual II) 8′ Cello Celeste (2 ranks) 146 pipes 16 Bombard (50 ) ′ ′ ′ 8 Diapason I 73 pipes 16 Wald Flute 97 pipes 8′ Viola Phonon 73 pipes 16 Fagotto ′ ′ ′ 8 Diapason II 73 pipes 16 Tibia Clausa 97 pipes 8′ Viola Celeste (2 ranks) 134 pipes 8 Posaune ′ ′ ′ ′ ′′ 8 Diapason III 73 pipes 16 Contra Geigen 97 pipes 8 Violin Phonon 73 pipes 8 Bombard (50 ) ′ 2 ′ ′ ′ 8 Diapason IV 73 pipes 10 ⁄3 Wald Quint 8 Violin 73 pipes 4 Bombard Melody (melody coupler) ′ 2 8 Diapason V 73 pipes 10 ⁄3′ Tibia Quint 8′ Viol Celeste I (2 ranks) 146 pipes 8′ Chalumeau ′ ′ 8 Diapason VI 73 pipes 8′ Diapason Phonon 73 pipes 8′ Viol Celeste II (2 ranks) 134 pipes 4 Octave Oboe ′ ′ ′ 8 Diapason VII 73 pipes 8 Horn Diapason 85 pipes 8 Viol Celeste III (2 ranks) 134 pipes 8′ Diapason VIII 73 pipes ′ ′ CHOIR SECOND TOUCH 8 Geigen Principal 8 Viol Celeste IV (2 ranks) 134 pipes 8′ Diapason IX 73 pipes 8′ Gemshorn 121 pipes 8′ Viol Celeste V (2 ranks) 134 pipes (Manual I) ′ ′ 8 Diapason X 73 pipes 8′ Gemshorn Celeste 89 pipes 4′ Viol Principal 73 pipes 16 Double Bass ′ ′ 8 Harmonic Flute 73 pipes 8′ Wald Flute 4′ Violin (2 ranks) 146 pipes 16 Contra Bass ′ ′ 8 Flute Overte 73 pipes 8′ Tibia Clausa 4′ Viola (2 ranks) 146 pipes 16 Contra Viol 1 5⁄3′ Quint 73 pipes ′ ′ 8′ Viola 8 Doppel Gedeckt 73 pipes 4 Octave Cello I 4′ Octave I 73 pipes ′ ′ 8′ Viol Cello 8 Viola D’Gamba 73 pipes 4 Octave Cello II 4′ Octave II 73 pipes ′ ′ 8′ Viol Cello 8 Vox Celeste 73 pipes 4 Octave Violin 4′ Octave III 73 pipes 2 ′ 1 ′ 4′ Viol Cello 6⁄5 Gemshorn Terz 97 pipes 5⁄3 Quint Flute 78 pipes 4′ Octave 1 ′ ′ 4′ Viol Cello 5⁄3 Wald Quint 4 Stopped Flute 4′ Octave IV 73 pipes 1 ′ 2 ′ String I (floating) 5⁄3 Gemshorn Quint 109 pipes 2⁄3 Flute Twelfth 73 pipes ′ 4 ′ ′ String II (floating) 4 Octave V 73 pipes 4⁄7 Septieme 97 pipes 2 Piccolo 4′ Harmonic Flute 73 pipes 4′ Octave Phonon String Mixture V 305 pipes String III (floating) 1 3⁄5′ Gross Tierce 73 pipes 4′ Octave 8′ Tromba D’Amour 73 pipes Fanfare (coupler)

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2020 Q 19 Cover feature

8′ Orchestral Horn 8′ French Horn 8′ Kinura 8′ Vox Humana 8′ Vox Humana 4′ Octave Horn 4′ Krummhorn 4′ Saxophone 4′ English Horn 4′ French Horn 4′ Vox Humana Chimes 8′ Harp 4′ Harp 4′ Xylophone 2′ Xylophone ECHO (Manual VI) 16′ Contra Violone 97 pipes 16′ Contra Gamba 85 pipes 16′ Contra Spire Flute 109 pipes 8′ Diapason 61 pipes 8′ Waldhorn 61 pipes 8′ Clarabella 97 pipes 8′ Spire Flute 8′ Spitz Flute 61 pipes 8′ Flute Celeste I 61 pipes 8′ Flute Celeste II 77 pipes 8′ Flute Sylvestre 61 pipes 8′ Flute Celeste 61 pipes 8′ Tibia Mollis 61 pipes 8′ Violone 8′ Violone Celeste 54 pipes 8′ Gamba The Swell high-pressure (30′′) reed chorus. From left to right: Some of the 55 ranks of the Swell division. The low-pressure 4′ Open Flute Double Trumpet 16′, Harmonic Trumpet 8′, Field Trumpet 8′, (15′′) reed chorus is closest to the expression shades. 4′ Rohr Flute 61 pipes Harmonic Clarion 4′ 4′ Cone Flute 4′ Viol 4′ Principal 8′ Vox Humana 85 pipes 4′ Trumpet Clarion ′ ′ ′ 4 Gamba 4 Gemshorn 8 Vox Humana Brass Chorus (floating) 1 ′ ′ ′ 3⁄5 Spitz Tenth 4 Gemshorn Celeste 4 Octave Horn String I (floating) 2 ′ ′ ′ 2⁄3 Flute Twelfth 4 Wald Flute 4 Krummhorn String II (floating) 2 ′ ′ ′ 2⁄3 Spire Flute Twelfth 4 Stopped Flute 4 Saxophone String III (floating) ′ ′ ′ 2 Flute Fifteenth 4 Doppel Flute 4 English Horn Gallery I Reeds (floating) ′ ′ ′ Gallery II Flutes (floating) 2 Spire Flute Fifteenth 4 Viola 4 French Horn 3 ′ ′ ′ Gallery III Diapasons (floating) 1⁄5 Spitz Seventeenth 4 Viola Celeste 4 Vox Humana 1 1 1⁄3′ Spire Flute Nineteenth 3⁄5′ Gemshorn Tenth Gallery IV Orchestral (floating) 1 1′ Spire Flute Twenty-Second 3⁄5′ Tenth SOLO (Manual IV) 2 Aetheria VI 366 pipes 2⁄3′ Flute Twelfth 16′ Major Flute 85 pipes SOLO-GREAT (Manual IV) 2 2 ′ 16′ Tuba D’Amour 85 pipes 2⁄3′ Minor Twelfth 10 ⁄3′ Quint Flute 16 Wald Flute 2 ′ ′ 2⁄3′ Twelfth 8′ Stentor Diapason 61 pipes 16 Tibia Clausa 16 Contra Bassoon 85 pipes 2 ′ ′ 2⁄7′ Octave Septieme 8′ Diapason (fr. Grand Chorus IX) 16 Contra Geigen 16 Chalumeau 85 pipes 2 ′ ′ 2′ Fifteenth 8′ Tibia Rex 61 pipes 10 ⁄3 Wald Quint 16 Vox Humana 85 pipes 2 ′ 2′ Geigen 8′ Major Flute 10 ⁄3 Tibia Quint 8′ Tuba D’Amour ′ 8′ Hohl Flute 61 pipes 8′ Diapason Phonon 8′ Trumpet Minor 61 pipes 2 Gemshorn ′ 2′ Piccolo 8′ Flute Overte 61 pipes 8 Horn Diapason 8′ Clarinet 3 ′ ′ 1⁄5′ Gemshorn Seventeenth 8′ Cello Pomposa 61 pipes 8 Geigen Principal 8 Cor D’Amour 61 pipes 3 ′ ′ 1⁄5′ Seventeenth 8′ Cello Celeste 61 pipes 8 Gemshorn 8 Bassoon 1 ′ 1⁄3′ Nineteenth 8′ Violin 61 pipes 8 Gemshorn Celeste 8′ Vox Humana I 61 pipes 1 ′ 1⁄7′ Twenty-First 8′ Violin Celeste 61 pipes 8 Wald Flute 8′ Vox Humana II 1 ′ 1′ Twenty-Second 5⁄3′ Quint Flute 8 Tibia Clausa 4′ Octave Clarinet 4 ′ ⁄5′ Twenty-Fourth 4′ Stentor Octave 61 pipes 8 Doppel Gedeckt 4′ Tuba D’Amour 2 ′ 8′ Viola D’Gamba ⁄3′ Twenty-Sixth 4 Octave (fr. Grand Chorus IX) 4′ Octave Bassoon 1 ′ ⁄2′ Twenty-Ninth 4′ Wald Flute 61 pipes 8 Vox Celeste ′ 2 4 Vox Humana 1 5′ ⁄4′ Thirty-Sixth (currently plays Gong) 4′ Major Flute 6⁄ Gemshorn Terz 1 ′ Chimes 25 tubes 16′ Oboe Horn 97 pipes 4′ Viola Pomposa 61 pipes 5⁄3 Wald Quint 1 ′ String I (floating) 16′ Krummhorn 97 pipes 2′ Harmonic Piccolo 61 pipes 5⁄3 Gemshorn Quint 4 String II (floating) 4⁄7′ Gemshorn Septieme 16′ Saxophone 97 pipes Grand Chorus IX 549 pipes String III (floating) 4′ Octave Phonon 16′ English Horn 97 pipes Carillon IV 244 pipes Gallery I Reeds (floating) ′ 16′ Tuba Magna (50′′) 85 pipes 4′ Octave 16 French Horn 97 pipes ′ Gallery II Flutes (floating) 16′ Vox Baryton 97 pipes 16′ Trumpet Profunda 85 pipes 4 Octave Geigen 2 ′ Gallery III Diapasons (floating) ′ 10 ⁄3′ Quint Trumpet 4 Gemshorn 8 Oboe ′ Gallery IV Orchestral (floating) 8′ Clarinet 85 pipes 8′ Tuba Imperial (100′′) 61 pipes 4 Gemshorn Celeste ′ 8′ Tuba Magna (50”) 4′ Wald Flute 8 Krummhorn ′ GALLERY MASTERS 8′ Orchestral Saxophone 85 pipes 8′ Trumpet Royal 61 pipes 4 Stopped Flute ′ 4′ Doppel Flute Gallery I Reeds to Bombard 8′ Saxophone 8 Trumpet Profunda Gallery II Flutes to Bombard ′ 8′ Bugle (50′′) 61 pipes 4′ Viola 8 English Horn ′ Gallery III Diapasons to Bombard 8′ Orchestral Horn 85 pipes 8′ English Post Horn 61 pipes 4 Viola Celeste 1 Gallery IV Orchestral to Bombard 2 ′ 5′ 2⁄3′ Flute Twelfth 73 pipes 8 French Horn 61 pipes 3⁄ Gemshorn Tenth 2 1 ′ (originally 8′ French Horn) (originally 2 ⁄3′ Flute Twelfth) 3⁄5 Gemshorn Tenth 2 TREMOLOS 1 ′ ′′ 3′ 8′ French Horn 5⁄3 Magna Fifth (50 ) 2⁄ Flute Twelfth Trem Master (affects all Tremolos) 2 ′ ′ 8′ Kinura 73 pipes 4′ Tuba Clarion (50′′) 2⁄3 Flute Twelfth (originally 8 Fr. Horn) Tremolos Left: 2 ′ 2⁄3 Minor Twelfth String III 2 ′ 2⁄3 Gemshorn Twelfth Fanfare Pileata 2 ′ 2⁄7 Octave Septieme Fanfare 2′ Fifteenth Gallery IV 2′ Geigen Sw-Ch Vox Humana 2′ Gemshorn Swell-Choir 2′ Piccolo Swell 3 1⁄5′ Gemshorn Seventeenth String I 3 1⁄5′ Gemshorn Seventeenth Choir Philomela 1 1⁄3′ Gemshorn Nineteenth Choir 1 1⁄7′ Twenty-First Open Choir 1′ Twenty-Second Tremolos Right: 4 ⁄5′ Twenty-Fourth Great Tibia 2 ⁄3′ Twenty-Sixth Solo 20′′ 1 ⁄2′ Twenty-Ninth Gt-Solo Organ Tone 1 ⁄4′ Thirty-Sixth Gt-Solo Wood Wind 16′ Oboe Horn String II 16′ Krummhorn Echo 16′ Saxophone 16′ English Horn Items in italics await restoration and thus are 16′ French Horn not operationing at present. 16′ Vox Baryton 8′ Oboe 8′ Clarinet Further information about the 8′ Krummhorn Midmer-Losh and Kimball pipe organs, 8′ Orchestral Saxophone including detailed specifications and 8′ Saxophone 8′ English Horn documentation, can be found at www. boardwalkorgans.org.

20 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM Reviews Bert Adams, FAGO PATRICK ALLEN Park Ridge Presbyterian Church Book Reviews is an interesting read not only for OHS Park Ridge, IL GRACE CHURCH Organ Historical Society at members, but also for all who harbor Pickle Piano & Church Organ Systems Stoneleigh: Aeolian-Skinner No. 878, an interest in the residence organ and NEW YORK Bloomingdale, IL by Rollin Smith. OHS Press, The its history in the United States. (See Organ Historical Society, Villanova, also: https://organhistoricalsociety.org/ Pennsylvania, 2019, 133 + xvi pages, stoneleigh/organ/) 30 black and white illustrations, —Stephen Schnurr Christopher Babcock Your artist spotlight can appear hardbound, $29.95. Available from Gary, Indiana on The Diapason website for www.organhistoricalsociety.org. as little as $16 per month This volume is the fourteenth in the St. Andrew’s by the Sea, Contact Jerome Butera, OHS Monographs in American Organ New Organ Music Hyannis Port [email protected] History series. The book was compiled Joyful We Adore: Organ Settings and written to celebrate the comple- for the Harvest Season, by Franklin tion of the relocation and restoration of D. Ashdown. Augsburg Fortress, Aeolian-Skinner Organ Company Opus 9781506457254, 2019, $24. Avail- 878 for the new headquarters of The able from augsburgfortress.org. Dean W. Billmeyer Organ Historical Society at Stoneleigh, This collection embodies eleven com- just outside Villanova, Pennsylvania. The positions by Franklin D. Ashdown. Dr. University of Minnesota OHS now has one location to house its Ashdown is a retired physician as well as Minneapolis 55455 • [email protected] headquarters, library and archives, and a composer and an organist, having pur- catalogue operations, which has not sued these dual careers for thirty years. previously been possible in the sixty- His organ studies were with Judson May- plus-year history of the society. The OHS nard and James Drake. In addition, he GAVIN BLACK moved into its new home at Stoneleigh was privately coached in composition by Byron L. Blackmore in the fall of 2017. (See “The Library Fred Tulan of San Francisco and Leonard Princeton Early Keyboard Center Crown of Life Lutheran Church of Congress for the organ: The OHS Raver of New York’s Juilliard School. His 732/599-0392 Sun City West, Arizona Library and Archives moves to Villanova, choral and organ music has been widely www.pekc.org Pennsylvania,” by Bynum Petty, The published, and he is recipient of several 623/214-4903 Diapason, October 2018, page 29.) consecutive Standard Panel and ASCAP Stoneleigh was built as a residence of Plus awards from the American Society impressive proportions in 1900 for the of Composers, Authors, and Publishers. Bodine family. The Haas family moved Ten of the eleven works in the collec- THOMAS BROWN Carson Cooman into the house in the 1930s and occupied tion are based on hymntunes. The tunes Composer and Concert Organist it for more than eight decades. In recent included are Dix, Harvest Gifts, CHAPEL HILL, NORTH CAROLINA Harvard University years, much of Stoneleigh’s property Hymn to Joy, Kremser, Melita, ThomasBrownMusic.com was turned over by the Haas family to Nun danket alle Gott, Roeder, www.carsoncooman.com Natural Lands to run as a nature pre- St. George’s Windsor, Terra Patris serve, and the house was repurposed for (also known as Terra Beata), and Wir the use of the OHS. At this same time, pflügen. The majority of the tunes Aeolian-Skinner Opus 878 became avail- that Ashdown chose for this collection DELBERT DISSELHORST Your professional card able for relocation, and it found its new are associated with Thanksgiving and could appear here! home at Stoneleigh. the harvest season. There are also tunes Professor Emeritus Contact: [email protected] The organ was the cover feature for associated with texts centering on cre- University of Iowa–Iowa City The Diapason’s December 2018 issue ation or nature, such as “The Dawning of or 608/634-6253 (pages 1, 26–28). The contract for the Nature,” which is freely composed. Not organ was signed in early 1931 for the all of the selections are what one might Aeolian Company’s fi nal residence consider a traditional chorale prelude STEVEN EGLER JOHN FENSTERMAKER organ, to be built for Pleasantdale Farm, style. Ashdown’s approach incorporates Central Michigan University the residence of Charles Walter Nich- various compositional techniques and TRINITY-BY-THE-COVE ols in West Orange, New Jersey, and forms, including variations, trumpet School of Music Mt. Pleasant, MI 48859 assigned Aeolian’s Opus 1790. With the tunes, a gigue, and the “fantasia” style. NAPLES, FLORIDA formation of the Aeolian-Skinner Organ Kremser is the basis of “A Thanksgiv- [email protected] Company in 1932 with assets from ing Antiphon,” wherein Ashdown weaves the Aeolian Company and the Skinner fragments of the hymntune into original Organ Company, this organ was built material. St. George’s Windsor fea- Norberto with an Aeolian-Skinner nameplate and tures a rather strong setting of the tune reassigned as Opus 878. in the style of a trumpet tune that alter- Susan Goodson Guinaldo This book provides a thorough history nates with fanfare-type material. There Emanuel United Church of Christ His Music of the instrument, from its conception is not an overabundance of settings Manchester, Michigan See—Listen—Buy through installation, from its mainte- available for Melita, the tune used with www.GuinaldoPublications.com nance and thoughtful additions by the the text “Eternal Father, Strong to Save,” builder through its acquisition by Curt commonly known as “The Navy Hymn.” Mangel in 1995 and its subsequent resto- Ashdown provides a two-part work based A Professional Card in ration by Emery Brothers for installation on the tune. Part I, “Fantasia,” will work STEPHEN HAMILTON at Stoneleigh. The Aeolian “Concertola” well as a prelude; Part II, “Recessional,” The Diapason player mechanism and accompanying equally as well as a postlude. Because For rates and digital specifi cations, recitalist–clinician–educator rolls have been restored by Kegg Pipe Veteran’s Day is observed in November, contact Jerome Butera www.stephenjonhamilton.com Organ Builders. The instrument now has this piece fi ts within the theme of the 608/634-6253; [email protected] a home where it is once again appreci- collection. Ashdown’s setting will be use- ated, likely more than ever before, and ful at other times and occasions such as certainly is made available for experi- patriotic programs, services, or concerts. ence by larger audiences than most “For the Beauty of the Earth,” paired David Herman any other residence organ. The OHS with the tune Dix, is a favorite hymn celebrated the project with a symposium for both Thanksgiving and general use. Trustees Distinguished Professor Emeritus of Music and University Organist at Stoneleigh in October 2019. Ashdown creates a series of fi ve varia- An annotated specifi cation of the organ tions on the tune, two of which are for The University of Delaware Q [email protected] provides excellent documentation, as well manuals alone. A mistake occurs in the as detailed photographs of the organ’s score in the fourth variation; the left- console and pipework. The fi ve appendi- hand part should be notated in the treble ces include a reproduction of the original clef beginning with measure two, rather Gail Archer contract (always interesting to read these than in measure four as indicated in the documents), a biographical sketch of score. An unexpected gem in this col- organist Joseph Hunter Dickinson, an employee lection is Ashdown’s arrangement of the www.gailarcher.com LorraineSunghee Brugh, Kim, DMPh.D. of Aeolian whose patents for the com- tune Roeder. This tune, composed by Professor of Music pany’s roll playing mechanisms follow, Carl F. Schalk and coupled with Jaroslav Vassar College University Organist concluding with a list of Aeolian Duo-Art J. Vajda’s thoughtful text “God of the Barnard College, Columbia University rolls in the collection of Stoneleigh. A Sparrow,” has become a part of mainline [email protected] Valparaiso, Ind. (212) 854-5096 helpful index is also included. hymnody during the past three decades. valpo.edu The volume is hardbound, sturdy, In Ashdown’s setting, the melody is Promotion 219.464.5084219-464-6796 printed on quality paper, with excel- featured prominently. This approach SOZO Media [email protected]@valpo.edu lent reproduction of its illustrations. It is advantageous to the piece’s use in [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2020 Q 21 WILL HEADLEE ANDREW HENDERSON, DMA Reviews 1650 James Street Madison Avenue Presbyterian Church New York, NY worship services as it assists congrega- also serves on the University of New Syracuse, NY 13203-2816 tions in becoming familiar with the tune. Mexico music faculty and as director of (315) 471-8451 www.andrewhenderson.net Larry J. Long, formerly director of its women’s ensemble, Las Cantantes. music and organist at the Church of the On this recording, Thévenot leads the Epiphany in New York City, composed Cathedral Choir, Chamber Choir, and Harvest Gifts, a tune paired with the Choristers in a varied program that Richard Barrick Hoskins Brian Jones text “God, Whose Farm Is All Creation.” includes seven recording premieres. Director of Music & Organist According to www.hymnary.org, Evan- The disc comprises masterful mate- Director of Music Emeritus gelical Lutheran Worship is the only rial, both familiar and new, including St. Chrysostom's Church RINITY CHURCH current hymnal that includes both this four compositions by McNeil Robinson Chicago T [email protected] BOSTON text and tune. John Arlott (1914–1991), (Thévenot’s former teacher), works by an English civil servant, police detective, Gabriel Fauré, George Dyson, James newspaper columnist, and sportswriter, Gibson, and Stephanie Martin, as well penned the text. For organists associated as works by composers who have written KIM R. KASLING JAMES KIBBIE with ELCA churches, the use of this for the cathedral’s commissions program: piece will aid congregations in becoming Philip Moore, Aaron David Miller, and D.M.A. The University of Michigan familiar with the tune. Andrew Carter. (See Maxine Thévenot, Ann Arbor, MI 48109-2085 St. John’s University Ashdown’s setting of Hymn to Joy “The Cathedral of St. John Celebrates 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 consists of four variations; the melody is Ten Years of Cathedral Commissions,” email: [email protected] prominent in all variations. Variation IV The Diapason, November 2016, pages has an active “walking” bass pedal line, 18–20.) Carter’s Consider the Lilies, the which will make it enjoyable for organ- concluding work on the disc, was a com- David K. Lamb, D.Mus. Karen Schneider Kirner ists. Nun danket alle Gott is in an missioned work from this program. Director of Music A-B-A form of gigue-chorale-gigue. The Denis Bédard’s Variations on Ubi Director, Notre Dame Handbell Choir gigue sections, as expected, are in a com- Caritas, a lush setting for organ of the Trinity United Methodist Church Assistant Director, Notre Dame Folk Choir New Albany, Indiana pound meter; the chorale is in common traditional chant with interesting har- University of Notre Dame 812/944-2229 meter. Terra Patris (also known as monic shadings and melodic turns, is Terra Beata) comprises three continu- followed by Ola Gjeilo’s richly harmonic ous variations of the tune. Much of the a cappella setting of the Ubi Caritas text. tune’s variation is created through the McNeil Robinson’s and Philip Moore’s technique of ornamentation. settings of O Sacrum Convivium are A noteworthy Thanksgiving text is fi nely wrought, and how wonderful to A.S.C.A.P. FELLOW, AMERICAN GUILD OF ORGANISTS “We Plow the Fields and Scatter” com- hear two different approaches to this monly used with Wir pflügen, a tune text. The Cathedral Choristers deliver 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 adapted from music by the eighteenth- pure, sweetly beautiful performances of (770) 594-0949 century musician Johann A. P. Schulz Barrie Cabena’s plaintive O Lord of Life (1747–1800). The composer indicates in and of Simon Lindley’s Ave Maria, which the score that this setting is in the style shows how lovely simple melody in a lim- of a capriccio. This sprightly piece often ited range can be. Aaron David Miller’s ANDREW PAUL MOORE LEON NELSON goes in unexpected harmonic directions. 2016 Magnifi cat and Nunc Dimittis CHRIST CHURCH Director of Traditional Music It offers great promise as an upbeat setting offers energy in the former and Southminster Presbyterian Church postlude that will catch the attention of gentle peace in the latter. The choristers’ SHORT HILLS Arlington Heights, IL 60005 a congregation. rendition of Richard Delong’s unison A unique and personal style is setting of Fairest Lord Jesus is balm for apparent in Ashdown’s compositional the soul. Andrew Carter’s Consider the approach. At fi rst reading, some of the Lilies is a setting sensitive to the nuances harmonic progressions, musical mate- of text and structure within Christina LARRY PALMER rial, and compositional techniques are Rossetti’s text. PHILIP CROZIER not what one might traditionally expect. The performances—by the Cathedral CONCERT ORGANIST Harpsichord – Organ However, after one spends time prac- Choir, its subset Chamber Choir, the ACCOMPANIST ticing and learning the music, the har- Cathedral Choristers, and the soloists— Professor of Music, Emeritus monies and developmental techniques are all fi rst rate. Thévenot’s preparation 3355 Queen Mary Road, Apt 424 used are convincing and quite effective. of the young choristers makes for a purity Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Performances of a majority of the pieces and accuracy that is marvelous. Organist Canada will require an investment in preparation Edmund Connolly provides attractive time on the part of the performer. The registrations and accompaniments and (514) 739-8696 Recitals — Lectures — Consultancies result will be some useful and effective demonstrates the many beauties of the [email protected] music for services or recitals. 65-rank Reuter organ, Opus 2210. He [email protected] + 214.350-3628 —Charles W. Steele takes an assured solo turn on Kenneth Pisgah Forest, North Carolina Leighton’s muscular Fanfare. Thévenot sensitively plays the other organ compo- sitions here—Bédard’s Variations on Ubi New Recordings Caritas and McNeil Robinson’s lovely $_;v|-@o=THE DIAPASON1om]u-|†Ѵ-|;v Tell of His Love. The Choirs of the Chorale Prelude on LLANFAIR. Ѵ;Š-m7;u;vŒѴ;u-v|_;‰bmm;uo=|_;bm-†]†u-Ѵ Cathedral of St. John, Albuquerque, The accompanying booklet is also u†;mv|;bm‰-u7ĺ New Mexico. Maxine Thévenot, noteworthy. Thévenot authored the pro- director of cathedral music and gram notes and contributed photos, as organist; Edmund Connolly, assistant did soprano Lauren Breden and record- organist. Raven OAR-144, $15.98. ing engineer Peter Nothnagle. Edmund Available from www.RavenCD.com. Connolly designed the booklet, which Variations on Ubi Caritas, Denis includes the organ’s specifi cation, pub- Bédard; Ubi Caritas, Ola Gjeilo; O lishers of the works performed, credits A gift subscription to sacrum convivium, McNeil Robinson; and biographies, and a tribute to the late Pie Jesu (Requiem), Gabriel Fauré; Si bass section leader, Lee J. Rickard. iniquitates observaveris, Samuel Wes- The luminous singing and skilled The Diapason ley; Improperium, M. Robinson; O vos accompaniment of a beautifully designed The perfect gift for omnes, Pablo Casals; O sacrum conviv- program make this a recording to enjoy, + organist colleagues + choir directors ium, Philip Moore; O Lord of Life, Bar- to treasure, and to share with others—an rie Cabena; Ave Maria, Simon Lindley; excellent choice to feed and soothe one’s + students + organ builders Magnifi cat, Nunc Dimittis, Aaron David soul. Highly recommended. + teachers + clergy Miller; Fairest Lord Jesus, Richard —Joyce Johnson Robinson DeLong; Haec Dies, M. Robinson; Fan- Niles, Illinois Each month your gift will keep on giving by providing the fare, Kenneth Leighton; Praise, George important news of the organ and church music fi eld. Know that Dyson; Chorale Prelude on LLANFAIR, M. As a seed bursts forth: Choral music your gift will be just right. Robinson; Brother James’s Air, J. L. M. by Annabel Rooney. The Choir For information, The Diapason, P.O. Box 300, Lincolnshire, IL Bain, arr. James Gibson; Alleluia!, of Christ’s College, Cambridge, 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: Stephanie Martin; Consider the Lilies, UK, David Rowland, director, 847/763-4933. Or visit www.thediapason.com and click “subscribe.” Andrew Carter. Gabriel Harley and Edward Lilley, Maxine Thévenot has served as direc- organists. Regent Records, Ltd., $44 one year USA; $35 one year digital; $20 one year student tor of cathedral music at the Cathedral REGCD525, £8.33. Available from of St. John for the last decade. She regentrecords.com.

22 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM A Professional Card in DEREK E. NICKELS, DMA Reviews The Diapason Church of the Holy Comforter For rates and digital specifications, Evening Service (Latin) in D Major; O compact disc is first rate. I furthermore Kenilworth, IL 60043 contact Jerome Butera nata lux; Bless the Lord; Hear my prayer, have no hesitation in recommending this 608/634-6253; [email protected] (847) 251-6120 • [email protected] O Lord; Sweet was the song the Virgin recording for its showcasing of Annabel sung; Gaudete; The Lord’s Prayer; Be Rooney’s extremely fine and interesting still, and know that I am God; Jubilate choral music. Deo; Come, my way, my truth, my life; —John L. Speller GREGORY PETERSON Misterium mirabile; Glorificamus Deum; Port Huron, Michigan ANDREW PETERS Close thine eyes; How calmly the eve- Organ Recitals – Silent Movies – Hymn Festivals Professor of Music ning; Evening Service (Latin) “Fourths;” and College Organist Round me falls the night; Praise ye the New Handbell Music www.AndrewJPeters.com Luther College, Decorah, Iowa Lord; This Infant of mankind; To her son. Four Easter Hymns for Twelve Bells, The English composer Annabel Set 1, arranged by Sandra Eithun. McLauchlan Rooney began her musi- Concordia Publishing Company, ANDREW SCHAEFFER cal career as a ’cellist in the National #977855, Level 2 – 2+ (E+ – M-), Jeffrey Schleff, Ed.D. Youth Orchestra, before going to Christ’s $4.50. Luther Memorial Church (ELCA) Organist/Director of Music College, Cambridge, to read music in Each piece uses only twelve bells, Madison, Wisconsin 1991. She then did graduate work at spanning F5 to C7. Because not every First Presbyterian Church Cambridge, obtaining master’s and doc- piece is in the key of F, this set offers [email protected] Gainesville, Texas toral degrees specializing in eighteenth- plenty of harmonic possibilities while Recitals — Hymn Festivals [email protected] century opera. She works as a freelance maintaining a small number of ringers. composer, teacher, and ’cellist and has Titles include “Jesus Christ Is Risen been based in the Exeter, Devon, area Today,” “Alleluia! Sing to Jesus,” “The since 2006. Her music has been widely Day of Resurrection,” and “Christ Has STEPHEN SCHNURR performed in England and is starting to Arisen, Alleluia.” become better known in North America, Saint Paul Catholic Church Organogenesis Artists LLC too. It is natural that this compact disc Alleluias without End, arranged Valparaiso, Indiana [email protected] features the choir of Annabel Rooney’s for 3–5 octaves of handbells, with own college, Christ’s College, Cam- optional 3 octaves of handchimes, by bridge, but the recording was actually Jeffrey Honoré. MorningStar Music made in the Chapel of Queen’s College, Publishers, MSM-30-405, Level 3+ ROBERT L. Cambridge, which has the advantages (D), $4.75. both of warmer acoustics and of a Inspired by William Boyce’s Alleluia SIMPSON Mark Steinbach substantial organ built in 1892 by J. J. Round, this energetic piece takes off Christ Church Cathedral Brown University Binns, popularly known as “Battleship with a boisterous 7/8 rhythm, alternating 1117 Texas Avenue Binns,” owing to the solid manner in with 4/4. This seemingly difficult pattern Houston, Texas 77002 which his instruments were constructed. should become comfortable with the Annabel Rooney’s music is probably ringers quickly, as it is repeated over and beyond the competency of the average over. A slower middle section interrupts THOMAS R. THOMAS ] choir and is intended mainly for cathe- the busy rhythmic scheme and would Joe Utterback drals, colleges, and large churches. Prob- be even more colorful on handchimes. Organist/Choirmaster

]] ] ably the most accessible piece is Glori- Here is a challenge for any choir. St. Luke’s Episcopal Church www.jazzmuze.com ficamus Deum, which Dr. Rooney wrote Live Oak, Florida 32064 203 386 9992 for her children’s elementary school. It is Praise and Worship Classics, [email protected] scored for treble voices and organ with arranged for 3–5 octaves of hand- an optional second voice part. Annabel bells, by Peggy Bettcher, Agape (a Rooney’s rich textures remind me of the division of Hope Publishing Com- music of Herbert Howells and Francis pany), Code No. 2768, Level 3 (M), Kevin Walters Poulenc. Some of the music uses Latin $59.95. David Wagner texts, and some of it incorporates medi- Filled with seven well-known praise DMA M.A., F.A.G.O. eval harmonies and plainsong themes. songs, this engaging collection works www.davewagner.net Dr. Rooney often uses the choral parts well for worship services that incorpo- Rye, New York and instrumental parts interchangeably rate a contemporary flavor. They should as equal voices. To her son contains music appeal to both the ringers and the audi- imitative of joyful Christmas bells. Anna- ence. This is a reproducible set, buy one bel Rooney and her husband Gabriel book and copy all the music for use for Alan G Woolley PhD KARL WATSON wrote the poem that forms the text. As your choir—60 pages. A bargain. Musical Instrument Research FIRST PRESBYTERIAN CHURCH  one might expect from the choir of a —Leon Nelson Edinburgh  Cambridge college, the singing on this Vernon Hills, Illinois WOODBRIDGE, NJ [email protected] 

DIAPASON Student Rate RONALD WYATT $20 one year Trinity Church 847/954-7989 Galveston WOW! 2044 - East Texas Remembered . . . in the shadow of another [email protected] Covid-cancelled 2020 gathering, we revisit these exceptional East Texas Pipe Organ Festival performances from 2019. A two-inch Professional Card in The Diapason N 2045 - Who Needs Beethoven?! . . . in his anniversary year, we otherFRPSRVHUVZLWKVLJQL¿FDQW O explore music by the many For information on rates and specifications, contact Jerome Butera: V anniversaries in 2020. [email protected] 608/634-6253 2046 - A Triple Tribute . . . to Cecilia, the Patron Saint of Music, 2 to composer Benjamin Britten, and to the memory of Stephen 0 Cleobury. ArtistArtist Spotlights Spotlightspotlight s 2 2047 - In Advent Expectation . . . in anticipation of the Christian Artist Spotlights 0 festival of the Nativity, music that looks for good news. are available on Your professional card The Diapason 2048 - A Beethoven Semiquintennial . . . celebrating the 250th website and could appear here! birthday of Ludwig van Beethoven (b. 1770) with some of few e-mail newsletter. pieces he wrote for organ, and many that he didn’t! Contact Jerome Contact: [email protected] Pipedreams is American Public Media’s weekly program dedicated to Butera for rates or 608/634-6253 the artistry of the pipe organ. Host Michael Barone’s celebration of the and specifi cations. king of instruments is heard on stations nationwide and worldwide via is a proud supporter 608/634-6253 pipedreams.org. Go online to locate a broadcast station near you. of Pipedreams apoba.com [email protected] SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2020 Q 23 Calendar

8 DECEMBER 18 DECEMBER 6 DECEMBER This calendar runs from the 15th of the month Christmas concert; Christ Cathedral, Dominik Axtmann, with trumpets; of issue through the following month. The deadline Raymond Nagem; Cathedral of St. is the fi rst of the preceding month (Jan. 1 for John the Divine, New York, NY 6 pm Garden Grove, CA 7:30 pm Hofkirche, Bruchsal, Germany 6 pm Feb. issue). All events are assumed to be organ (livestream) 8 DECEMBER recitals unless otherwise indicated and are grouped INTERNATIONAL within each date north-south and east-west. •=AGO 12 DECEMBER Suzanne Z’Graggen; St. Jacobi, Hamburg, Germany 8 pm chapter event, • •=RCCO centre event, +=new organ James Kennerley, with brass and 15 NOVEMBER dedication, ++= OHS event. bells; Merrill Auditorium, Portland, ME Benoît Mernier; Saint-Sulpice, Paris, 11 DECEMBER Information cannot be accepted unless it (on demand) France 4 pm artist name date location hour Andreas Boltz, works of Bach and specifi es , , , and in Benjamin Alard, harpsichord; Cha- writing. Multiple listings should be in chronological 13 DECEMBER Messaien; Dom, Frankfurt, Germany 8 order; please do not send duplicate listings. pelle Notre-Dame de Compassion, pm Lessons & Carols; St. John’s Episco- Bulle, Switzerland 5 pm THE DIAPASON regrets that it cannot assume pal, West Hartford, CT 3 pm (livestream) responsibility for the accuracy of calendar entries. 12 DECEMBER 22 NOVEMBER Silvius von Kessel; Dom, Erfurt, Ger- 15 DECEMBER Sophie-Véronique Cauchefer-Chop- many 5 pm UNITED STATES Raymond Nagem; Cathedral of St. lin; St. Nikolaus, Frankfurt, Germany 5 East of the Mississippi John the Divine, New York, NY 6 pm pm 25 DECEMBER (livestream) Gerhard Löffler, works of Bach and Samuel Kummer; Frauenkirche, 15 NOVEMBER Reger; St. Jacobi, Hamburg, Germany Dresden, Germany 9 pm • Jean Herman Henssler; United 17 DECEMBER 6 pm Jean-Christophe Geiser; Cathedral, Presbyterian Church, Binghamton, NY TENET, German Advent music; New Lausanne, Switzerland 5 pm 4 pm York, NY (on demand) 23 NOVEMBER Isabelle Demers; Independent Pres- Benjamin Alard, harpsichord; Pa- 27 DECEMBER byterian, Birmingham, AL 2 pm and 4 pm 24 DECEMBER lau de la Música Catalana, Barcelona, Gerhard Löffler; St. Jacobi, Hamburg, • Collin Whitfi eld, with soprano; Me- TENET, Christmas concert; New York, Spain 8 pm Germany 6 pm morial Presbyterian, Midland, MI 4 pm NY (on demand) (livestream) 25 NOVEMBER 28 DECEMBER UNITED STATES Samuel Kummer; Frauenkirche, Barbara Pibernik & Ulrich Theißen; 17 NOVEMBER West of the Mississippi Dresden, Germany 8 pm St. Martin Pfarrkirche, Bamberg, Ger- David Briggs; Cathedral of St. many 5:30 pm John the Divine, New York, NY 6 pm 2 DECEMBER (livestream) 15 NOVEMBER Holger Gehring, with Baroque or- 31 DECEMBER Crista Miller; Cathedral of St. Mary chestra; Kreuzkirche, Dresden, Germa- Dominik Axtmann; Hofkirche, Bruch- 20 NOVEMBER of the Assumption, San Francisco, CA 4 ny 8 pm sal, Germany 9 pm Peter Latona; St. Paul Catholic Cathe- pm (livestream) Gerhard Löffler; St. Jacobi, Hamburg, dral, Pittsburgh, PA 7:30 pm 5 DECEMBER Germany 10:30 pm 22 NOVEMBER 24 NOVEMBER Silvius von Kessel; Dom, Erfurt, Ger- Jean-Christophe Geiser; Cathedral, David Briggs; Cathedral of St. Ken Cowan; Cathedral Church of St. many 5 pm Lausanne, Switzerland 10:30 pm John the Divine, New York, NY 6 pm John, Albuquerque, NM 3 pm (livestream) Jin Kyung Lim; Cathedral of St. Mary of the Assumption, San Francisco, CA 4 1 DECEMBER pm (livestream) Raymond Nagem, Messiaen, La Nativité du Seigneur; Cathedral of St. 24 NOVEMBER John the Divine, New York, NY 7:30 pm Lynne Davis; Wichita State University, (livestream) Wichita, Kansas 5:15 pm (livestream)

5 DECEMBER 29 NOVEMBER Thomas Murray ; Church of the Trans- Jonathan Kroepel; Cathedral of St. fi guration, Orleans, MA 7:30 pm Mary of the Assumption, San Francisco, 6 DECEMBER CA 4 pm (livestream) Scott Lamlein; St. John’s Episcopal, West Hartford, CT 12:30 pm (livestream) 13 DECEMBER VocalEssence, Christmas concert; (on Ton Koopman; Walt Disney Concert demand) Hall, Los Angeles, CA 7:30 pm

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731 CROSSPOINT DRIVE Pipe Organ Builders Since 1915 DENVER, NC 28037 11561 Edmonston Rd. PHONE: 704-483-4560 Beltsville, MD 20705 WWW.ZIMMERORGANS.COM [email protected] 800/952-PIPE     A N D C O M PA N Y, L. L. C. Pipe Organ Builders New Organs Restoration / Renovation / Relocation www.wallacepipeorgans.com ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

24 Q THE DIAPASON Q NOVEMBER 2020 WWW.THEDIAPASON.COM Recital Programs

ANDREA ALBERTIN, Cathedral, ANTONIO GARCIA, Cathedral, JOHANNES SKUDLIK, Cathedral, hoch da komm’ ich her, Freu dich sehr, Lausanne, Switzerland, August 23: Lausanne, Switzerland, August 21: Pre- Lausanne, Switzerland, August 28: Toc- O meine Seele, ‘t Hart; Torches, Torches, Variations on a Theme of Haydn, op. amble for a Solemn Occasion, Copland; cata and Fugue in d, BWV 565, Bach; Run with Torches, Watson; Arioso (Can- 56a, Brahms, transcr. Rogg; Vexilla Re- Kyrie, Gloria (Organoedia ad missam Air (Orchestral Suite No. 3, BWV 1066), tata 156), Bach; Preludio IX in F, van gis, Pange lingua, Lucis Creator Optime, lectam), Kodály; Variations on America, Bach, transcr. Karg-Elert; Prélude, fugue, den Gheyn; The Moon Had Climbed Placare Christe Servulis (Le Tombeau de Ives; Sanctus, Benedictus (Organoe- et variation, op. 18, Franck; Scherzo the Highest Hill (Johnson’s Museum), Titelouze), op. 38, Dupré; Deux Chorals, dia ad missam lectam), Kodály; Sonatine symphonique, Cochereau; Overture (Lo- Corbett; Leezie Lindsay, Barnes; Ser- Alain; Choral-Fantasy on Hallelujah! pour les étoiles (Livre Ouvert, op. 6), hengrin), Wagner, transcr. Lemare; Final enade for Carillon, op. 61, Peeters; Toc- Epilogue planétaire (Matière celeste), Gott zu loben, op. 52, no. 3, Reger. (Symphonie I in d, op. 14), Vierne. cata Lirica (A Simple Suite), Barnes; Aubertin; Kyrie (Organoedia ad missam Keep the Fires Burning, Novello, transcr. lectam), Kodály. LORETO ARAMENDI, Stifts- MARTIN STURM, Stiftskirche, Giszczak; The Cascades–A Rag, Joplin, Stuttgart, Germany, July 31: Prelude transcr. Arai; Abide with Me, Monk. kirche, Stuttgart, Germany, August 21: STEPHEN HAMILTON, St. Mat- and Fugue in D, BWV 532, Bach; Im- Mary M. Emery Memorial Carillon, Ciacona in e, BuxWV 160, Buxtehude; thäus Lutheran Church, Munich, Ger- Funérailles, Liszt, transcr. Robilliard; many, August 7: Transports de joie provisation: Capriccio von der lieblich Mariemont, OH, August 9: The Star- Prélude, Sicilienne (Pelléas et Mé- (L’Ascension), Messiaen; Hommage à Nachtygall; Deuxiéme Fantaisie, JA 117, Spangled Banner, Smith; Menuet Alter- lisande), Fauré, transcr. Robilliard; Pré- Messiaen, Robinson; Prelude on Veni Alain; Improvisation: Symphonische natif, de Croes; Ceciliana, de Grijtters; lude (Suite, op. 5), Duruflé;Batalla de Creator Spiritus, Larson; Choral Varia- Variationen und Fuge über ein Thema Gavotte and Double, de Fesch; March sexto tono, Jiménez. tions on Veni Creator, Duruflé;Toccata, von Ludwig van Beethoven. of the Men of Harlech, The Ash Grove, Villancico, y Fuga on BACH, op. 18, Ar hyd y nos, Watson; Nocturne, Lea- ENNIO COMINETTI, Cathedral, Ginastera; Passacaglia in c, BWV 582, ANDREA TROVATO, with Silvia hy; All the Pretty Little Horses, Myhre; Lausanne, Switzerland, August 9: Pas- Bach; Prélude (Trois Pièces pour Orgue), Martinelli, soprano, Cathedral, Laus- Harmony Suite, de Klerk; Abide with sacaglia in c, BWV 582, Bach; Sonata III Boulanger; Final (Symphonie I in d, op. anne, Switzerland, August 14: Nun dan- Me, Monk. in A, op. 65, no. 3, Mendelssohn; Prae- 14), Vierne. ket alle Gott, Liszt; Ave Maria, Franck; Mary M. Emery Memorial Carillon, Agnus Dei, attr. Bizet; Toccata, Dubois; Mariemont, OH, August 16: The Star- ludium in D, BuxWV 139, Wie schön KAY JOHANNSEN, Stiftskirche, Coeur de Jésus enfant, Guilmant; Pie Spangled Banner, Smith; Caprice, Big- leuchtet der Morgenstern, BuxWV 223, Stuttgart, Germany, August 28: Prelude Jesu (Requiem), Fauré; Un bal (Sym- elow; Preludio VI in g, van den Gheyn; Buxtehude; Fantasy and Fugue in c, and Fugue in G, BWV 541, Bach; Choral phonie fantastique, op. 14), Berlioz, Air (Orchestral Suite in D), Bach, BWV 537, Partite diverse sopra Christ, in b, CFF 106, Franck; Colours in Mo- transcr. Trovato; Salve Maria, Mer- transcr. ‘t Hart; Rondeau in B-flat, van der du bist der helle Tag, BWV 766, tion, Johannsen; Improvisation. cadante; March au supplice (Symphonie den Gheyn; Memorial Chimes, Elgar; Bach; Festival Toccata, Fletcher. fantastique, op. 14), Berlioz, transcr. Serenade, Wesson; Old McDonald’s BÁLINT KAROSI, Stiftskirche, Stutt- Trovato; O divin Rédempteur, Gounod. Festival (Variations), Knight; Air with LAURENS DE MAN, Stiftskirche, gart, Germany, August 7 (two programs): Variations in Classic Style, Price; Eve- Stuttgart, Germany, August 14: La Prelude and Fugue in b, BWV 544, Bach; NICOLAS VIATTE, Cathedral, Laus- ning, Walker; Hymn Prelude on Jewels, Morisque (Het derde musyck boexken), Feux Follets (24 Pièces de Fantaisie, anne, Switzerland, August 30: Veni Cre- transcr. Gould; Abide with Me, Monk. Susato; Stirb in mir (Gott soll allein Deuxième suite, op 53, no. 4), Vierne; ator, Titelouze; Hymnus Veni Creator mein Herze haben, BWV 169), Bach; Choralpartita on Es ist genug, Karosi; Spiritus de Sancto Spiritu, SSWV 153, NICHOLAS WILL, St. Paul Catho- Weinen, Klagen, Sorgen, Zagen, Liszt. Danse macabre, Saint-Saëns, transcr. Scheidt; Komm, Gott Schöpfer, Heiliger lic Cathedral, Pittsburgh, PA, July 12: Allegro (Sonata II), Koloss; Schmücke Lemare; Vorspiel (Tristan und Isolde), Geist, Walther; Veni Creator, de Grigny; Prelude in b, BWV 544i, Bach; Fugue in Wagner, transcr. Karg-Elert; Par ma dich, o liebe Seele, BWV 654, Bach; Fan- tasie (Symphonische Fantasie und Fuge, Komm, Gott Schöpfer, Heiliger Geist, G, BuxWV 175, Buxtehude; Toccata Per vie, par ma mort (Le Tombeau d’Olivier Walther; Komm, Gott Schöpfer, Heiliger L’Elevazione, Frescobaldi; Évocation à Messiaen), Hakim. op. 57), Reger; Weinen, Klagen, Sorgen, Zagen, Liszt. Geist, Bach; Komm, Gott Schöpfer, Hei- la Chapelle Sixtine, S. 658, Liszt; Can- liger Geist, Walther; Triptych de Pen- tabile, FW 36, Pièce heroïque, FW 37 GIAMPAOLO DI ROSA, Cathedral, ANDREAS MEISNER, Cathedral, tecôte, Tissot; Choral varié sur le Veni (Trois pièces, nos. 2, 3), Franck. Lausanne, Switzerland, August 7: Sonata Lausanne, Switzerland, August 16: So- Creator, op. 4, Duruflé. in e, op. 31, no. 2, Sonata in C, op. 53, nata IV in d, op. 61, Guilmant; Jesu, JAMES D. WETZEL, Cathedral of Beethoven, transcr. di Rosa. meine Freude, BWV 610, Bach; Scherzo, RICHARD M. WATSON, carillon, St. Paul, Pittsburgh, PA, August 2: Pre- op. 49, no. 2, Bossi; Prelude in c-sharp, Mary M. Emery Memorial Carillon, lude and Fugue in E-flat, BWV 552, Trio JIM FACKENTHAL, carillon, St. op. 3, no. 2, Rachmaninoff; Symphonic Mariemont, OH, July 5: The Star-Span- Sonata in G, BWV 530, Bach; Fantasia Chrysostom Episcopal Church, Chicago, Chorale, Jesu meine Freude, op. 87, no. gled Banner, Smith; Preludium quasi in f, K. 608, Mozart; Passacaglia (Sonata IL, August 2: Suite in d, de Visée. 2, Karg-Elert. una Fantasia, van Hoof; Vom Himmel VIII in e, op. 132), Rheinberger.

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Don’t just tell people what you _ have for sale. Show them! Own a piece of history! The cover of the 100th Anniversary www.thediapason.com Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black finish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classified ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

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PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PIPE ORGANS FOR SALE

From Fruhauf Music Publications: Raven imports for sale in America World Library Publications: From the Aeolian Duo-Art Pipe Organ, Opus Johann Sebastian Bach’s Sinfonia from the CD recordings of British harpsi- Piano Bench to the Organ Bench, by 1560. Three manuals: Great, Swell, Cantata S. 29, “Wir danken dir, Gott” chordist and builder Colin Booth, on Alan J. Hommerding. This complete Choir, w/expression, and Pedal; 48 is offered in an arrangement for organ his Soundboard CD label. His most method book offers a variety of exer- ranks, Harp and Chimes, all stops (two or three manuals with pedal). The recent release is a 2-CD set of Book cises to increase pedal technique and 73-pipes, 61-note manuals, 32-note obbligato right-hand solo alone pres- 2 of Bach’s Well-Tempered Clavier, fol- manual/pedal dexterity. Explore topics pedals. Electro-pneumatic chests; ents a daunting challenge, to which lowing on the release in 2019 of Book 1, such as service playing/accompany- ing—when to lead, when to follow; 176-note roll-player in console; has been joined a carefully pruned left- also in a 2-CD set. Both have received includes 20 Aeolian rolls. Restored by hand accompaniment and pedal part, outstanding reviews in the early music playing pianistic accompaniments on the organ; introduction to improvisa- Dave Junchen; professionally removed both drawn from the original orchestral press. He plays a 2-manual harpsichord from California Institute of Technology, instrumentation. This transcription he built in 2016 as based on the design tion on the organ; basics of choral conducting from the console; and much Pasadena, by Organ Clearing House (just one of many for S. 29) provides of an instrument of 1661 and signed by more. 003057, $19.95, 800/566-6150, and American Organ Institute. Organ numerous technical challenges and will Nicholas Celini, but with an extended Wlpmusic.com. in safe/secure climate controlled resi- require a combination of determination, compass. Booth had restored the origi- virtuosity, and stamina, but it will also nal Celini harpsichord in 2013. Celini dence, San Antonio, Texas. Contact generate a clear and refreshing contra- was working in Narbonne in southern The Christmas music of Norberto owner: K. Long; 214/991-1009; real- puntal texture when performed. Please France when the original instrument Guinaldo. Ten Fantasy Pieces on [email protected] visit www.frumuspub’s home page Bul- was built. Booth observes that the Spanish Carols, Vol. I and II. Four letin Board to access a complimentary instrument “has strong similarities to Fantasy Pieces (American, Spanish, 1954 Walcker, 2 manuals and French). The New Paltz Organ Book PDF booklet file of the score, posted as some German instruments, such as pedal, 8 stops, . Great part of FMP’s 2020–2021 gratis listings. those by Mietke, but is of a rather more (“O Come, O Come, Emmanuel,” “People, Look East”). Bring a Torch, condition, excellent voicing, well intimate character.” The 2-CD sets maintained. Free standing oak case. include an extensive essay by Booth on Jeanette, Isabella. In Praise of St. The Organ Historical Society Joseph. Celebrate the year: “Decem- Suitable for home or chapel. $18,000 the works, temperament, performance e-shoppe offers a DVD by Fugue State ber” (“I heard the bells”). See, listen, or best offer. Contact: Julio Blanco- considerations, etc., and are SBCD- Films, The English Organ, a three-part buy. www.guinaldopublications.com. Eccleston: [email protected], 218 WTC Book 1, and SBCD-219 documentary presented by Daniel WTC Book 2, each 2-CD set are sold 703/582-8308. Moult. In addition to three hours of doc- for $16.98 postpaid in the U.S. from Born in Italy, a substitute organist umentary, almost eight hours of music RavenCD.com 804/355-6386. at age 13, graduated from conserva- Bosch Opus 518 (1968) for sale. is presented on DVD or CD (in both tory with highest honors and appointed stereo and surround). More than thirty Tracker action, 16 ranks, 12 stops, assistant professor at age 19; after Hauptwerk, Schwellwerk (expres- organs have been filmed and recorded, Certified appraisals—Collections of emigrating to the U.S. in 1908, played including Christ Church Spitalfields, organ books, recordings, and music, at several churches in New York City; sive), Pedal. Excellent condition. Truro Cathedral, Sydney Town Hall, for divorce, estate, gift, and tax pur- hired as chief organist by Samuel “Roxy” Detached console. Buyer to remove St. George’s Hall Liverpool, St. Paul’s poses. Stephen L. Pinel, Appraiser. Rothafel; had a daily radio program from Seattle, Washington, by 2/26/21. Cathedral Melbourne, and King’s Col- 629 Edison Drive, East Windsor, NJ from the Capitol Theatre. Who was he? Best offer. Contact for pictures and lege. The set can be ordered for $98. 08520-5205; phone: 609/448-8427; (Search “melchiorre” at michaelsmusic- details: Howard Wolvington, howard@ For information: https://ohscatalog.org. email: [email protected]. service.com 704/567-1066.) utemple.org, 425/761-4729.

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Exceptional original Baroque organ Johannes Klais K.G., Op. 1152, Excellent used pipes, moderate THE DIAPASON E-Newsletters are case with elegant carvings (18th 1958. Installed and voiced by Norbert scales and wind pressures, very clean, e-mailed monthly to subscribers who century) containing a well-conserved Spaeth. Originally installed in Our like new, 1/4 to 1/3 cost of new pipes. sign up to receive them. Don’t miss the Romantic Belgian organ (19th or Lady of the Angels R.C. Chapel, St. Specifi cations and photos available. latest news, featured artists, and classi- 20th century) by Pierre Schyven. Two Paul, Minnesota. In 2011, while still 615/274-6400, dennis@milnarorgan. fi ed ads—all with photos—some before in good playing condition, was moved manuals and pedal; 17 stops, 18 ranks. com, www.milnarorgan.com they appear in print! Visit www.TheDia- into climate-controlled storage in Dal- pason.com and click on Subscribe to Manual/pedal key compass 56/30. las, Texas. Slider chests with electric ′ ′ ′ our newsletter. Depth 10.5 ; height 15.5 ; width 15.3 . pull-downs. Price: $19,400. Central SERVICES / SUPPLIES For sale, with installation available. Lutheran Church, Dallas, Texas. Con- Inquiries: [email protected]. tact: Loretta Anne Monson, annemon- Releathering all types of pipe Tel. 00 34 629 30 17 18. [email protected]. organ actions and mechanisms. Highest quality materials and work- Koehnken & Grimm, Pfeffer, Hil- Zoller home pipe organ (1985) for manship. Reasonable rates. Colum- green-Lane, Debierre, and Redman sale. One manual and fl at pedalboard, bia Organ Leathers 800/423-7003. organs for sale. Please see pictures cherry case with doors, bench. Six www.columbiaorgan.com/col. ′ on our website www.redmanpipeor- stops divided at middle C: 8 Stopped ′ ′ New subscribers and gift subscriptions gans.com. For further information, Diapason, 8 Krummhorn, 4 Flute; 2-2/3′ Nazard, 2′ Principal, 1-3/5′ Aeolian/Robert Morton-style maroon can receive one free Raven CD for a contact Redman Pipe Organs LLC, 816 Tierce (no pipes). $15,000 or best leather is now available from Columbia one-year subscription, two free CDs for E. Vickery Blvd., Fort Worth, Texas; call offer, buyer to remove, located New- Organ Leathers! Highest quality. 800/423- a two-year subscription, and three free CDs for a three-year subscription. 817/996-3085; or email royredman@ castle, Maine. 207/563-5679. 7003, www.columbiaorgan.com. gmail.com. For details and to begin your 1916 Hook & Hastings, 2 manuals, 14 Complete Pipe Organ Services from new or gift subscription, Two-manual, 11-rank pipe organ stops. Includes Cornopean, 16′ Open the Organ Clearing House: 450 vintage visit www.thediapason.com/subscribe. with unit chests; also mixture III and Wood. E-P action. Beautiful period con- pipe organs available, renovation, aeoline (no chests). Wicks console, sole. $20,000. Contact John Bishop, tuning, consultation. Other services the Organ Clearing House, john@ blower, reservoir. Some casework. include transportation, cleaning and Postal regulations require that mail to THE $2,000. Includes trumpet, oboe, wald- organclearinghouse.com. renovation of carvings, reredos, litur- DIAPASON include a suite number to assure horn reeds. Roller relay board. Extra gical furnishings. Call John Bishop at delivery. Please send all correspondence to: THE DIAPASON, 3030 W. Salt Creek Lane, Suite Reisner magnets. Denver area. Buyer Classifi eds work! Jerome Butera: 617/688-9290. john@organclearing- 201, Arlington Heights, IL 60005. removes. [email protected]. [email protected]; 608/634-6253. house.com.

Advertise in THE DIAPASON Visser Pipe Organ Co. For information on rates and digital specifi cations Quality Craftsmanship, Creativity & Integrity contact Jerome Butera New Organs–Restorations–Additions–Relocation All Actions & Tonal Styles • 713-503-6487 • [email protected] 608/634-6253, [email protected]

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3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 CLASSIFIED THE DIAPASON 608/634-6253 • [email protected] ADVERTISING RATES Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): Regular classifi ed advertising is single T January T February T March T April T May T June T July T August T September T October T November T December paragraph “want ad” style. First line only of each ad in bold face type. Category ______T Regular T Boldface Display classifi ed advertisements are set PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website T of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 33.00 ______Display Classifi ed, per word 1.40 Display Classifi ed minimum 42.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 28.00 ______($40 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $5.00 per issue desired with their payment. Name ______Phone ______

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WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2020 Q 27 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Stephen Buzard Chelsea Chen Aaron Tan 2018 AGO National Competition Winner Available 2018-2022

Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Katelyn Emerson

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2022

Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood* David Higgs

Choirs Available

Christ Church Cathedral Oxford, United Kingdom (April 2021)

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Colin MacKnight Amanda Mole Saint Thomas Church Fifth Avenue, New York City (October 2021) New College Oxford, United Kingdom (Spring 2022) Trinty College Cambridge United Kingdom (September 2022) Alan Morrison James O’Donnell* Thomas Ospital* Daryl Robinson Daniel Roth* Jonathan Ryan

Celebrating Our 99th *=Artists based outside Season! the U.S.A. Todd Wilson Christopher Young