THE DIAPASON AUGUST 2013

St. Paul’s Episcopal Church Murfreesboro, Tennessee Cover feature on pages 26–27 ISABELLE DEMERS CHRISTOPHER

Chicago Tribune HOULIHAN

Amarillo-Globe News Los Angeles Times

The Calgary Herald Huffington Post

The New York Times

The Dallas Morning News The American Organist

The Wall Street Journal

The New York Times THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fourth Year: No. 8, Changing of the guard Joyce Robinson Whole No. 1245 Allow me to introduce myself! This is my fi rst message to you 847/391-1044 AUGUST 2013 as editorial director of The Diapason. It is indeed an honor [email protected] Established in 1909 and privilege to be entrusted with this position. I had been a www.TheDiapason.com ISSN 0012-2378 subscriber to The Diapason long before joining the staff in 2000, as an interim associate editor, fi lling in for Wesley Vos. offi ce. I have been active An International Monthly Devoted to the Organ, Little did any of us know that I would remain, nor that my role in the Chicago-Midwest the Harpsichord, Carillon, and Church Music would grow. Chapter of the Organ Like many of our readers, I began playing the organ in Historical Society, and my teens, when the nuns at our parish asked if I wanted to the North Shore Chapter CONTENTS learn how. The good sisters built on my piano background and of the American Guild of quickly taught me how to play hymns and simple service music. Organists, which is how I FEATURES They gained relief from playing the early-morning Masses, and met Jerome Butera and Robert Clark, Master Teacher An Interview I gained an enduring interest in the pipe organ. began to write reviews by Douglas Reed 20 My undergraduate degree as a music major at Dominican for The Diapason. Franz Liszt and Johann Gottlob Töpfer University, in River Forest, Illinois (it was then Rosary College, And now Jerome A Fruitful Relationship in Weimar by Jens Korndörfer 24 and I was then Joyce L. Johnson) included piano and organ Butera moves into semi- study. Next came master’s and doctoral degrees in historical retirement—taking up NEWS & DEPARTMENTS musicology from the University of Chicago, with a dissertation residence on a farm in Editor’s Notebook 3 on oratorio repertoire and performance practice in Rome dur- Wisconsin, but continu- Meet the Editor-at-Large 3 ing the late eighteenth century. My research led me to spend ing as sales director of Here & There 3 a good deal of time in Italy and learn the language (as well as The Diapason, handling Appointments 6 Nunc Dimittis 11 enjoy the food and culture, and make wonderful friends!). all advertising, including classifi eds, and circulation manage- On Teaching by Gavin Black 16 During most of this time I have worked as an organist—play- ment. It will be an adjustment for me to work without the daily In the wind . . . by John Bishop 18 ing services, accompanying, and also directing vocal and hand- presence of Jerome, but I will not be without assistance. Edito- bell choirs—and have enjoyed improving my skills (through rial support will be provided by our new editor-at-large, Stephen REVIEWS organ study with Marcia Van Oyen and David Christiansen, Schnurr, who is introduced to you below. Music for Voices and Organ 12 certifi cations from the AGO, and even Toastmasters!). At I welcome your suggestions and comments, and appreci- Book Reviews 12 present I serve as music director and organist at St. Simon’s ate your support during this transition into a new era for New Recordings 13 The Diapason. New Organ Music 14 Episcopal Church, located not far from The Diapason’s Q New Handbell Music 15

NEW ORGANS 28 Meet the Editor-at-Large SUMMER CARILLON CALENDAR 29 CALENDAR 30 On July 1, The Diapason appointed Madrid, Barcelona, Fatima, Warsaw, Stephen Schnurr as editor-at-large. In Krakow, and Prague, including a perfor- ORGAN RECITALS 33 this position he will assist with editing, mance for Pope John Paul II. CLASSIFIED ADVERTISING 34 proofreading, writing, and digital media. Schnurr’s bibliography is extensive. In A native of Louisville, Kentucky, Ste- 2005 and 2009, with Dennis Northway, he phen Schnurr began organ study at the published Pipe Organs of Chicago, a two- University of Louisville School of Music volume organ atlas of the metropolitan Preparatory Department. He received region, the largest publication of its kind the Bachelor of Arts degree in Music and in the United States. His book, Organs of Latin from Duke University, and earned Oberlin, also from Chauncey Park Press of Master of Music, Master of Musical Arts, Oak Park, Illinois, chronicling the instru- and Doctor of Musical Arts degrees in ments of the Oberlin Conservatory and organ performance from the Yale Insti- the town of Oberlin, Ohio, will be pub- tute of Sacred Music. His organ teach- lished this year. Additional publications ers have included Charles Krigbaum, include volumes for OHS Press as well as Thomas Murray, Robert Parkins, Peter articles for The American Organist, Jour- Marshall, David Arcus, Peter Williams, nal of the American Musical Instrument and Melvin Dickinson. Society, and The Tracker. As a recitalist, COVER Dr. Schnurr will remain as Director of Schnurr has played programs throughout Orgues Létourneau Limitée, Saint-Hyacinthe, Québec, Canada; St. Paul’s Episcopal Church, Music for St. Paul Catholic Church, Val- the United States, as well as in Germany, Murfreesboro, Tennessee 26 paraiso, Indiana, a position he has held Poland, England, and Northern Ireland. since 1990. At St. Paul, he has led the He is a resident of the Miller Beach neigh- choir of the church on European tours, borhood of Gary, Indiana, where he has a Editorial Director JOYCE ROBINSON with performances in Dublin, Rome, collection of historic pipe organs. Stephen Schnurr [email protected] 847/391-1044

Editor-at-Large STEPHEN SCHNURR Here & There [email protected] 219/531-0922 Events 27, Donald Fellows. For information: Sales Director JEROME BUTERA Lunchtime Organ Recital Series stpaulpgh.org. [email protected] 2013 concludes in Appleton and 847/391-1045 Neenah, Wisconsin, organized by Frank The Basilica of the National Shrine Designer DAN SOLTIS Rippl, Wednesdays from 12:15–12:45 of the Immaculate Conception con- Contributing Editors LARRY PALMER p.m.: August 1, Naomi Rowley, Memo- cludes its 2013 summer organ recital Harpsichord rial Presbyterian Church, Appleton; series: August 4, Russell Weismann; 8/11, 8/7, John Skidmore, St. Joseph Catho- Josh Stafford; 8/18, Adam Detzner; 8/25, JAMES MCCRAY lic Church, Appleton; 8/14, Thomas Benjamin LaPrairie. All recitals take place Choral Music Froehlich, First United Methodist at 6 p.m. on the Crypt Church’s Schudi BRIAN SWAGER Church, Appleton; 8/21, Ralph & Maril- organ and are free of charge. For more Carillon lyn Freeman, St. Paul Lutheran Church, information: www.nationalshrine.com. JOHN BISHOP Neenah; 8/28, Daniel Schwandt, St. In the wind . . . Joseph Catholic Church, Appleton. For The Shrine of Our Lady of Guada- information: 920/734-3762; lupe, La Crosse, Wisconsin, concludes GAVIN BLACK On Teaching www.lunchtimeorganrecital.org. its 2013 summer organ recital series, Sundays at 3 p.m.: August 4, Kraig Reviewers Anton Warde St. Paul Cathedral, Pittsburgh, con- St. Paul Cathedral, Pittsburgh Windschitl; 8/18, John Chappell Stowe. John L. Speller tinues its organ recital series, Sundays at All recitals are free of charge. For infor- James M. Reed 4 pm: August 4, Daniel Sansone; 8/11, 8/25, Russell Weismann; September mation: www.guadalupeshrine.org. John Collins David Troiano; 8/18, Nick Capozzoli; 27, Rhonda Sider Edgington; October ³ page 4 Leon Nelson

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2013. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 3 Here & There

³ page 3 7, Gregory Peterson; 8/14, Joan DeVee Dixon and Alice Fiedlerova; 8/21, Bruce Bengtson; 8/28, Stephen Steely. For information: 608/748-4411 x271; www.sinsinawa.org.

Campbellsville University, Camp- bellsville, Kentucky, announces its sixth annual noon organ recital series. Programs take place in Ransdell Chapel unless noted otherwise: September 17, Wesley Roberts rededicates the 1875 Pomplitz organ in Our Lady of Perpetual Help Catholic Church, restored to its original condition (ten ranks) by B. Rule & Co.; October 15, Douglas Murray; Kilgen organ, Our Lady of Refuge Hoisting the console November 5, Rodney Barbour; Febru- ary 11, Schuyler Robinson; March 18, In 2006, an effort was made to revive the historic pipe organ at Our Lady of Jan-Piet Knijff (Our Lady of Perpetual Refuge Church in Brooklyn, New York, after nearly a decade of silence. Inspec- Help); and April 8, Wesley Roberts. For tion of the organ revealed that the fi rst priority was to rebuild the bellows, and by information: 270/789-5287; January 2007, the organ was playing again for the fi rst time in ten years. After six Old West Church, Boston (photo credit: Len www.campbellsville.edu. years of fundraising, the pipe organ arrived back at the church on June 17, 2013. The Levasseur) reinstallation is scheduled to be completed by mid-September, and Olivier Latry will dedicate the organ on October 18. The Old West Organ Society While the initial repairs were being carried out in 2007, a more serious problem concludes its summer organ recitals, came to light. The exterior tuckpointing of the church was leaking, allowing water Tuesdays at 8 p.m. on the C. B. Fisk op. to seep into the organ chamber, threatening both the instrument and the structure 55 at Old West Church, Boston: August of the church. Father Michael Perry and Joe Vitacco had the pipe organ profession- 6, Julie Huang; 8/13, Katelyn Emerson; ally removed from the church for safekeeping before the repairs to the interior and 8/20, Erica Johnson; 8/27, Jonathan exterior walls were carried out. Schakel. For information: The parish has raised almost all of the funds to reinstall its Kilgen pipe organ. It has www.oldwestorgansociety.org. been restored by A. R. Schopp’s Sons and Quimby Pipe Organs. Joe Vitacco, chair- man of the organ committee, and Father Michael Perry, pastor of the parish, have used the Internet and various social media to raise the majority of the funds from well over 1,000 pipe organ enthusiasts from around the globe. The members of the parish have held soup dinners, concerts, and even a pig roast, as well as a “sponsor an organ pipe” campaign, to raise money for the pipe organ. When the pipe organ is returned to service, the parish’s main goal will be to share this historic instrument with the Brooklyn community. Additionally, the organ will be used at parish Masses and shared with the organ community as a practice and teaching instrument. For information: 718/434-2090; www.olrbrooklyn.org/pipeorgan/.

Marilyn Mason

The University of Michigan School of Music, Theatre & Dance presents its 53rd annual Conference on Methuen Memorial Music Hall Organ Music, September 29–October 1. The conference will celebrate Marilyn Methuen Memorial Music Hall, Mason’s 66 years of teaching at U-M, Methuen, Massachusetts, concludes its as she moves into retirement. Present- 2013 Wednesday evening organ recital ers include Michael Barone, James series: August 7, David Enlow; 8/14, Hammann, Stephen Warner, and Tom Martin Schmeding; 8/21, Yun Kyong Trenney; lecture-demonstrations by Kim; 8/28, Michael S. Murray. For infor- James Kibbie and Marilyn Mason, each mation: www.mmmh.org. with their students from this past year; a celebration dinner for Dr. Mason; and a concert with four former Mason stu- dents. Concerts take place on the Fisk organ in the Blanche Anderson Moore Organ Recital Hall, the Karl Wilhelm organ at the First Congregational Church of Ann Arbor, and Hill Audito- rium. A special event entitled “Lunch in the Heights” includes a tour of the Baird Carillon and box lunch at the top of Burton Memorial Tower. Students at the Luther College Dorian Keyboard Workshop Sinsinawa Mound Chapel The 2nd annual Organ Improvisation Competition takes place Tuesday, Octo- Luther College in Decorah, Iowa, held its annual Dorian Keyboard Workshop The Sinsinawa Dominicans con- ber 1, on the III/42 Schoenstein organ for high school students June 16–22. Students studied organ, harpsichord, and piano, clude their 2013 summer organ recital at the First Presbyterian Church of Ann all represented in the recital at the end of the week. Pictured in front of the Luther series on Wednesdays at 7 p.m. at Arbor. For information, contact Michele College’s Hendrickson organ are (front row) Ben Goetting, Kate Klungtvedt, Chris- Queen of the Rosary Chapel, Sinsinawa Johns at 734/846-3825. tian Vallery, Olivia Gonzalez; (back row) Dr. Gregory Peterson, Anna Kenyon, Emily Mound, Sinsinawa, Wisconsin: August ³ page 6 Banes, Erin Stoltenberg, George Roberts-Oakland, and Professor Kathryn Reed.

THE WANAMAKER ORGAN CLAYTON ACOUSTICS GROUP 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] Listen to it worldwide www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM over the Internet! ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP Hourlong streamcasts are featured at 5pm ET Fruhauff Mussiic Publliicattiionss Compositions, Historical Transcriptions, the first Sunday of Hymn Tune Settings & Liturgical Music  Scores for Organ, Voices, Carillon & Ensembles  www.frumuspub.net each month at wrti.org D P.O. Box 22043 E Santa Barbara, CA 93121-2043

4 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Michael D. Boney Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organ/Choral Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Michael's, Boise, ID Battipaglia, Italy Paris, France Ann Arbor, Michigan

Paul Cienniwa Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Concert Harpsichordist Interpreter/Improviser Organist/Lecturer Organist/Pianist Organ/Carillon Organist Boston, Massachusetts Dijon, France Milwaukee, Wisconsin Bloomington, MN University of Florida Birmingham, England

Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Professor of Organ Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer University of Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California

David K. Lamb Mark Laubach Yoon-Mi Lim Christopher Marks Katherine Meloan Scott Montgomery Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Organist/Professor of Music Organist Organist/Presenter Columbus, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX U of Nebraska-Lincoln New York, New York Champaign, Illinois

Shelly Moorman-Stahlman Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Organist/Pianist Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Lebanon Valley College University of Kansas Atlanta, Georgia Southern Methodist University Luther College William Jewell College

Brennan Szafron Timothy Tikker Michael Unger Beth Zucchino Rodland Duo Vinaccesi Ensemble Organist/Harpsichordist Organist/Composer/Improviser Organist/Harpsichordist Organist/Harpsichordist/Pianist Organ and Viola Voice and Continuo Spartanburg, S. Carolina Kalamazoo College, MI Cincinnati, Ohio Sebastopol, California St.Olaf College/ San Francisco, CA Eastman School of Music www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Associate Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 26th year of operation Here & There

³ page 4 College-Conservatory of Music of the Appointments University of Cincinnati. In celebration Steven Ball has been named Resident Organist and of her many contributions to the univer- Director of Outreach and Fundraising for the historic pipe sity and to the profession at large, CCM organs at Atlantic City’s Boardwalk Hall. In this newly cre- alumni and colleagues of Roberta Gary ated position, he will manage fund-raising for the Historic announce: “For the Love of Teaching: A Organ Restoration Committee at the hall. Conference in Honor of Roberta Gary Ball will showcase Boardwalk Hall’s 7-manual/449-rank on the Occasion of Her Retirement from Midmer-Losh (opus 5550), which is the world’s largest the University of Cincinnati.” This event pipe organ, as well as the 4-manual/55-rank Kimball (KPO will be held in Cincinnati on October 25 7073) installed in the Adrian Phillips Ballroom—the largest unaltered exam- and 26. It will include recitals, lectures, ple of a theatre organ by Kimball. Ball will provide tours of the famous organs workshops, and a banquet. To register for and will conduct free public performances. Information about the Boardwalk this conference or for further informa- Hall organs is available at www.boardwalkhall.com/organs.asp. tion, please contact jasongunnellccm@ Ball has served as University Carillonneur and as a faculty member of the gmail.com, or call 208/403-6716. organ department at the University of Michigan, where he was director of the Stearns Collection of Musical Instruments. He also held positions as senior Roberta Gary Luther Seminary in St. Paul, Min- staff organist at the Michigan Theater in Ann Arbor and cathedral organist at nesota, is suspending its sacred music Blessed Sacrament Cathedral in Detroit. He was recently appointed Artist in Roberta Gary has retired after a long program. The seminary must cut more Residence at Philadelphia’s historic Roman Catholic Cathedral Basilica of Sts. and distinguished teaching career at the ³ page 8 Peter and Paul. His biography is available at www.StevenBall.com.

The Philadelphia Singers have appointed Megan M. Machnik as the orga- nization’s new executive director. Machnik previously served as the Singers’ chorus manager for the 2012–13 season after relocating to Philadelphia from Chicago. Machnik received her bachelor of arts degree in music performance from the University of Florida in 2006, and a master of music degree in clari- net performance from the Chicago College of Performing Arts at Roosevelt University in 2008. Machnik has already successfully developed a variety of community outreach programs for the Philadelphia Singers. For information: www.philadelphiasingers.org.

Marianne Vogel has been appointed associate organist at First Church of Christ in Wethersfi eld, Connecticut. She will assist David Spicer, Minister of Music and the Arts, as substitute organist and accompanist for the childrens’ and youth choirs. Also an accomplished violinist, Vogel will continue her career as an instrumentalist in the greater Hartford area. She has previously held organist-choirmaster positions in Connecticut, at First United Methodist Church in Middletown, Gilead Congregational Church in Hebron, and Broad Brook Congregational Church in Broad Brook. From left to right: Thomas Murray, Sophie-Véronique Cauchefer-Choplin, Peter Richard Conte, Adam Pajan, Benjamin Sheen, Baptiste-Florian Marle-Ouvrard, Oli- Benjamin Henderson has been appointed youth ver Condy, Paul Jacobs assistant (organ scholar) at First Church of Christ in Wethersfi eld, Connecticut. He is fi fteen years old and will The inaugural Longwood Gardens International Organ Competition has continue his studies with David Spicer. Henderson will play announced the fi rst winner of the Pierre S. du Pont First Prize: Benjamin Sheen. occasional preludes and postludes, sing in the choirs, ring In addition to the prize of $40,000, Sheen also takes home a contract with Phillip handbells and absorb all the music he can. He has been part Truckenbrod Concerts Artists and a guaranteed 2013–2014 performance at Long- of the First Church congregation all of his young life and wood Gardens. plans to pursue a career in music. Benjamin Sheen (age 23), from London, U.K., recently received his master’s degree from the Juilliard School in New York and received a First Class Honors Minnesota-based choral organization VocalEssence degree (BA) in Music from Oxford University. Sheen has given recitals throughout has hired its fi rst assistant artistic director, Tesfa Won- the U.K., including at the Royal Albert Hall and Westminster Abbey, as well as in the demagegnehu, after a global search. Wondemagegnehu, United States, Australia, New Zealand, France, and Germany. He is a Fellow of the former director of choral activities at Freedom High School Royal College of Organists, and a recipient of the Worshipful Company of Musicians’ in Orlando, Florida, will serve under VocalEssence artistic Silver Medal for 2011. Sheen was recently appointed assistant organist-designate at director and founder Philip Brunelle, and associate conduc- St. Thomas Church in New York City. He will assume his duties in September. tor and vocal coach Sigrid Johnson. The Firmin Swinnen Second Prize of $15,000 was awarded to Monroeville, Penn- Wondemagegnehu was named Orange County Public sylvania native Adam Pajan (age 26), and the Clarence Snyder Third Prize of $5,000 School Teacher of the Year and received the Macy’s National was presented to French organist Baptiste-Florian Marle-Ouvrard (age 31). Pajan Gift of Teaching Award. He holds a master of music degree in choral conduct- is a DMA student at the University of Oklahoma’s American Organ Institute, where ing and vocal performance from Florida State University and a bachelor of he studies with John Schwandt and is both a graduate college research fellow and music degree in vocal performance from the University of Memphis. He is graduate assistant. Marle-Ouvrard is organist at Église Saint Vincent-de-Paul in active in the American Choral Directors Association, the Music Educator’s Clichy-la-Garenne (Paris). He pursues an international concert career in Europe, National Conference, and the National Association of Teachers of Singing. For Russia, Canada, and the United States, and teaches improvisation at the Conserva- information: www.vocalessence.org. Q toire in the city of Viry-Châtillon in France. “While the Longwood Gardens International Organ Competition has surely cap- tured the attention of the organ world,” said head judge Paul Jacobs, “it is, perhaps, most exciting to observe the wider effect this will have in bringing much-needed attention to the organ in the United States and abroad. The caliber of the fi nalists left the jury and large audiences convinced that the art of organ playing has a vibrant future, one deserving of greater awareness amongst all lovers of music.” The panel of judges included Paul Jacobs, Chair of the Organ Department at the Juilliard School; Thomas Murray, Professor of Music at Yale University; Oliver Condy, editor of BBC Music Magazine; Sophie-Véronique Cauchefer-Choplin, Titular of the Grand Orgue of Saint Jean-Baptiste de la Salle in Paris; and Peter Richard Conte, Grand Court Organist of the renowned Wanamaker Organ and Principal Organist at Longwood Gardens. The Longwood organ is among the world’s largest concert organs, with 146 ranks and 10,010 pipes. After a seven-year restoration completed in 2011, the organ is restored to its original 1930 condition and incorporates today’s most innovative tech- nology. For information: www.longwoodgardens.org.   035DWKNH,QF 3LSH2UJDQ%XLOGHUV   AUSTINORGANS.COM 3RVW2IILFH%R[ 6SLFHODQG,QGLDQD86$ 
t

8PPEMBOE
4U
)BSUGPSE
$5

7HO)D[ ZZZUDWKNHSLSHRUJDQVFRP

6 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM Don’t let the compact design of Allen's HISTORIQUETM organ fool you! With a unique three-way internal audio system that includes a 15” woofer, this organ delivers Big Sound! The optional nine stop lists put a virtual library of famous classical and theatre instruments at your fingertips! Add to this the most advanced digital technology available and the results are simply stunning!

Your practice is serious business. Don’t entrust it to a make-believe instrument. Whether it’s a second-floor apartment or a chapel, HISTORIQUE will fit your space BOE
GJMM
JU
XJUI
TQBDJPVT
QJQF
PSHBO
TPVOE

*O
GBDU
UIF
POMZ
UIJOH
BCPVU
UIJT
FYDJUJOH
OFX
JOTUSVNFOU
UIBUT
TNBMMFS
UIBO
ZPV
NJHIU
FYQFDU
JT
UIF
QSJDF Here & There

³ page 6 The Organ Historical Society announces the Memorial Music Hall on June 12. The publication of The Gift of Music, detailing the life program included music by Widor, than $3 million from its annual operat- of Joan Lippincott, organist, teacher, and adminis- Bach, Franck, Messiaen, and Ginastera. ing expenses. In addition to retirements, trator. At 31, Lippincott was appointed head of the Hamilton played a program of Pasquini, reductions in staff, and voluntary depar- organ department at Westminster Choir College, at Valente, Franck, Messiaen, Bach, Reger, tures from the faculty, the seminary the time the largest organ department in the world. and Ginastera at the Shrine of Our Lady announced on March 20 that it will not She has taught hundreds of students and played of Guadalupe in La Crosse, Wisconsin, recruit new students to its Master of more than 600 recitals around the globe. In addi- on June 23. He plays at Grace Cathedral, Sacred Music program or its academic tion to a biography by compiler and editor Larry G. San Francisco, on August 4. For infor- doctoral program, though it will support Biser, former students, colleagues, and friends have mation: www.stephenjonhamilton.com. students currently in these programs until contributed essays. The illustrated book includes they fi nish their degrees. This announce- recital programs, a comprehensive list of recitals, ment coincides with the retirement, this a complete discography, and stoplists of important spring, of Paul Westermeyer, who directed organs in Dr. Lippincott’s career. The 204-page the sacred music program. Luther Semi- hardcover book, priced at $29.95, is available from nary is one of eight seminaries serving the [email protected]. Joan Lippincott Festschrift Evangelical Lutheran Church in America.

People The Chapel Choir of Selwyn College, Cambridge, directed by Sarah MacDon- ald and accompanied by Oliver Hancock and Timothy Parsons, organists, are featured on a new CD recording, Won- drous Cross, performing sacred music Frederick Hohman composed by contemporary English composer Alan Bullard of Colchester, Frederick Hohman has released Essex. The program opens in the Selwyn new transcriptions and arrangements. College Chapel with the Selwyn Service The fi rst movement from J. S. Bach’s comprising Magnifi cat, Nunc Dimittis, Keyboard Concerto No. 3 in D, BWV Kney organ, University of St. Thomas Sursum Corda, O Saviour of the World, 1054 (ZS 1054) has the organ playing The Feast of Palms, Rise Up, My Love, both the orchestral and solo keyboard The fi nal concert celebrating the 25th Tom Bell Hail the Day That Sees Him Rise, Come, parts; Hohman’s arrangement of Purcell/ anniversary of the installation of the Holy Ghost, Our Souls Inspire, and Clarke’s Festive Trumpet Voluntary in E Gabriel Kney organ in the Chapel of St. Tom Bell is featured on a new record- The Dover Te Deum. The second half (ZS 1010) includes new embellishments; Thomas Aquinas at the University of ing, Masters of the Monarch’s Music, on is devoted to a new setting of the Seven March of the Toys (ZS 1009) is a tran- St. Thomas in St. Paul, Minnesota took the Regent label (REGCD409). This Last Words, entitled Wondrous Cross, a scription from Victor Herbert’s Babes in place on April 28. (See The Diapason, debut recording by Tom Bell was made on 35-minute Lenten cantata. The Regent Toyland. For information: November 1987.) Co-sponsored by the the Harrison & Harrison organ in Durham Records CD is available from www. www.proorgano.com. Sacred Arts Festival, the Department of Cathedral, and includes transcriptions of regentrecords.com, and from Presto Music, and Campus Ministry, the concert orchestral works by Arthur Bliss, along Classical, www.prestoclassical.co.uk. began with Symphony of Praise by Noel with original organ works by Edward Goemanne for choir and organ, which Elgar and Malcolm Williamson. For infor- Francesco Cera is featured on a new was commissioned for the dedication of mation: www.regentrecords.com. recording, J. S. Bach: Orgelbüchlein, on the organ. The Liturgical Choir and Litur- the Brilliant Classics label. Recorded on gical Choir Alumni were conducted by the Mascioni organ (2009) at the Church Robert Strusinski, founder of the Liturgi- of S. Maria Assunta, Giubiasco, Switzer- cal Choir, with organist Robert Vickery. land, the program features the complete Next came the premiere of Concerto Orgelbüchlein, with alternating chorales John Hosking for Organ, Strings, and Percussion by sung by Coro della Radio Svizzera, James P. Callahan, with the composer as Lugano, conducted by Diego Fasolis. John Hosking is featured on a new organist and Matthew George, conduc- The Brilliant Classics CD is available recording, Variation Amrywiad, on the tor. The Liturgical Choir sang Schubert’s from www.prestoclassical.co.uk. Regent label (REGCD402). Recorded Mass No. 2 in G Major, conducted by on the organ at St. Asaph Cathedral, their current director Aaron Brown, with Gerrit Christian de Gier is featured Denbighshire, Wales, the program organist Kevin Seal and soloists Eliza- on a new recording, made on the Cavaillé- includes works in variation form by Bon- beth Seal, Aaron Humble, and William Coll organ at the Cathédrale Sainte-Croix, net, Stocks, Jacobs, Reger, Bach, Briggs, Bryan. The concert concluded with the Orléans, France. The program includes Cochereau, and an improvisation on the Concerto in G Minor for Organ, Strings, Widor, Symphony 7, and Liszt, Fantasie Welsh tune Suo Gân. For information: and Timpani by Francis Poulenc, with Daniel Bruun and Fugue on ‘Ad nos.’ For information: www.regentrecords.com. organist David Jenkins, conducted by www.vanvulpenorgel-ijsselstein.nl. Matthew George. Daniel Bruun is featured on a new The organ was a gift to the community recording, French Impressions, on the from Robert S. Asmuth, Sr., Class of Gateway label. Recorded on the Froben- 1943, in memory of his grandson Robert ius organ at Aarhus Cathedral, Denmark, “Robby” S. Asmuth, III. The anniversary the program includes works by Bonnal, celebrations also included recitals by Roger-Ducasse, Vierne, Cochereau, Ahreum Han on March 3 and Michel Dupré, and Durufl é. For information: Bouvard on March 17. www.danielbruun.dk.

A. E. Schlueter Pipe Organ Company is pleased to announce the contract to build a new 50-rank pipe organ for Olivier Latry Iglesia ni Cristo, Central Temple, in Quezon City, Philippines. The Stephen Hamilton Olivier Latry is featured on a new resources of this instrument will recording, Three Centuries of Organ be controllable from a IV-manual Stephen Hamilton was featured in Music at Notre-Dame de Paris, on the drawknob console. Several divisions concert on the 125-rank Walcker/Aeo- Naive label (Naive Classique V5338). of the organ will have chamber lian-Skinner pipe organ in the Methuen ³ page 10 openings into side chapels which can be closed off from the main Music of Ed Nowak Temple to allow the organ to also Choral, hymn concertatos, psalm be playable as two separate two- settings, organ, piano, orchestral manual instruments. and chamber ensembles http://ednowakmusic.com

8 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM American Classic 770 Meet the king of instruments

The American Classic 770 is one of the newest crown jewels in the Johannus family. Draped in a console fi t for a king, this majestic organ is adorned with seven divisions, graced with an astonishing number of voices and enriched with such a full range of orchestrals that the unique 64-foot Diaphone seems merely an encore. Have a seat and meet the king of instruments. Here & There

³ page 8 of Russia. From May 15 through May church musician. The work was pre- Melcot Music and Bell Video Latry, the titular organist at Notre-Dame, 26, he performed seven concerts in six miered on June 2 at St. Clare Church in announce the release of TourBus 10. performs works by his predecessors, cities, logging over 6,000 miles of travel Grosse Pointe Park, Michigan. The DVD features Carol Williams tour- including Daquin, Balbastre, Vierne, within the country. Because the Russian ing the four-manual Skinner organ at St. Cochereau, and more. For information: Orthodox Church does not have a tradi- John and Marianne Weaver will be Paul’s Cathedral in San Diego. It includes www.naxosusa.com. tion of using musical instruments, most featured in upcoming recitals. They will interviews with Mike Quimby of Quimby of the recitals took place in symphony or perform September 28 at East Craftsbury Organs, Inc. (which recently rebuilt the organ halls. Mellichamp’s fi nal concert Presbyterian Church in East Craftsbury, organ) and Martin Green, Canon in was at the Roman Catholic Cathedral of Vermont; October 22, at St. Andrew’s Music of St. Paul’s, who demonstrates the Immaculate Conception in Moscow. Lutheran Church, Bellevue, Washing- the organ; a look inside the new pipe ton; March 12, at First United Method- chamber; a portion of Daniel Roth’s live Peter Schnur is featured on a new ist Church, Santa Barbara, California, concert and masterclass; excerpts of the recording, The Metzler Organ, made on and March 16 at Ascension Lutheran traditional St. George’s Day Celebration; the Metzler organ at St. Jakob’s, Fried- Church, Thousand Oaks, California. and pieces from Carol Williams’ concert berg, Bavaria (TYXArt, TXA12008). at the cathedral, all in Dolby Digital 5.1 The program includes works by Muffat, Surround Sound. Carol Williams’ latest Daquin, Stanley, Bach, Krebs, Franck, composition Twilight has been published and Mendelssohn. For information: by Melcot Music in print form. For www.tyxart.de/en/. information: www.melcot.com.

Michael’s Music Service announces new restorations of books about the organ. Dedication of the New Carnegie Hall Organ is the program from the Colin Lynch at Stambaugh console November 4, 1929 dedication of the IV/59 Kilgen organ in Carnegie Hall, Colin Lynch is featured on a new with Pietro Yon at the console. The pro- recording, The Organ of Stambaugh James Welch and Rulon Christiansen gram is available as a print copy or can be Auditorium, on the Raven label (Raven downloaded (PDF) for free. Michael’s OAR-939). Winner of the Fort Wayne On May 13, James Welch performed Music Service’s website contains a short National Organ Playing Competition on the organ of the Mormon Tabernacle video clip of this Carnegie Hall organ. (2010), and associate director of music in Salt Lake City. The program featured The Heavens Heard Him by Vera B. and organist of Trinity Church, Copley the world premiere of Rulon Chris- Hammann and Mario C. Yon is a bio- Square, Boston, Lynch plays the four- tiansen’s newest composition, Toccata graphical novel closely based on the life manual, 67-stop 1926 E. M. Skinner Parisienne. Christiansen, a faculty of Pietro Alessandro Yon (1846–1943); organ in Stambaugh Auditorium, in member at Weber State University in restored and with errors corrected, the Youngstown, Ohio, restored in 2010 Ogden, Utah, was present. The recital book is available in e-book and Kindle by the A. Thompson-Allen Co. of New Patricia & Robert Scoggin also included the March from Wagner’s formats. For information: Haven, Connecticut. The program Tannhäuser; Prelude in C Major (9/8) michaelsmusicservice.com. includes the C. H. H. Parry Toccata Robert and Patricia Scoggin played by Bach; Canadian Wedding March by and Fugue “The Wanderer,” the entire organ and cello on June 9 for a historic Clarence Lucas; and Wonderful Words MorningStar Music Publishers Vierne Symphony No. 6, Pastorale by worship service at Christ United Method- of Life by Dale Wood. announces new organ music releases. Jean Jules Roger-Ducasse, and three of ist Church in Rochester, Minnesota. The Nowell, Nowell, by James Biery (10-173, the Five Short Pieces by Percy Whitlock. Robert Sipe organ (with its fi ve-manual $16.00), is a collection of six settings For information: www.ravencd.com. Laukhuff console) will be removed for (with minimal pedal) of Christmas car- about a year for a complete renovation ols, including Carol of the Birds, I Am and expansion. The Scoggins have been So Glad, and The Cherry Tree Carol. playing at Christ United Methodist Michael Burkhardt’s Three Hymn Impro- Church for more than 50 years. visations for Organ (10-654, $10.00) feature Holy Spirit, Ever Dwelling, When Peace Like a River, and Beautiful Savior; Alleluia: A Postlude Collection (10-435, $19.00), compiled and edited by Charles Callahan, includes pieces by Campra, Fiocco, Hesse, Salome, Foote, Spence, and Callahan. All three titles are Cicely Winter moderately easy to play. Nigel Potts has created organ transcriptions, of Sergei Cicely Winter is featured on a new Rachmaninov’s popular Vocalise (10-671, recording of Oaxacan folk music, played $8.00, moderately diffi cult), and Handel’s on the Cathedral of Oaxaca organ, Overture from The Occasional Oratorio David Troiano and Armando Bayolo with accompaniment by percussionist (10-672, $9.00, medium). Dennis Janzer Valentín Hernández. The CD, produced has arranged Benedetto Marcello’s The James F. Mellichamp at Cathedral of the David Troiano played the world by the Instituto de Órganos Históricos Heavens Declare for piano and organ Immaculate Conception, Moscow premiere of Obsessioneering, a new de Oaxaca, is available through the OHS duet (20-875, $8.00, medium). For infor- three-movement work by Armando for $12.98. For information: http://iohio. mation: www.morningstarmusic.com. Organist James F. Mellichamp Bayolo, commissioned by Troiano org.mx/eng/recordings.htm. returned recently from a concert tour in honor of his 40th anniversary as a Recordings Publishers Pro Organo announces the release of Bärenreiter announces new releases: Hymns from First-Plymouth (CD 7260), Monteverdi, Vespro della Beata Vergine, which features the music ministry of edited by Hendrik Schultze, full score First-Plymouth Congregational Church Follow us on BA 8784 (€59), vocal score BA 8794-90 in Lincoln, Nebraska: choir, brass, (€19.95), instrumental parts available additional instrumentalists, percussion, Photo: Michael Timms Facebook separately; Mozart, Missa in C Major handbells, organ, and piano, under the (“Coronation Mass”), K. 317, arranged direction of Tom Trenney and Jeremy for female choir by Heribert Breuer, Bankson, co-directors of music. The pro- ORGUES LÉTOURNEAU LTÉE full score BA 5691 (€30.95), vocal score gram includes several published, as well BA 5691-90 (€8.95); Mozart, Missa as unpublished, arrangements by Tren- CANADA UNITED STATES Brevis in D Major, K. 194, arranged for ney and Bankson, in addition to arrange- 16 355 avenue Savoie 1220 L St NW, Ste 100, Box 200 female choir by Heribert Breuer, vocal ments by such composers and arrangers St-Hyacinthe (Québec) J2T 3N1 Washington, DC 20005 score BA 5690-90 (€8.75); Pergolesi, as Mack Wilberg, Robert Hobby, and Tel: 450-774-2698 Tel: 800-625-PIPE Stabat Mater, edited and arranged for John Ferguson. [email protected] [email protected] female choir by Malcolm Bruno, full The church’s Schoenstein Opus 126 score BA 5692 (€24.95), vocal score/ organ (four manuals, 110 ranks) has Photo: David Morrison piano reduction BA 5692-90 (€9.95); been featured on several Pro Organo Janácek, Glagolitic Mass, edited by Leos CDs, beginning with SympHohmania letourneauorgans.com Faltus and Jiri Zahrádka, study score (CD 7077) in 2001, to the more recent TP 862 (€37.50), performance mate- releases Bravo Dolce! (CD 7219) and rial available on hire. For information: Symphonic Quest (CD 7228). For infor- www.baerenreiter.com. mation: www.proorgano.com.

10 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM Here & There

Organ Builders camp offers instruction to young people in all the arts, including instrumental and Nunc Dimittis vocal music, visual art, and dance. Toni Desiree Hines died January 19. A native of Jackson, Mississippi, Hines worked in Chicago, New York, and Philadelphia; in the latter city she was organist in residence and program coordinator at the Traverse Arts Project from 2007 to 2011, where she was the driving force of its International LGBT Arts Festival. Hines moved to Kansas City in 2011 to study at the University of Missouri-Kansas City Conservatory of Music, and was appointed the Curdy Organ Scholar at Grace and Holy Trinity Cathedral in Kansas City, where she worked with the cathedral choirs as conductor, accompanist, and bell ringer. She was a member of the Greater Kansas City AGO chapter. Toni Desiree Hines is survived by several brothers and sisters, and the cathedral community.

Donald G. Larson, age 81, died February 26 in Decatur, Georgia. He received a BA degree in music from the University of Minnesota, and a mas- ter’s degree in church music from Northwestern University. Larson served as a chaplain’s assistant in the U.S. Army. For more than 30 years he was a music Rieger, Moscow Musikschule teacher and counselor at Georgia Perimeter College, where he was named professor emeritus in 1995. Larson also served as minister of music at three The Rieger Organ Company in Atlanta-area churches, and as a longtime board member of the Atlanta AGO Schwarzach, Austria, has completed the chapter. Donald G. Larson is survived by his wife of more than 61 years, Jac- installation of three new instruments: in queline, a son, a daughter, and four grandchildren. Seoul Sin-Gil Church (three manuals with fi fty-three stops), Seoul, Korea; in Robert Eugene Ward died April 3 in Durham, North Carolina, at the age the Church of the Franciscan monastery of 95. Ward studied composition with Bernard Rogers and Howard Hanson at in Klaipeda, Lithuania (three manu- the Eastman School of Music and later with Aaron Copland at Tanglewood. als with thirty-seven stops); and a new He taught at the Juilliard School, then at Columbia University, and worked as organ for the Folkwang University in vice president and managing editor of Galaxy Music Corporation. Ward was Essen, Germany, with thirty-fi ve stops president of the North Carolina School of the Arts 1967–74, and a professor at on three manuals. Duke University. His opera The Crucible won the Pulitzer Prize for Music in The Rieger company has recently 1962; he composed many choral works, and Celebrations of God in Nature and “Father” Willis Scudamore organ been chosen to build a new instrument The Promised Land for organ. of four manuals and sixty-eight stops for the Lotte Concert Hall in Seoul. The Randel Lynn Wolfe, age 52, died April 14 in Reading, Pennsylvania. He company has installed a new instrument earned a BMus degree from California Lutheran University in Thousand Oaks, of three manuals and forty-one stops for an MSM from Wittenberg University, Springfi eld, Ohio, and a DMA in choral the University of Music and Performing conducting and organ from the University of Kansas, with postgraduate study Arts in Vienna, and has completed the at Uppsala University in Sweden. Wolfe served the AGO as dean, and was a installation at the University of Pretoria member of the Guild of Carillonneurs in North America, the Association of in South Africa. Rieger has also built a Lutheran Church Musicians, and Chorus America. He was on the board of Cavaillé-Coll-style instrument of two the RSCM in America, and had served as an instructor at Alvernia University. manuals and thirty stops for Nasunoga- Randel Lynn Wolfe is survived by his mother, two brothers, and his longtime hara Harmony Hall in Japan. partner, David B. Kersley. Most recently, three new instruments Winding system were completed for the Basilica of Zella Mae Woods died March 6. She was 89. She taught music at Fresno Annunciation in Nazareth. Three new Pacifi c University for 16 years, and had studied with Richard Purvis at Grace John-Paul Buzard Pipe Organ pipe organs are being installed in the Cathedral, San Francisco. She was organist at Fresno First Baptist Church for Builders has been retained by the Blue Stravinsky Music School in Moscow, 33 years, and also played for First Presbyterian, College Community Congrega- Lake Fine Arts Camp of Twin Lake, which is primarily a music school for tional, Bethel Lutheran, and St. George’s Greek Orthodox churches in Fresno. Michigan, as its exclusive organbuilder children. Rieger is building two practice Woods also was the accompanist for the Fresno Community Chorus, the Fresno to facilitate the camp’s developing instruments of seven stops each, as well Pacifi c Choral Society, and Fresno Choral Artists. She served the San Joaquin organ program. The camp has com- as a fi fteen-stop concert organ in the Valley AGO chapter as board member and dean, and as past president of the missioned Buzard Pipe Organ Builders auditorium. All three instruments have Fresno Musical Club, the Fresno chapter of the National Society of Arts and to design and construct a continuo a special moving pedalboard that Rieger Letters, and the central district of the California Federation of Music Clubs. organ as the fi rst instrument to be built has designed, which adjusts to the height Zella Mae Woods is survived by a son, a daughter, fi ve grandchildren, and fi ve under this long-term relationship. The of the children. For information: great-grandchildren. Q instrument will be ready for the camp’s www.rieger-orgelbau.com 2014 season. Buzard Pipe Organ Builders also announces the restoration and installa- tion of the “Father” Willis Scudamore organ, circa 1860, at the Blue Lake AN ORGAN FOR HM THE QUEEN Fine Arts Camp’s Musical Instrument Museum in June 2013. The organ, for- The two manual and pedal organ, which the Lord Mayor and Corporation of merly owned by John-Paul Buzard, was London is presenting to HM The Queen, in celebration of her Diamond cited by the Organ Historical Society Jubilee is now residing in the Mansion House, where it is receiving regular for its rarity and was featured with other use at various functions as well as for the Signature Series of concerts to raise antique pipe organs restored by the money for the Lord Mayor’s Appeal. In October, it will be moved from the Buzard fi rm at the Chicago convention Mansion House to the Lady Chapel at Westminster Abbey, where it will be of the Organ Historical Society in 2012. used for services and weddings on a regular basis. It has two stops (Open Diapason 8′, ′ Principal 4 ) across a single manual key- With an interesting specification and quite some character, the organ is well board with pull-down pedals. The most suited to leading singing and the performance of a surprisingly wide repertoire. recent restoration, undertaken prior It also contains two unusual features. A foot pedal on the extreme left plays to the organ’s installation at the camp, the lowest six notes of the Pedal Bourdon, adding them progressively, making was of the original hand-pumped wind- a sound resembling a drum or thunder. A second pedal in the middle brings ing system and the pedalboard. David a nightingale into play and when sounding, two birds rise out of the top of Brown, John Wiegand, and John-Paul the case and revolve around each other. It is thought that this may be the first Buzard completed the work. organ to have these features in England for some 300 years. Buzard Pipe Organ Builders is actively looking for small practice organs to sup- ply the camp and welcomes any inquiries by people or institutions that may have such instruments for sale. Contact Keith ³ St Peter’s Square - London E 2 7AF - England ³ [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 ³ [e] [email protected] Williams at Buzard Pipe Organ Builders, 112 West Hill Street, Champaign, IL 61820. E-mail inquiries may be made at [email protected]. MANDER ORGANS Blue Lake Fine Arts Camp accommo- dates 2,000 students for fi ve two-week www.mander-organs.com sessions during the summer months. The

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 11 Reviews

Music for Voices and Organ of the season. This would make an excel- There are four verses, with the congre- Verlag and its publications past and cur- by James McCray lent Introit. gation joining in on 1 and 4. The setting rent can be found at www.pape-verlag. opens with a long organ solo (on three de/startseite/ (in German only). Autumn: Rally Sunday Music The House of the Lord, arr. Gary staves) that creates a dramatic mood. As the title indicates, this is an ency- Fry. SAB, piano, and optional C The middle two verses are for choir and clopedia of organ builders with ties to Yesterday is but a dream, tomorrow is only a vision. But today, well lived, makes instrument, GIA Publications, Inc., organ. This is a well-crafted anthem that Saxony and neighboring territory, not every yesterday a dream of happiness, and G-6804, $1.50 (E). will create a solid start for the new year. an atlas of instruments located there. every tomorrow a vision of hope. Look There are three verses for SA, with Nevertheless, since organs have a way of well, therefore, to this day; for it is life, the men optionally singing the soprano part SATB and organ becoming destinations in their own right, life of life. The Sanskrit an octave lower. A true SAB setting is in The Splendour of the House of God, it may be no coincidence that the book’s the refrain and in the coda. The choral arr. Frikki Walker. SATB, organ, and glove-compartment-sized proportions Ah, autumn! It signals the return score contains a part for the C instru- assembly, GIA Publications, G-8010, (tall but not too wide) and its Baedeker- of cooler weather, football games, and ment, and one that may be duplicated $1.95 (M-). like page-marking ribbon, along with its church choirs. While not everyone took for the congregation. The keyboard part Verses 2 and 4 have the same music, comprehensive index of place names, a summer hiatus from rehearsals and has fl owing lines for the verses, with but 1, 3, and 5 are arranged differently. invite us to “take it along.” The book is singing in services, a sizeable number of chord symbols throughout for guitar. The setting opens with the unison exquisitely bound in dark green cloth church choirs found respite from their Sweet and tuneful music. refrain; the congregation’s music is on with gold lettering on its cover and spine. weekly responsibilities. However, the ease the back cover for duplication, and they Although the text, printed in an ideal font, of summer gives way to a myriad of duties, This Is the Day the Lord Has Made, only sing on the refrain. The music has a includes no images, the glossy dust cover so this, dear reader, is your wake-up call. Mark Hayes. SAB and keyboard with majestic feel to it, and the organ part is nevertheless carries a high-resolution Although the autumnal equinox in optional winds, brass, and percus- on three staves. color photograph of the recently restored 2013 is not until September 22, the let- sion, Beckenhorst Press, BP 1972, Zacharias Hildebrandt organ in the ters reminding choir members of their $2.10 (M). Psalm of Praise, David Conte. SATB Lutheran Church at Störmtal, an instru- fi rst rehearsal should be sent out in This popular SATB work is now and organ, E. C. Schirmer Music ment dedicated, we are told, on Febru- mid-August. Labor Day is on September available for SAB choir. The numerous Co., No 7793, $2.58 (D-). ary 11, 1723, with the cantata, Höchst 2, and most church choirs probably will instrumental parts are available for pur- Based on Psalm 100, this fast, rhyth- erwünschtes Freudenfest, BWV 194, begin singing services on the Sunday fol- chase (BP 1972A). The lively, energetic mic anthem has contrasting sections. performed by none other than Johann lowing (September 8). music moves through several styles and The organ part is on three staves and Sebastian Bach and his Thomanerchor. Many churches identify a Rally Sun- will be an exciting opening for Rally Sun- tends to be more soloistic than as a sup- Bach country this is, of course, with day as a means of inspiring their singers day. The music has a driving rhythmic portive accompaniment to the choir. The a density of pipe organ treasures that and congregations. There is a wide- quality that builds to a loud, dramatic music is sophisticated, fi lled with mild distinguishes it even within organ-rich spread feeling of excitement as that ending. Highly recommended. dissonances and shifting meters. The Germany—the nation in which every September Sunday begins new classes fi ve-minute work is very exciting. church, north or south, is likely to reward for children and adult Sunday Schools, SATB with brass the hopeful visitor with an instrument and the choir returns to their leadership God Is Here!, Joel Raney. SATB, God Is Here, Kenneth Drake. SATB standing high and free in an enviable role in the choir loft. brass quartet, percussion, 3–5 and organ, MorningStar Music Pub- acoustical setting. Saxony, which marks The music reviewed this month is octave handbells, and optional lishers, MSM-50-8960, $1.70 (E). the southeastern corner of Germany’s designed to help directors launch their unison choir, Hope Publishing Co., Drake combines the Fred Pratt Green northern “half” and borders on Poland year. It is not too late to order new C 5791, $2.05 (M). text with the melody Holy Manna and the Czech Republic, encompasses music and have it in the folders for early For those directors wanting to start the from Southern Harmony to create an an area not much larger than the U.S. rehearsals. Many directors prefer to start fall season with loud, festive music, this easy, tuneful anthem. The simple organ state of New Jersey. Nonetheless, Pape’s the year with a favorite old work that the may be for you. Using the text from Fred music is on two staves and often merely team of 33 contributors musters entries choir has sung before. This establishes Pratt Green, this strong yet easy setting doubles the choir, which is frequently in for more than 2,000 builders connected an immediate success and builds con- features the choirs of adults, children, unison. Soprano and tenor both end on in some way to the region, if sometimes fi dence for the singers. Some directors handbells, brass, and percussion. It will a high B-fl at. only slightly. like to use this opportunity to introduce be a rousing beginning to the year, with a In their Vorwort, the editors explain new repertoire to the choir. So, take a message that launches Rally Sunday with SATB and piano that the entries incorporate and update look at the reviews below and choose at robust enthusiasm! What Brings Us Together, Jay Alt- information from the Database for least one new work for the choir to sing. house. SATB and piano, Hope Pub- Organs (ORDA) at the Technical Uni- It is recommended that during the early O God Beyond All Praising, Gustav lishing Co., C 5783, $2.05 (E). versity of Berlin (another project that weeks of the choir’s return that they be Holst, arr. Hal Hopson. SATB, organ Words and music are by Althouse in owes much to Pape). Each article follows challenged with something new, so the with optional brass quartet, hand- this easy, straightforward anthem that the structure of ORDA’s Organ Builder items below should be appropriate for bells, timpani, and assembly, Augs- has limited four-part writing. The key- System (OBS), comprising 1) concise any September Sunday. Next month’s burg Fortress, 978-1-4514-6241-8, board part is simple with fl owing right- biographical data, 2) free text, 3) relation- reviews will feature music for Novem- $1.95 (M+). hand lines. Useful for a small choir. ships with other builders, 4) further free ber, including Thanksgiving. Much of the two-verse setting is in text, 5) a list of most signifi cant instru- unison, although there is an elaborate ments, and 6) a listing of literature and SAB contrapuntal passage of Alleluias. The Book Reviews sources. Entries range from a few inches Enter This Door, Paul Ritchie. SAB congregation joins in on the second verse, Lexikon norddeutscher Orgelbauer: of text for builders about whom little is and organ, GIA Publications, Inc., which also includes a soaring descant. Band 2, Sachsen und Umgebung, known, to multiple pages for others. G-7398, $1.60 (E). Exciting music in an easy arrangement. by Wolfram Hackel and Uwe Pape, In some cases, the builder’s connec- This brief three-page setting is slow editors. Berlin: Pape Verlag, 2012, tion to Saxony amounts to nothing more and in unison for about one third of God of Grace and God of Glory, 743 pages. ISBN: 9783921140925; than having delivered a single modest the time, mostly unaccompanied. The Michael Burkhardt. SATB, organ, www.pape-verlag.de. instrument at some point. In accordance keyboard part, on two staves, is simple; with optional two trumpets, timpani, Uwe Pape—his name pronounced with the editors’ method, however, that the text is taken from inscriptions on the and congregation, MorningStar ooh-veh pah-peh, not yew paip as to his alone justifi es the complete six-layered doors of some Anglican churches, and Music Publishers, MSM-60-8015, good-natured amusement he was once “biography,” if possible. So it is for Hook will set a quiet mood for the beginning $2.25 (M+). introduced to an American audience— & Hastings, for example, which sent a has been documenting the organs of his II/17 organ to the American Church in north German homeland for more than Dresden in 1887 (not extant), as well half a century. Before starting his own as the Aeolian Organ Company for its Celebrate the Legacy publishing house for organ history in the 1913 instrument still housed privately early 1960s, an enterprise that has logi- in the Vogtland region. Both compa- cally paralleled his career as a professor nies get full articles. The 18th-century of applied computer science, Pape had American builder David Tannenberg been taking the inventory of the organs would have earned his entry just for in his environment for a long time. He having been born in Saxony, but he gets Skinner Organ Co. had started this as a teenager growing it, too, for having apprenticed—after Opus 695 (1928) up near Bremen, continued it in his stu- immigrating to Pennsylvania—under restored and dent years at the University of Öttingen Johann Gottlob Klemm, a Dresden installed at St. Mark’s (where he came to know the builder Paul builder whose move to Pennsylvania Lutheran Church, Ott), and then set about the formal shar- had preceded Tannenberg’s by sixteen Marion, Iowa ing of his information when, as a 26 year- years. The English fi rm of Hill & Son old budding academic at the Technical earns its full “fi rm-bio” just for having University of Braunschweig, he founded contributed an 8′ Tuba Mirabilis stop Specialists in Restoration, Pape Verlag, in 1962. Two years later he for an organ in Zwickau’s Marienkirche Conservation, Voicing & Tonal Finishing moved the project to nearby Wolfenbüt- during an 1889–91 rebuild by Jehmlich. of High-Pressure Pipe Organs tel, and in 1971 to Berlin, where the But perhaps the prize for the most tenu- 1845 South Michigan Avenue #1905 JL Weiler , Inc. Chicago, Illinois 60616 Technical University of Berlin has served ous connection to Saxony should go to PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS 312-842-7475 as Pape’s chief academic affi liation ever the Danish fi rm of Marcussen and Son, [email protected] | www.jlweiler.com since. Ample information about Pape which gets full-featured treatment for

12 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM Reviews having submitted one of the bids to To the extent that he is a mathemati- specifi cation of the organ, but I was able gives us a further opportunity to sample build the “Silbermann replacement” in cian, Professor Pape probably under- to determine that the instrument in the the surprisingly brilliant sound of the Dresden’s reconstructed Frauenkirche. stands as well as anyone that a project of Couvent de Sacré-Coeur de Jette in Has- full organ. Kern of Strasbourg won that commis- this kind must advance asymptotically, selt, Belgium, is Cavaillé-Coll Opus 439 of Stijn Hanssens then moves onto the sion, completed the organ in 2005, and forever approaching but never reach- 1878, a 2-manual instrument of 15 ranks organ bench for the second half of the thereby earns its full article. ing the tangent of its arc. Always there with an additional two ranks prepared compact disc, which features more of Sifting through each entry in search will be some new information that had for. The only stop on the organ above 4′ the compositions of Joseph Callaerts and of what small connection to Saxony has eluded the fi lter, always a need for revi- pitch is the 2′ Octavin on the Récit, but Alphonse Mailly. We hear fi rst Mailly’s justifi ed a seemingly unlikely candidate’s sion or addition. To that end, the current such was the genius of Cavaillé-Coll that Prélude funèbre, a rather introspective inclusion becomes an entertaining game. volume updates entries for some of the the instrument sounds quite brilliant piece that consists of contrasting chordal And since more information rather than builders covered in Band 1, Orgelbauer in spite of the lack of upperwork, and passages on the various fonds inter- less should probably be welcomed in any in Thüringen und Umgebung. And, furthermore it sounds like a much larger spersed with short melodic interludes. book that calls itself a lexicon, we won’t likewise, the forthcoming volume for instrument than it actually is. Next comes Mailly’s Marche solennelle. complain. Still, we wonder why Johann Saxony-Anhalt will revisit, as needed, Denis Roosen begins his part of the This is in ternary form, beginning with Gottfried Krebs, cantor, organist, and the builders covered for Saxony. It is recording with the spectacular Toccata the march on full organ, followed by a composer—but no builder of organs— amazing to consider that this is only the in E Minor by the Antwerp composer gentler central section containing some should receive an entry while Johann second volume of a series that could and student of Lemmens, Joseph Cal- interesting arpeggiated chords, and end- Sebastian Bach, who did all of the same increase to nearly a dozen. laerts (1838–1901). Callaerts dedicated ing with a recapitulation of the original in spades, does not. Such inconsistencies From the very beginning, Pape this piece to his friend Oscar Depuydt, march followed by a short coda. This are rare. publications have sought to combine organist of the Cathédrale Saint-Rom- is followed by a Cantilène and another Reserved for future volumes in the impeccable scholarship with attractive, baut in Malines. Roosen follows this of Mailly’s numerous, rather repetitive series, because no connection to Saxony straightforward accessibility. With this with another, more lyrical, piece by Cal- Méditations. Probably the most inter- had been found for them, remain the handsome compendium of information, laerts, the Élégie, giving us an opportu- esting of the compositions of Mailly famous northern builders as Arp Schnit- truly a small ocean of it, organized with nity to hear some of the quieter voices featured on this recording is the spirited ger, whose instruments cluster far to the exemplary transparency, the Pape team of the organ, including the fi ne Flûte Toccata in D Minor, dedicated to the northwest, and Friedrich Stellwagen, may have set a new standard for even Harmonique on the Récit. The next British organist W. T. Best. The last of best known for his magnifi cent 1659 themselves. The book is simply a jewel. work, Méditation, features the Basson- the Mailly pieces, Pâques Fleuries, is a organ in Stralsund, on the Baltic. Stell- It is its own fi ne version of a “modern, et-Hautbois stop in a chorale-like mel- somewhat sentimental “song without wagen was born in Halle on the Saale, a small-form, searchable handheld,” and ody. We then move to another Belgian words.” As in the case of the Christmas city in Saxony-Anhalt situated just across one that rewards its “user” with the kind composer, Clément Loret (1833–1909), musette there seems no particular con- the border from Saxony, and so he will of tactile pleasure that no electronic the son of Belgian organbuilder Hip- nection with the liturgical season, in this no doubt get his full article in the next device can match. polyte Loret and another student of case Easter. volume of the series (in preparation), —Anton Warde Lemmens. The playful Scherzo from For the last three pieces played by which will focus on that region. Likewise Cape Elizabeth, Maine Douze pièces again features the Basson- Stijn Hanssens we return to Joseph with no ties to Saxony, the notable Ger- et-Hautbois, and we also get to hear the Callaerts. The fi rst of these, Mélodie, is man fi rms of Beckerath and Klais, as well lovely Viole de Gambe and Voix Céleste another “song without words” featuring as Metzler and Kuhn in Switzerland, are New Recordings of the Récit. some warm harmonies and possessing an absent from this volume. The Swiss fi rm CD7, Cavaillé-Coll-Orgel, Heilig- Roosen next plays the Trois morceaux insistent forward thrust. The Invocation of Mathis, however, gets its comprehen- Hartkerk Hasselt. Denis Roosen and pour orgue of Alphonse Mailly (1833– begins with the strings on the Récit with sive entry for a 1997 IV/77 instrument Stijn Hanssens, organ. Orgelkunst 1918), which were published in 1908. the fi ne Voix Humaine stop and tremolo in Görlitz, built seven years after the CD 7, www.orgelkunst.be. The fi rst of these, Invocation, is a soft, before building up the full Récit via Iron Curtain had come down. When Denis Roosen: Toccata in E Minor (op. rather sentimental waltz-like movement some interesting Franck-like modula- the Pape series reaches Berlin (perhaps 29), Élégie (op. 31), Méditation (Cinq featuring the fl utes and strings. The tions, before returning the strings and with volume four?), Klais’s appearance pièces pour orgue, No. 3), Callaerts; Andante con moto is a more substantial Voix Humaine at the end. The compact will no doubt be triggered by its 1977 Scherzo (Douze pièces, No. 9), Loret; piece and gives us another opportunity disc ends with the sprightly Marche de instrument in St. Hedwig’s Cathedral, a Trois morceaux pour orgue – Invocation, to hear the Flûte Harmonique to good Fête played on the full organ. The festal Cold War-era gift to the Roman Catholic Andante con moto, Christmas Musette, effect. The Christmas Musette is a clas- character is reinforced by some fanfare- cathedral in East Berlin from parishes in Mailly; Sortie pour orgue, Wiegand. sical French musette in that it features like chords. the West. Stijn Hanssens: Prélude funèbre, a melody played above a drone bass. In This compact disc is valuable both in The fi fty-year absence of activity by Marche solennelle, Cantilène, Médita- this case the melody is a scherzo-like showcasing an extremely fi ne Cavaillé- builders from the West within East Ger- tion, Toccata, Pâques Fleuries, Mailly; theme played on the 8′ and 2′ fl utes of Coll organ and some very interesting many after 1945 is easy to understand. Mélodie (op. 28, no. 1), Invocation (op. the Récit. There is nothing particularly organ music more or less contemporary East Bloc currency was essentially worth- 28, no. 2), Marche de Fête, Callaerts. Christmas-like about it. Denis Roosen’s with the instrument, little of which is less in the capitalist world, and thus no This is a program of nineteenth- fi nal piece on the compact disc is the widely known outside of Belgium but GDR entity could even consider hiring century music by Belgian composers, rather bombastic Sortie pour orgue probably deserves to be. a builder from a “non-socialist” country, played by two Belgian organists on a by August Wiegand (1849–1904), the —John L. Speller much less put aside the political barriers. Cavaillé-Coll organ in Belgium. There Belgian organist who became the fi rst St. Louis, Missouri Luckily, the East had its own stable of is unfortunately no leafl et detailing the organist of Sydney Town Hall. The piece ³ page 14 fi ne builders: Eule in Bautzen, Jehmlich in Dresden, Sauer in Frankfurt on the Oder, and Alexander Schuke of Pots- dam, all storied companies in their own right. Thanks to a regime that, despite Thousands of titles, top-tier publishers... its doctrine of strict secularism, chose to regard organs—not to mention Luther and Bach—as important elements in the GDR’s cultural heritage, these indig- enous builders suffered no lack of work. They did, however, suffer the indignity of needing to assume the status of state- run “people’s” enterprises (VEB) from the early 1970s until the collapse of the GDR in 1990. When we come to the OneLicense.net heading “VEB” in the lexicon, we are referred to the fi rms’ traditional names, forSUNDAY ANNUAL and ONE-TIME since restored to them. BULLETINS, All of the most well-known names asso- CHURCH COPYRIGHT ciated with the immediate region make WEDDINGandFUNERAL their appearance, of course: Hildebrandt, Jahn, Ladegast, Papenius, Silbermann, PROGRAMS, Trost, Voigt, and Wagner. Again, this very PERMISSIONS short list represents less than one-half PROJECTION, of one percent of the persons and fi rms SPECIALSERVICE treated, many of them little-known local builders who turn out to deserve surpris- BOOKLETS, ingly long entries. The articles them- Log on and take the tour today! selves add up to only about 60% of the PRACTICE TRACKS, book’s nearly 750 pages. The remaining and PODCASTS 40% comprises an extensive bibliography of published works and comprehensive 800.663.1501 indices of persons and places.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 13 Reviews

³ page 13 César Franck’s anthem, Panis Angelicus, association. Biographies of the nine northern and southern provinces. The James MacMillan: Missa Dunelmi and precedes an excellent solo performance composers as well as of associated past organ was generally not used during ser- Other European Choral Works. The by Francesca Massey of Jeanne Demes- composers are included, along with vices in the north; as a municipal rather Choir of Durham Cathedral; Franc- sieux’s Te Deum, op. 11, which is given brief notes on the pieces. than a church employee, the organist esca Massey, organ; James Lancelot, a rather convincing performance (espe- Stephen Burtonwood’s Reverie, which was expected to play a recital before and director. Priory, PRCD1078, £10.99, cially when considering the Durham opens the collection, has frequent after divine worship and also when peo- www.prioryrecords.co.uk. organ is the quintessential romantic changes between 6/4 and 3/4, and is ple left their jobs in the evening (possibly Durham Cathedral has been a little English cathedral organ!). The magnifi - written with quite full textures. Particu- to deter them from entering taverns!). late to the party in terms of a girls choir, cent, smooth Tuba substitutes for an en larly interesting are three Miniatures, There follow comments on the diffi - but this première recording of James chamade trumpet, and the whole effect short pieces by Norman Cocker taken cult art of “playing with good taste” taken MacMillan’s new Missa Dunelmi (Dur- is extremely satisfying. from unpublished manuscripts that from European sources, and brief notes ham Mass) demonstrates that they have After a solid performance of Charles have recently come to light, a world on the church modes or tones. A descrip- been amassing a good team of young Wood’s much-loved setting of the Phos away from his Tuba Tune, and a gentle tion of the short octave in the bass is ladies for their alternate treble line, and Hilaron text, Hail, Gladdening Light, Cantilena by Francis Jackson, far more provided, which eliminates big stretches although the sound is very different from there is a very good performance of approachable than many of this emi- necessary on modern instruments; this the clear, pure sound of boy trebles, they another piece that was previously nent organist’s compositions. Ronald part of the book concludes with notes on are clearly a very capable ensemble, and unknown to me: Michael Berkeley’s Frost’s four miniature hymn preludes on editorial method and some recordings of have much potential. musical setting of a text by the previ- Bread of heaven, St. Columba, Nun interest on historic organs. C. V. Stanford’s marvelous anthem, For ous Archbishop of Canterbury—Rowan danket, and Picardy provide welcome An overview of the different types lo, I raise up, begins the performance, Williams—the piece, Advent Anthem, additions to the British contribution to of composition found in the book is and it is performed very well with excel- having been commissioned, ironically, by this genre. Festive by Jean Galard is in followed by a valuable chapter on the lent accompaniment on the cathedral’s Dean Justin Welby (recently announced the form of a 17th/18th-century French organs, including specifi cations and magnifi cent four-manual Harrison organ as Williams’ successor to Canterbury). rondeau with couplets, and exploits the stoplists from the period and extensive by the recently appointed sub organ- It is a powerful and moving work, and rhythm of two sixteenths and an eighth information on the different schools of ist, Francesca Massey. Two fi rst-rate Berkeley writes in his customary, unique note—sometimes chordally, sometimes builders in the different areas, with their contemporary English carols follow—a voice, which at times is reminiscent of against fl owing sixteenths. innovations followed by contemporary lovely setting by Bryan Kelly of Richard the best moments in Kenneth Leighton’s A Postlude in B-fl at by Philip Lowe prescriptions for registration, which Crashaw’s poem Summer in Winter, with music. A delightful little duet (Quid is fi rmly in the tradition of Victorian will amply repay the time taken to study gentle, lilting rhythms and the customary retribuam Domino by Guy de Lioncourt) marches, although with several 20th- and assimilate. Trying to replicate these Kelly shifts between major and minor precedes Hubert Parry’s wonderful century harmonic touches, and should on modern organs will be extremely modes. The second, an unaccompanied unaccompanied anthem, My Soul, There become a great favorite for festivals. A diffi cult for most of us but the effect is setting of Michael Forster’s text, Kindle Is a Country, which is given a sensitive demanding centenary Flourish on The more important than the actual stops a Light to Lighten the Darkness, is a and powerful performance here. Old Hundredth by the Rev. Graham used. A summary of historical fi rsts in beautiful work by Michael Fleming (the Priory Record’s presentation is cus- Marshall includes some helpful fi nger- Netherlandish organbuilding concludes recently deceased church musician with tomarily excellent, and a very complete ing, and, like John Ellis’s quiet and dis- this section. a stellar background in the grandest of booklet accompanies the CD, giving full sonant Sarabande, also speaks with a Short comments on posture and hand English choral establishments, including texts and brief notes for each piece (as rather more contemporary voice. Philip position are illustrated by contemporary lately St. Michael and All Angels, Croy- always, I hanker for a specifi cation of the Tordoff’s Trumpet Tune in D blends the paintings, but the next fi ve chapters on don, London). It is not dissimilar to his organ we hear accompanying the choir, occasional dissonance with a hummable performance practice are of the great- other compositions (including the lovely but a quick web search will yield plenty of melodic line, rounded off by a crashing est value; they bring together extensive hymn tune, Palace Green) and owes information about Durham’s great Har- coda; it would make a splendid conclud- information from several major Euro- much to the harmonic language of the rison organ). Neil Collier and his gang ing voluntary for festivals. pean sources covering the disciplines half-century preceding his generation. have produced, as always, a crystal-clear Several of the pieces are quite of fi ngering, pedaling, articulation, The title work of the recording, recording quality, with a good balance demanding, and most require the ornamentation, and rhythm, including Missa Dunelmi (Kyrie, Gloria, Sanctus between choir and organ. This is a really resources of a three-manual organ, but tempo. These well-presented chapters and Benedictus, Agnus Dei) by James interesting CD, and one that would make perseverance will be rewarded. This vol- are illustrated by a wealth of examples MacMillan, is an interesting setting of a superb present for any choir director ume is well worth the modest outlay and to clarify the statements and show the the Ordinary of the Mass/Eucharist for or music teacher on your Christmas card provides some pieces that may become extremely broad approach to fi ngering eight-part unaccompanied choir. It has list, as it blends old and new music of the established favorites in the repertoire systems (summarized succinctly in two moments that are hauntingly beautiful, highest quality, sung extremely well, by if enough players take the trouble to tables) and ornamentation (there are and others when the texture of the part an exciting choir in one of Britain’s most include them in recitals and services. no contemporary Netherlands treatises/ writing is perhaps a little thick. The har- magnifi cent cathedrals. The front cover is of the 1830 Elliot and sources on the latter, but several pieces monies seem to alternate between beau- —James M. Reed Hill organ in Oldham parish church, the found in the various manuscripts contain tiful, modal, and meditative, and more Bergen, Norway back cover is a montage of the organs in graphic indications). The enigmatic intense and discordant. On the whole, it Albion United Reformed Church, St. single- and double-stroke signs are is a very satisfying and interesting piece Edmund’s Church, Rochdale, Falinge, evaluated as well as the signs used by that rewards repeated listening. New Organ Music and Oldham parish churches. Samuel Mareschal. This part of the book Harold Darke’s lovely unaccompanied A Centenary Album 2009 (to The Association is to be congratulated concludes with a list of sources and mod- anthem O gladsome light is given a mark the centenary of the Old- on commissioning such an interesting ern editions and some useful books and sensitive, enjoyable performance, as are ham, Rochdale and Tameside and commendable collection to cel- articles, mostly in English. two contemporary anthems that were Organists’ Association). Available ebrate their centenary. Arranged in a generally gradated previously unknown to me: Richard from www.groovycart.co.uk/cart. order of diffi culty by genre, the 30 pieces Allain’s beautiful setting of a text about php?c=995&p=65132, £10.00. Historical Organ Techniques and in the book cover all genres, from psalm the biblical wedding, Cana’s Guest, and The Oldham, Rochdale and Tames- Repertoire, Volume 11, The Nether- preludes, variations on popular songs, a lovely carol, Lulla, lulla, lullaby, com- ide Organists’ Association was founded lands 1575–1700, edited by Calvert contrapuntal and free-form works, posed by Margaret Simper (the mother in 1908, and this volume includes Johnson. Wayne Leupold Editions, and dances. From Sweelinck there are of a current boy chorister in the Durham pieces by nine composers associated WL500018, $59. three sets of secular variations includ- Cathedral choir). A nice performance of with it as well as a short history of the Susanne van Soldt Klavierboek, ing the perennial Mein junges Leben, edited by Calvert Johnson. Wayne three fantasias including the demanding Leupold Editions (Annotated Chromatic Fantasia, a short two-voice The right Performer’s Editions No. 8), fantasia and an example of the echo organ at the WL600275, $42. genre, and a toccata based on motivic Both volumes available directly from imitation and lacking a fugal section. right price www.wayneleupold.com. From Bull there is the prelude in two The latest addition to the already sections on the Christmas carol “Let us We’ll help you chose from extensive Historical Organ Techniques with pure heart,” a mix of contrapuntal the hundreds of vintage organs and Repertoire series is devoted to and virtuoso fi guration styles. available through our website. keyboard music of the Netherlands The Brussels composers Pieter Cor- (including present-day Holland and net and Abraham van den Kerckhoven We can deliver it to the Belgium) covering a broadly 125-year are represented by two pieces each, the organ builder of your choice period when the keyboard arts of those former by a coranto and variation and a or refurbish, revoice, and countries were in full fl ower. The layout fantasia in a canzona style, the latter by install it ourselves. of the volume is along the same lines as a short fugue again in canzona rhythm, the earlier titles and contains an exten- and a set of fi ve versets on the Kyrie, one “In choosing OCH, I know that the work has been done sive section of historical information of of which carries a solo voice. A strictly with the utmost knowledge, enthusiasm, care and integrity.” some 56 pages, which is subdivided into contrapuntal fantasia from a set of 24 of David Enlow, Sub-Dean, NYCAGO ten chapters. There are notes on the 1616 by Charles Guillet was probably history of the countries comprising the intended for ensemble performance. Organ Clearing House Netherlands, and on the earliest organs Five pieces by Samuel Mareschal (who www.organclearinghouse.com or call John Bishop at 617-688-9290 to be found there and their use during was born in the Netherlands but worked services—widely differing between the in Basel) include a variation on Psalm 42

14 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM Reviews based on a setting by Ambrosius Lob- performer’s edition series includes the Hope Publishing Company), Code Holy Manna (A Merry Mallet Mel- wasser; also included here are two short bulk of the introduction also present in No. 2651, $39.95, Level 1 (E). ody), by Susan E. Geschke, for 3 or 5 preludes and two equally short fugues, the volume on the Netherlands reviewed This compilation consists of eight pop- octaves of handbells or handchimes. of which the second, entitled Fugue in above, as well as information on the ular hymns in a book that is completely Choristers Guild, CGB793, $4.50, A, concludes unusually in G. A setting of house or chamber organ of the period; reproducible. You buy the one book and Level 2 (E+). Psalm 1 from a collection of 12 Psalms although clearly intended primarily for then make copies of all the music for Here is an unusual and innovative by Martin Vander Bist was probably performance on a stringed keyboard your choir. There are no bell changes concept of bell ringing using mallets, intended for spinet but would sound well instrument, it is quite probable that and no subdivisions of beats, which make along with the regular ringing tech- on a chamber organ. A two-voice psalm these pieces would have also been per- these settings easy to learn. Handchimes nique, thus the second title. The tune setting by Hendrik Speuy (a form much formed on the house organ. would work with these pieces as well. Holy Manna is used throughout with used by Sweelinck and his pupil Scheidt The manuscript, the earliest dated quarter and eighth notes, so is readily in their variation sets on both sacred and collection of Netherlands keyboard Now Thank We All Our God, accessible for any choir. The percussive secular songs) is taken from the earliest music, consists of 34 mainly short pieces, arranged for 2 or 3 octaves of hand- use of the mallets adds another dimen- printed collection of keyboard music in including 11 predominantly chordal bells with optional B-fl at or C treble sion to this arrangement. the Netherlands of 1610. Two pieces by psalm settings. The remaining 23 pieces instrument (CGB806), also arranged Anthoni van Noordt, including a tightly comprise eight almandes, two branles, for 3, 4 or 5 octaves of handbells We Gather Together, arranged contrapuntal fantasia à 4 in two sections four galliards (two of which have associ- (CGB807), by Anna Laura Page. for 3–5 octaves of handbells with with the popular descending tetrachord ated pavanes), a prelude, four pavanes, Choristers Guild, $4.50 each, Level optional 3–5 octaves of handchimes, featured in the second, and a set of three two intabulations, one passamezzo, and 1+ (E+). by Joel Raney. Agape (a division of variations on Psalm 7 including obbligato one untitled piece. Some of the pieces Using quarter and half notes through- Hope Publishing Company), Code pedals in the second and third, are taken have quite rapid hand shifts in the left out this arrangement makes the piece No. 2656, $4.50, Level 3 (M +). from a later print of 1659. hand including octaves, a common fea- easy to learn, yet it is effectively written Joel Raney gives the hymntune One of the earliest pieces for echo, ture of this time. The setting of Susanne to sound more diffi cult than it is. The Kremser a waltz-like rendition, which by Gerhard Scronx, is taken from the un jour (a deliberate choice perhaps, optional instrumental descant through- provides a fresh, warm setting of this manuscript compiled circa 1617 by given the young owner’s name?) is out adds a nice touch, along with some familiar hymn of thanksgiving. The use friars in Liège, from which two further remarkably similar to a copy found in the special effects that create additional fl air. of mallets, combined with various other anonymous pieces are taken: one is so-called Wray Manuscript in the Brit- bell techniques, creates a wonderful headed Echo pour Trompette, the other, ish Library and poses greater technical Celebrate the Season, arranged for 2 arrangement for the thanksgiving season. without a title in the source, has been obstacles. Two further more demanding or 3 octaves of handbells (CGB785), here entitled Echo by Calvert Johnson, pieces are the Quadran Pavan and Gal- and 3, 4, or 5 octaves of handbells, Barcarole (Peace in the Storm), and contains some lengthy passages liard and the Brabanschen Ronden. (CGB786), by Cathy Moklebust. arranged for 3–5 octaves of hand- for crossed hands. Further anonymous Some of the pieces appear in rhythms Choristers Guild, $49.95 each, Lev- bells, by Patricia Cota. Agape (a divi- pieces include four pieces from the not usually associated with their par- els 2 and 2+ (M). sion of Hope Publishing Company), Susanne van Soldt manuscript, includ- ticular form; i.e., the Almande trycottee This reproducible collection for Code No. 2643, $4.50, Level 2+ (M-). ing three dances and a psalm setting; is in triple time, as is the Pavane dans Advent and Christmas includes eight of A barcarole, from the Italian barca, or although probably intended primarily Vers. The Pavane Prymera is followed the composer’s most popular arrange- boat, is a work, usually in triple meter, for stringed keyboard instruments, they integrally by its own galliard, and sev- ments for the season. Two of the pieces which imitates the boat songs of Venice. would also have been played on the eral of the almandes are followed by may be rung on either handbells or This original work shifts between major house or chamber organ. their own triple-time Nachtanz. Each handchimes, three of the pieces include and minor keys, and its melodic mate- Each piece is prefaced by a description piece receives a helpful paragraph that optional percussion parts, and one rial is catchy and memorable. Dynamic and, in many cases, by comments on spe- covers performance considerations and includes optional handchimes with the nuances bring the piece to a gentle close, cifi c passages that require special atten- offers help with elucidating the mean- bells. Both editions are compatible for evoking waves. This is a lovely new piece tion; registration and fi ngering sugges- ing of its title. massed ringing. Here is a bargain all for the bell repertoire. tions are also provided. Some pieces leave In the music text, the editor has pro- under one cover. —Leon Nelson the player to decide on such matters of vided copious suggestions for fi ngering, performance for him/herself. The print- as well as registrations for organists. ing is clear and well laid-out, and there The frequently found double-stroke are some 15 illustrations, including seven ornaments (the single stroke occurs at of organ cases. Apart from Sweelinck and a much lower frequency) will need care John Bull (included by dint of his time at as will the integration of the written-out Antwerp), most of the other composers cadential trills, but many of the pieces will almost certainly not be familiar to the will pose few challenges to a competent majority of players, but there is some fi ne player comfortable with the required music here, much of which is not as tech- performance practice of the period and nically demanding as Sweelinck and Bull. who can imaginatively add further orna- The scope of this volume is considerable, ments. Only a few pieces, perhaps, could THE ORGAN IN and it is very much to be hoped that be considered concert material, but players may feel enthused to explore the this collection makes excellent teaching complete keyboard works of Sweelinck, material for developing players’ aware- RECORDED SOUND Cornet, van Noordt (although modern ness in this idiom. editions do not adhere to the layout for The music is very clearly printed and manuals and pedals from the original), these attractive pieces will sound well and Speuy that are available in modern on the chamber organ or on a modern editions in addition to those of Van den instrument using transparent registra- Kerckhoven—the complete manuscript tions. It is to be hoped that they may containing his extant pieces as well as stimulate players to explore such reper- host of anonymous compositions, mainly toire further. versets, can be found online. —John Collins It is interesting that the comprehen- Sussex, England sive comments and criteria by Pieter Dirksen on specifi cally assigning pieces by Sweelinck to either organ or to New Handbell Music harpsichord have been tacitly ignored. Ring with 6: The Classics 2, arranged The great value of this anthology is the for 6 ringers by Martha Lynn combination under one cover of the Thompson. Agape (a division of intensely theoretical aspects of perfor- Hope Publishing Company), Code mance practice with a generous selection No. 2650, $7.95 (M- to D). JOIN OHS TODAY! REGULAR PRICE: $55.00 of pieces in so many different genres to This latest edition of Ring with 6 con- WWW.ORGANSOCIETY.ORG MEMBER PRICE: $50.00 which the player can bring the informa- sists of fi ve pieces from the classical mas- tion of the fi rst part. Since only the van ters, including Mouret, Purcell, Mac- Noordt requires pedals, the volume will Dowell, Vivaldi, and Lemmens. These IN STOCK FOR IMMEDIATE SHIPMENT! also be of interest to players of stringed arrangements have been expanded to NOW CHOOSE FROM OVER 5,000 TITLES! keyboard instruments. include C5–C7, and are a bit longer and The Susanne van Soldt Manuscript more challenging than the fi rst volume. ORDER ANY TIME ONLINE: www.ohscatalog.org of 1599 (now preserved in the British All may be rung by six ringers without ORGAN HISTORICAL SOCIETY Library, London) was compiled for the using any four-in-hand ringing, although UPS shipping to U.S. addresses, which we young daughter of a Dutch merchant additional ringers could be used and the P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. who moved with his family to England bells distributed appropriately. Telephone: (804) 353-9226 Media Mail shipping is $5.00 for your entire order. Shipping outside U.S. is $4.50, plus during the persecutions by the Inquisi- Monday–Friday 9:30am–5:00pm ET tion in Holland in the 16th century. Hymns for 3 Octaves, arranged by the cost of air postage, charged to your VISA This new volume in the annotated Michael Ryan. Agape (a division of [email protected] SHIPPING or MasterCard.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 15 On Teaching

Organ Method XI I ended last month’s column with the suggestion that experienced keyboard players who are using this book to begin their exploration of organ playing could now feel ready to bring to the organ any reasonably simple two-voice piece that they have already learned on another key- board instrument. My experience suggests that this is a good idea. It can be tricky to transfer a piece from one instrument to another (very different) instrument, and there are pitfalls to watch out for, having to do with touch, sound, and idiomatic performance. Any student should also begin quite promptly to learn new pieces from scratch. However, already knowing the notes of at least a piece or two can provide added ease. When I am working with such a student, I always suggest a mix: initially a few pieces that are already under the student’s fi ngers, very soon a new piece or two, and a transition to mostly new pieces. In any case, this next excerpt is intended to ground a student with little or no keyboard experience in the prac- ticing of what will of necessity be new Example 1 pieces at the organ. It provides some general guidelines, and takes the student work on such a piece at this stage in your fi ngering and practicing to give pieces playing, but any player new to the organ through the process of beginning to work learning process (Example 1). the musical shape that you want. should read and consider them, especially on a short two-voice piece: one that is not 4) Always practice slowly enough. when approaching new pieces.) trivially easy (and therefore that adds Some important guidelines This means that what you are playing signifi cantly to what the short exercises 1) At the beginning, work on each should both be accurate and feel comfort- Practicing and fi ngering from the last few columns have provided) hand separately. In fact, at this stage— able. If you hear yourself playing the right In this piece, the left hand part is more but that is also fairly straightforward: no and indeed in many circumstances notes but feel yourself having to scramble active than the right hand. The right tricks, nothing too unusual. It is also a throughout your life as an organist— to do so, you are playing too fast. There hand plays 28 notes, the left hand nearly piece in which the left-hand part is the practice each hand separately until it is no such thing, for purposes of effective fi ve times that many. Thus you should more complex of the two voices. is fully learned and comfortable before practicing, as playing too slowly. probably expect to practice the left hand putting the hands together. (You will 5) Keep your eyes on the music, signifi cantly more than the right hand. If you have come to the organ without learn over time when this is, and isn’t, not on your hands. Even when, in the This piece also contains many repeated having played a keyboard instrument necessary or a good idea for you.) course of practicing short simple lines, notes—mostly in half notes in the right previously, and have gone over all of the 2) Work in small chunks: maybe a you fi nd that you remember those lines hand, as in measure 3, for example, and above enough to feel comfortable with measure or two at a time. It is always a well enough that you don’t need to look mostly in eighth notes in the left hand, as it, then you can now also start on simple good idea to practice in small enough at the music, do not fall into the habit of in measures 3 and 4, and elsewhere. The pieces in two voices—one line of music increments so that when you return to watching your hands. It is OK to take an compass of the right-hand part is one note per hand. These will not, of course, be the beginning of what you are practicing, occasional glance, but that is all. Over- under an octave; that of the left-hand part pieces that you have played before. The you remember it well: that is, the rep- dependence on looking at the hands is an octave and a fourth. There is a spot repertoire is full of such pieces (Bach’s etition has a chance to impress itself on slows down the progress of becoming in measure fi ve where the two hands coin- Two-Part Inventions are probably the your subconscious memory. comfortable as a keyboard player. cide on the same note, and a spot in mea- best known) and they are appropriate 3) Work out fi ngering carefully. 6) And, of course, look the piece sure nine where the left hand succeeds to to work on, if you are willing to be care- Your approach to fi ngering will evolve over in general before taking it apart the note that the right hand has just been ful and systematic about it, and to keep with experience. At this point you are and working. Notice rhythms, patterns, holding. (These spots will feel different practice tempos slow. A short piece by using the piece and the fi ngering to help exceptions to patterns, wide intervals, depending on whether you are playing the Samuel Scheidt (1587–1654) from his you become comfortable with the act of repeated notes, compass, and so on. piece on one manual or on two.) collection Tabulatura Nova Part III of putting the two hands together. Later (I am addressing these suggestions to The right-hand fi ngering can be 1624 will serve as an example of how to you will use what you have learned about those who are essentially new to keyboard worked out using the repeated notes as an anchor—bearing in mind what I have already mentioned about changing fi n- gers on repeated notes. For example, if you play the fi rst of the seven consecutive GOT RESULTS? NO WEB? A’s starting in measure two with the sec- ond fi nger, and then alternate that with GOT the third fi nger, the rest of the passage E-COMMERCE? falls into place nicely. (This results in the GOT GOT A fi rst fourteen notes of the right-hand part SEO? GOT STRATEGY? ONLINE fi ngered as: 2-4-2-3-2-3-2-3-2-3-2-4-3-2.) TRAINING? You should try a few different fi ngering possibilities, guided for the time being mainly by comfort and logistics. The left hand is more complicated. You will have to spend more time work- GOT WEB? NEED ing out fi ngerings, and you may want to HELP? change some of what you fi rst work out A highly functional website is your 24/7 sales force — keeping potential as you practice it. This is, of course, nor- customers informed and engaged, even when your offi ce is closed for the day. mal and fi ne. If you have been practicing To compete in the global marketplace, a sophisticated website that is fully a passage with one fi ngering but want to responsive, content rich and totally device independent not only puts you in the change that fi ngering, it is necessary to race — it positions you in the lead. back up and practice more slowly, focus- SEO? Search Engine Optimization ensures that your website content is ranked ing specifi cally on the notes where you high enough in the search results that it is found more often. have changed the fi ngering, and just a At MediaPress Studios, we apply now + tomorrow solutions to “now” problems, few notes before and after. Do not let whether enhancing existing sites or building new device-independent websites. fi ngering “change itself” at random as Building websites for tomorrow you practice. (To be honest, you will certainly do this later on when you have become more adept at playing and when Content Strategy Custom Coding E-Commerce SEO Training the process of choosing fi ngering has www.mediapressstudios.com [email protected] become more ingrained and intuitive. Want to know more? Check us out at or e-mail . But it is best not to let it happen for now.) Take a look at the fi rst four notes of the left hand. What fi ngers most naturally

16 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM By Gavin Black

prevent the fi rst of them from creating fragmentation or moments of insecurity in the passage. So, for example, if you start by Example 2 practicing this left-hand part from the beginning through the middle beat of the second measure (middle D, quarter- note), then it is a good idea to begin your second increment for practicing with that same middle beat, or perhaps Example 3 either two or four notes before that. The principle is that practice sections should overlap: the details should be worked out in each case in such a way that it feels natural. The exact extent of the overlap doesn’t matter. (This applies, Example 4 by the way, equally to page turns. When individual practicing. (It is all right for you are working on a piece that requires the two hands to have reached different would play those notes? 4-3-2-4? 5-4-3- as groups of notes (as they do in mm. 3 a page turn, you must make sure that you tempos in separate practicing, as long 5? 3-2-1-3? Do these feel equally easy and 4) but as part of moving lines. This do not always interrupt your practicing at as you now slow things down to accom- and comfortable? Does one fi ngering creates interesting fi ngering choices, the same spot. Either through brief bits modate the extra complexity of putting seem to create a more comfortable hand since every time that you change fi ngers of memorization or through the use of both hands together.) The purpose of position than the others? Does one make from the fi rst to the second note of a photocopying or something similar, you this exercise is to help you to become it seem easier to go on to the next note repeated-note pair you have a chance to must practice across the page turn in a increasingly comfortable putting the than the others do? Or does one make it reposition the hand. One possible fi nger- way that dovetails, so as not to create a two hands together. There is nothing to harder, while the other two seem about ing is shown in Example 4—you should moment of discontinuity.) be gained by speed; there is a lot to be the same? What fi nger can most easily try to fi nd others. Start your practicing of any left-hand gained by good focus. reach the middle D on the third beat of Once you have thought about and passage very slowly, so that it feels easy. In starting to put the hands together this measure? Is there more than one explored the fi ngering of these passages Do not increase the tempo until 1) you in a passage, make sure that you have choice that might make sense? What and of the rest of the left-hand part, zero have played the passage at least three reminded yourself in advance of the note about coming down from that D? in on a small chunk of that line, say the times at the existing tempo and 2) the pas- on which each hand will start—especially Examples 2 and 3 are two fi ngering fi rst measure and a half, choose the fi n- sage feels easy and natural at that tempo. if the two hands do not come in together. possibilities for the fi rst part of this left- gering that you will learn, and begin to Increase tempo a little bit at a time. In the beginning of this piece, the right hand line. Can you devise another pos- practice it. Practicing means repetition Once you have chosen fi ngering and hand comes in well after the left hand, so sibility that does not start on 4? Or that of the same thing done the same way, practiced the same measure (or mea- you should be thinking ahead a little bit does not use 1 to play the fi fth note of the slowly and carefully, and many times in sure and a half) of each hand—remem- to avoid hesitation at that spot. line? Or that uses 1 for the fi rst note of a row. As you break up a line such as this bering in this case that the left hand (This discussion will be continued in the second measure? Spend some time into sections for practicing and learning, will require more attention and more next month’s column.) Q playing around with this. Try a number bear in mind two important things: fi rst, repetition, and to practice each hand of fi ngerings a few times each. Don’t the increments must be small enough enough that it is really learned—then Gavin Black is director of the Prince- try to practice and learn each one—that for the repetition to be meaningful; sec- you are ready to put the two hands ton Early Keyboard Center in Princeton, comes when you have chosen one. ond, the increments should overlap or together. You will probably have to back New Jersey. He can be reached by e-mail Later on in this left-hand part is a pas- dovetail into one another, at least a little the tempo up a bit from each hand’s at [email protected]. See his blog at sage in which repeated notes occur not bit. The second of these is necessary to separate tempo in the course of the www.amorningfordreams.com.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 17 In the wind...

Experts written insightfully and eloquently about In a suburb of Boston, there’s a three- Work—comparing his work as a writer to manual Hook & Hastings organ that I that of his farmer grandfather, to sculp- rebuilt in the 1990s. It’s an electro-pneu- tors, and other strong craftsmen. I rec- matic organ built in the 1920s that had ommend his book, Life Work, published received a full-blown tonal revision in by the Beacon Press. the 1960s, when American organbuilding His most recent publication is the decreed that eight-foot tone was no lon- essay, Three Beards, published in the ger desirable. You know the drill. Strings online version of The New Yorker were cut down to become mutations, an magazine. Read it at www.newyorker. eight-foot Diapason was converted to com/online/blogs/books/2013/06/three- the fattest Chimney Flute you’ve ever Harry Holl serving bowl, lobster butter beards.html. It starts: seen, and the resulting specifi cation cup, and mug Wendy with Donald Hall In my life I have grown three beards, looked something like a cross between a covering many of my adult faces. My pres- Schnitger and a Schlicker. The organ was many colleagues, who as organists sit at where our summer home was when I ent hairiness is monumental, and I intend installed across the rear gallery at a time a console as though it were an extension was a kid. His studio was set up as a pub- to carry it into the grave. (I must avoid when the church had no choir, and access of their bodies, whose manual and pedal lic display in a rustic setting surrounded chemotherapy.) A woman has instigated each beard, the original bush requested by from the stairs to the console was a nar- techniques are strong enough that once by pine trees and lots of exotic potted my fi rst wife, Kirby. Why did she want it? row, short, awkward passage through the a piece is learned, there’s no need to plants. He always had apprentices, Maybe she was tired of the same old face. organ, past an electro-pneumatic relay, raise concern about notes. You know it interns, and associates around, so there Or maybe she thought a beard would be over a few windlines, and a serious duck when you see it. Playing from memory was lots of action. There was a row of raffi sh; I did. under the façade’s impost. The organist is accepted as the normal way to play. pottery wheels arranged under a trans- had hung a sign there that read, “Smack Several times now, I’ve seen an organist lucent fi berglass ceiling, so there was lots Donald Hall’s writing is mesmeriz- Head Here.” come to town to play a recital, spending of sunlight in which to work. Clay was ing. It lilts along like a piece of music, We did a big job there that involved days registering complicated pieces on stored in great cubes. They were roughly casually using words we all know but a new structure and new windchests an unfamiliar organ, but never opening a the size of sacks of cement, so I suppose never use, using them as parts of com- intended to allow easier access to the score—in fact, not even bringing a score they weighed seventy-fi ve or a hundred mon speech just like they should be. gallery for musicians—there’s a choir into the building. pounds. There was shelf after shelf of When’s the last time you used the word now—and to allow easier access for A great thing about the human large plastic jars full of glazes in the form raffi sh? You might imagine the brilliant maintenance. The church’s organist was condition is that we don’t have to limit of powder. It was a favorite family outing old man—did I mention that he’s eighty- a good friend and an excellent, imagina- ourselves to appreciating great skill in to drop in there to see what was going four years old?—whacking away on a tive musician who had been there for any one fi eld. Whenever I encounter on, maybe buy a coffee mug, then stop computer keyboard, words fl ying across many years, and with whom I had lots of excellence, whenever I witness someone for ice cream on the way home. the screen like a stock ticker. But you’d fun until his untimely death. performing a complicated task with Harry’s work is easily recognizable. be wrong. He writes in longhand on a After a couple false starts with new apparent ease, I’m moved and excited. For example, the signature shape of tablet. And he wrote fi fty-fi ve drafts of musicians who didn’t last very long, the his coffee mugs is both beautiful and this essay. Fifty-fi ve! church was happy to announce they had Everyday and ordinary practical. It seems almost silly to say that I do a lot of writing, but I seldom write engaged a young woman with strong cre- There are lots of everyday things we his mugs are easy to drink from, but it’s new drafts. Rather, I take the easy route dentials, especially as a choral conductor. witness that require special skills. In our true—the shape fi ts your lips, so there’s and reread what I’ve written, editing When I met her, I was disappointed to work at the Organ Clearing House, we seldom a drip. That’s simply not true of on the screen as I go. A good fi nal trick realize that her keyboard experience frequently ask professional drivers to every mug. before hitting “Send” is to read a piece was limited to the piano. She had no thread a semi-trailer through the eye of Harry Holl’s art is most recognizable aloud to myself. That’s when I fi nd I’ve experience playing the organ at all. She a needle, driving backwards and around through his glazes. He studied with a used the same word twice in a paragraph, asked me some questions about the stop corners. It’s not a big deal if you know Japanese ceramicist whose experimenta- and that’s how I tell if something reads knobs, such as, “What are these for?” I how to do it. And when I’m in the city, tion with glazes inspired Harry. A mate- awkwardly. But fi fty-fi ve drafts? gave her a quick introduction to the art I’m aware of delivery drivers and the dif- rial common in much of his work is black Hall’s fi fty-fi ve drafts are what makes of registration, and offered to introduce fi cult work they have to do. Think of that sand that’s found at a particular beach it sound as though he writes in a fl ash, her to colleagues who were good organ guy who delivers Coke to convenience on the Cape. Harry would go there with and when I read something of his aloud, teachers. She responded that she didn’t stores, driving a semi-trailer in and out shovel and buckets to harvest the stuff, it sounds like a friend talking to me. think it was a big deal, and she’d pick it of little parking lots all day, and all the and go home to blend it into the colored up naturally. opportunities he has to get into trouble. glazes. Firing the glaze in a kiln results For the birds I once saw a video of a heavy equip- in beautiful black speckles that enhance Another of Wendy’s clients whose The American Idol syndrome ment operator cutting an apple into four the rich colors. work I admire is Kenn Kaufman, an orni- In the last several years, “reality TV” equal pieces with a paring knife that was The best part of witnessing the work thologist and chronicler of nature. He has taken a strong place in our entertain- duct-taped to the teeth of a backhoe of this unique artist was seeing him at has little formal education—he dropped ment life. There are a number of shows bucket. Take that, William Tell! If you the wheel. He wore leather sandals out of school as a teenager to hitchhike that focus on creating stars. I don’t watch want to get a sense of the skill involved in and a long gray beard. His hands and around the country building a “Big Year” them, so I don’t really know the differ- operating a crane, go to YouTube, search forearms were deeply muscled. And list of bird species. His book Kingbird ence from one to the other (maybe you for “crane fail,” and watch some clips the relationship between his eyes and Highway (published by Houghton Mif- think that means I’m not qualifi ed to that show skill lacking. You’ll have a new his hands was miraculous. He’d drop a fl in) is the memoir of that experience. write about them!), but I do see contes- appreciation for the operator who makes lump of clay on wheel, wet his hands, He traveled 20,000 miles, crisscrossing tants, ostensibly selected through earlier a heavy lift without tipping his machine and caress the lump into the center to take advantage of the particular times auditions and winnowing, performing in over and dropping his load. of the spinning wheel. With one hand when rare species are most easily seen. front of studio audiences and panels of Where we live in Maine, there are cupped and the other thumb down, Part of that experience was meeting a girl judges. I’m sure that many of the fi nal- lots of lobstermen. Their boats are heavy a coffee mug would sprout from the who lived in Baltimore and shared his ists, who automatically become huge workhorses, usually thirty or forty feet lump—and another, and another. Or passion for birds. While Kenn’s parents stars, are legitimately talented and well long, with powerful diesel engines, and you’d watch a fi ve-pound lump of clay had allowed his crazy sojourn, Elaine’s trained, but from what little I’ve seen, I plenty of heavy gear on board. It’s not turn into twelve dinner plates or cereal father was more protective, and when know that plenty of them have learned a big deal because it’s an everyday and bowls, measured quickly with a well- Kenn was leaving her area to go to Maine their acts by imitating others. Through ordinary part of their lives, but I marvel worn caliper as they sprouted. for a round-trip on the ferry Bluenose, decades as a church musician, having at how easily they approach a crowded Other signature pieces were beautiful known to promise the best sightings been married to a singer, and friends dock. Recently I saw one fi sherman run pitchers, bird feeders, birdbaths, and of pelagic (open ocean) birds, Elaine’s with many others, I know enough about his boat sideways into a slot on a dock— lamps. The Harry Holl lamp that my father seemed unlikely to allow it. singing to tell when someone is well imagine the equivalent in a car as an parents gave me as a wedding present Kenn writes that he slept in the woods trained—or not. alternative to parallel parking. thirty-fi ve years ago is sitting on my desk the night before his boat trip, and when Like that newly hired musician who Any homeowner will know the differ- as I write. And on the dinner table most he arrived at the terminal, there she was, didn’t think organ registration was such ence between a plumber with skill and evenings we use the dinner plates they having found a way to get from Balti- a big deal, I have the sense that our one without. If he goes home wet, he gave Wendy and me as a house-warming more to down-east Maine on her own. culture is accepting of the idea that great needs to go back to school. And you want present when we moved into our home He wrote: “If I could have looked down performers “just happen,” implying that to hire a painter whose clothes are not in Maine. the years then, and seen everything from there’s no real need to actually learn how covered with paint. If he’s covered with beginning to end—the good times, the to do something. Why should we study if paint, so are your carpets. Dodging the draft best times, the bad times, the bad deci- we can answer any question by Googling I appreciate all of those people who My wife Wendy is a literary agent sions, the indecision, and then fi nally the with our phones? Why should we attend do work for us, and love watching any- who works with writers, helping them divorce—I still would not have traded a conservatory of music if we can “just one doing something that they’re really sell manuscripts to publishers. One anything for that moment.” pick it up?” good at. who stands out is Donald Hall, who I don’t know if I’ve ever read a more I’ve been refl ecting on expertise, has written hundreds of poems, essays, eloquent or concise story of a love affair on the concepts of excellence and the Going to pot and books. He has written extensively and marriage than that. sense of assurance that comes with the One of my earliest memories wit- about countless subjects—I think he’s I’ve stood next to Kenn on the shore of intense education and practice that nessing excellence came from a potter particularly good with baseball (the the ocean, looking across an empty black fosters them. Of course, I think of my named Harry Holl on Cape Cod, near most poetic of team sports), and he has sky, and Kenn rattles off the birds he

18 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM By John Bishop sees. Have you ever heard of Confusing A writer’s best friend Fall Warblers, thirty or so different spe- I’ve written here about a couple writers cies that all look alike, and whose plum- I admire, both of whom I met through my age is completely different at different wife Wendy who is their literary agent, times of the year? They don’t confuse and who edits their work. She has edited Kenn. And I’m fond of the accurate sci- many of our renowned and beloved entifi c birding term, LBJs. Translation? writers, and she works hard to keep me Little Brown Jobs. Ask Kenn. honest. Late one afternoon, I was walking During his “Big Year,” Kenn real- to her offi ce in Boston to meet her after ized that identifying birds is interesting work, and ran into one of her clients, an and fun, but not very meaningful if you admired juvenile judge—we had met don’t know anything about them. He has recently at a party. He was carrying his lat- observed, researched, and written about est manuscript in a shoe box, and said to the lifestyles and habits of all the species. me, “She’s given me so much work to do!” His book, Lives of North American Birds I’ve learned from Wendy the value of (Houghton Miffl in), looks like a refer- a good editor. And it has been a privi- ence tome, but it’s a wonderful read. And lege and pleasure to work with Jerome be aware of his presence over so many his fi eld guides are handy, interesting, Dr. Andrew White’s cartoon (reproduced Butera, editor of The Diapason. My fi le years. Take it from me that Jerome’s informative, and in a single paragraph with permission) shows that I wrote In the wind… for the contribution to the life and world of the description of a bird, Kenn inserts fi rst time in April of 2005. That makes modern American pipe organ is second humor, sarcasm, and simple pleasure I could feel his confi dence the moment this the one-hundredth issue of my col- to none, and the equal of any. Best of along with the facts. I met him. His professional manner was umn that has passed through Jerome’s luck and happiness to you, Jerome, and Sitting with Kenn at a dinner table, or both comforting and reassuring. He cer- hands. At 2,500 words a pop, that’s thanks for all your help. better yet, in the woods and fi elds or at tainly has studied his subject. I’m so glad 2,500,000 words, which is a lot of shovel- And welcome to Joyce Robinson, who the beach, I’m amazed and impressed by he didn’t think he’d be just be able to ing. Through all that, Jerome has worked has been there for years, learning the the depth of his knowledge, experience, “pick it up.” He’s given me my leg back. with me with grace, humor, friendship, ropes while sitting next to the master. and appreciation of his subjects. His name is Andrew White, and if you’ve and an occasional gentle jab. I value We’re looking forward to lots more fun. got trouble with your spine, you should and honor his judgment, guidance, and Best to you, Joyce, and many thanks. Doctor, Doctor, it hurts go see him. Tell him I sent you. support. Many of you readers may not Here’s hoping you have a fun ride. Q when I do this. I know, I know, don’t do that. In the June issue of The Diapason, I wrote about safety in the interior of pipe organs, and fi nished by describing the collapse of a 130-year-old ladder that dropped me six feet to land on my back—the experience that taught me once and for all that the older we get, the less we like falling. Oof! I described my encounter with EMTs, two of whom had grown up in that par- ticular church, and all of whom agreed North America’s Premier that my weight, when coupled with the Pipe Organ Building and Service Firms lack of an elevator, was an issue for them. (I had a similar experience after a vehicle accident in 1979, when an overweight female EMT grunted from her end of the The Pipe Organ stretcher, “J____ C_____, is he heavy!”) I wrote about an ambulance ride across the river from Cambridge to Boston, and Performance measured a long afternoon in the emergency room in centuries, not years (thanks to Wendy for that long and sup- portive sit), ending with the news that I An affordable had a cracked vertebra. investment in pipes That seemed to be healing well until a month later, when pain shot down my The sound that is often right leg and my right foot went numb. imitated - but never A herniated disc had pinched my sciatic duplicated nerve, and the shrill pain could have been described as stabbing, except for the fact that it was constant. It lasted The original “Green” four weeks. solution My current favorite encounter with deep skill and knowledge was my brief A “sound” financial relationship with an orthopedic surgeon investment at the Beth Israel Deaconess Medical Center, just blocks from our apart- ment. After an unpleasant visit with a specialist at another hospital, this was An asset to your my quest for a second opinion. The Worship Experience guy walked into the room looking like a & your Balance Sheet million bucks, dressed in a well-tailored suit and nicely matched, stylish, and BUILDERS SUPPLIERS colorful shirt and tie. He greeted me as ANDOVER LÉTOURNEAU A.R. SCHOPP’S though he cared how I felt, shared and BEDIENT NOACK HARRIS explained my X-ray and MRI images, BERGHAUS PARKEY IOTI BOND PARSONS SOLID STATE and then drew a terrifi c cartoon of “my” BUZARD PASI OSI spine, naming the vertebra, showing C.B. FISK PATRICK J. MURPHY PETERSON exactly the issue that was causing the CASAVANT FRÈRES PAUL FRITTS pain. Later when I was being prepped DOBSON QUIMBY GARLAND RANDALL DYER for surgery, one of the medical students GOULDING & WOOD SCHANTZ (my doctor is a professor at the Harvard HOLTKAMP SCHOENSTEIN Medical School) said that he is famous ODELL TAYLOR & BOODY for those drawings. KEGG The doctor assured me that the sur- gery was simple and predictable, and that I could expect the pain to diminish quickly afterwards. In fact, when I awoke APOBA.COM 800-473-5270 from anesthesia, the pain was gone. Sim- ply gone. And two hours later I walked out of the hospital.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 19 Interview

Robert Clark, Master Teacher An Interview

By Douglas Reed Robert Clark in high school, ca. 1948 Organ professor, University of Michigan

obert Clark taught at the University Douglas Reed: Thank you for this to you, but she edited several volumes of and opinionated to understand his Rof Michigan from 1964 to 1981, opportunity to talk. Please tell about Art Songs for School and Studio. In the breadth of knowledge and approach and at Arizona State University, Tempe, some of your early musical experi- 1930s, she conducted the Bach St. Matthew to teaching. He knew the tradition of from 1981 until his retirement in 1998. ences that shaped you as a musician. Passion at Grace and Holy Trinity Cathe- Widor and other European masters of One of his most noted achievements as Robert Clark: It began in kindergar- dral in Kansas City. During her long career, his era. Lessons were at Brick Presby- a performer was his recording, Bach at ten. In the classroom there was a mockup she was renowned in music education and, terian Church in New York City, where Naumburg, on the newly restored organ of a pipe organ that fascinated me. I surprisingly, convinced the administration there was an E. M. Skinner organ, built by Zacharias Hildebrandt in 1747, spent the entire playtime pretending I to include music in the daily curriculum of recently replaced. an organ tested and approved by J. S. was an organist. When I was about six the grade schools in Kansas City. That was 1953. Interestingly, I went Bach and Gottfried Silbermann. years old, I went behind the stage where to the other extreme with Ernest White, In the United States Clark served as things were going on at church [First What other things infl uenced you as who was known for playing as if the keys a consultant to many churches, and was Methodist Church, Fremont, Nebraska] a youngster? Did you study piano? were hot! He did not force his theories directly responsible for the building of and saw for the fi rst time a Universal Air Oh, yes. From the fourth grade until upon me and respected my individuality. the fi rst two modern mechanical action Chest of an Austin organ. I pushed the I fi nished high school, my teacher was I played a debut recital in his studio at organs in Arizona: Victory Lutheran fl ap that opens the door, and, of course, I Margaret Dietrich, who had been a pupil St. Mary the Virgin, and that’s probably Church in Mesa and Pinnacle Presbyte- noticed a great change in pressure. I was of Josef Lhévinne at Juilliard. Much of the only recital I played from memory rian Church in Scottsdale. He was also totally fascinated. the elegance and detail in his playing was without dropping a single note. advisor for the Richards & Fowkes organ transmitted from her to her students. at Westminster Presbyterian Church, You’ve mentioned motion or move- Believe me, she was a strong personality Ernest White had a series of studio Knoxville, Tennessee. ment training in school. and pushed me very hard at a time when organs, right? Clark has served on many juries for Yes. The term was not used, but it was I was quite lazy. Yes, this was the largest. It was up on organ competitions, including St. Albans pure Dalcroze eurhythmics involving step- Miss Dietrich would probably be 105 the second fl oor of St. Mary the Virgin. and the Grand Prix de Chartres. In 1992, bend, step-step-bend, making phrases with years old now, although I did see her when It was quite the thing; it was very contro- he received a plaque from the Central your arms, going in circular motion and in she was in her nineties after she and her versial and very well should have been! Arizona Chapter of the American Guild advanced cases, walking two steps against husband had moved to Flagstaff, Arizona. of Organists, inscribed “Master Teacher.” three bounces of the ball or vice versa. Dal- It was very good to see her again. She Tell us about other experiences that Clark recently moved from Cincinnati, croze eurhythmics was part of my training even told me I could call her Margaret! you had in New York. Ohio, to Houston, where his daughter, as early as fourth grade, as was moveable- While a student at Union Seminary, I Barbara, will continue her career as a Do solfège. My claim to fame was being Did you study the organ during that had many meaningful experiences. For teacher of voice at Rice University begin- able to hear and sing descending major time? example, I heard the New York debut ning in fall 2013. sixth and ascending minor third intervals. Yes, much to my piano teacher’s dis- of Jeanne Demessieux at Central Pres- On May 19 and 20, 2012, the author It was a very unusual public school sys- satisfaction (laughter), I did take organ byterian Church, the “Carnegie Hall” for spoke with Professor Clark at his home tem in Kansas City. I don’t know whether lessons. My fi rst piece was Song of the organists in those days. Quite a number in Cincinnati. the name Mabelle Glenn means anything Basket Weaver, one of the St. Lawrence of us went to hear Demessieux, and Sketches by Alexander Russell. I had my we all fell in love with her. She played fi rst church job when I was 14, playing a with very high spike heels, the type that two-manual and pedal Estey reed organ. would pull up a grate from the sidewalk! That’s when I became fascinated with Her pedal technique was built around A Precious Gift playing the famous Toccata by Widor. that. I heard her play her repeated-note etude for the pedals—with the spike from the Past Then you majored in organ in col- heels. Indeed! lege. What led to that? That’s what I wanted to do! I went to a One time, you mentioned the Lan- for the Present small school, Central Methodist College, glais Suite Médiévale in association in Fayette, Missouri, and from there to with your time in New York. Union Theological Seminary, where I Yes. I was possibly the fi rst student and the Future did my graduate study in the School of organist to play that work in the United Supremely beautiful and blendable Sacred Music. Orpha Ochse was one States. Messiaen was even more contro- tonal color – a Gift from the Venetian of my teachers at Central. I alternated versial. The fi rst piece I learned was the organ lessons between Orpha and Apparition de l’église éternelle. I wrote School of organbuilding, a monumental part of our Luther Spayde, who was a strict Dupré my master’s thesis on Messiaen and also JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH advocate. Orpha suggested many subtle- translated his Technique de mon langage SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN ties not otherwise available. She was also musical before the “offi cial” translation my fi rst-year theory teacher. became available. Intriguing? Let us build your dream. Did you study with N. Louise Wright Let’s talk more about your teach- and Opal Hayes at Central Method- ers. You’ve mentioned studying with ist College? Gustav Leonhardt. I certainly did. Miss Wright was one I knew him when he was not yet 30, of those very colorful, fl amboyant peo- on his fi rst trip to the United States. He ple who made you think you were bet- taught a course on performance practice ter than you were. Miss Hayes taught at a Union Seminary summer session. I Bach and technique, and Miss Wright had a few lessons on an organ that he dis- taught interpretation. liked and some harpsichord instruction. Builders of Fine Pipe Organs to the World All of a sudden it wasn’t a case of limiting Then you went from Central to New but of greatly enhancing the possibilities www.ruffatti.com York City? of what a performer could do. He had Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 I did. My fi rst teacher was Clarence an incredible stash of information about Dickinson. I was much too immature early sources. Being typically Dutch, he

20 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM What did you learn? speed of attack and release. I recom- I learned about the sensitive inter- mend A Guide to Duo and Trio Playing play between winding and touch, and by Jacques van Oortmerssen for compre- realized I could fi nd detail in the music hensive understanding of early fi ngerings that could not be found any other way. and their impact on articulation. Indeed, the fastest key action is not elec- tro-pneumatic. With a good mechanical Let’s talk more about teaching and action, the response is immediate, pro- learning. What are the three most viding complete contact with the instru- important things to consider when ment. Contrary to conventional wisdom, learning and performing a piece? many of the great European instru- Traditionally, we say “rhythm, rhythm, ments are not hard to play. Of course, and rhythm.” as the pallets become larger, the action becomes heavier. For example, with a How do you start an organ student? typical basse de trompette, the touch and Do you have a teaching method? speech of the lower notes affect timing Some of the older teaching methods and interpretation. This is as it should are outdated. So many deal with abso- be! It shouldn’t be all the same. I tell my lute silence and space, up and down, no students that the only “perfect” action give and take. Music doesn’t work that Phillip Truckenbrod publicity photo At Arizona State University that does everything consistently is the way. I don’t agree with the idea that we electronic organ! delay learning Bach until we understand could speak four different languages. So listening. After all, a pure legato or even historic fi ngerings. There’s one method in the class he would read something over-legato are types of articulation, but And when you’re playing with manu- that starts with some rather uninterest- off in the original language, and fi nally if one reads treatises like J. J. Quantz’s als coupled and a huge sound, you ing music of the Romantic era, but the it occurred to him that no one could On Playing the Flute, one learns how tend to play differently. student is not ready for Bach until he or understand what he was saying, so he wind players rehearsed. It was tonguing Of course. If you listen to my Naum- she knows how to use historic fi ngerings. began translating. that made a difference, and of course burg recording, the last variation of Who knows what is “historic” anyway?! We had many good experiences, listening to string playing makes a dif- Sei gegrüsset was played with all three Nobody has the same hand. Finger including a chance encounter one Sun- ference. Where does one change a bow? manuals coupled, and it becomes very lengths are different. The balance of day afternoon as I was taking the uptown These are all deviations from a pure grand. One plays quite broadly when the hand is different. I think just simple subway. We ran into each other on the legato. Even a seamless legato is a form the action is heavier, whereas the other things that are good music are the best way up to see the famous medieval com- of articulation and, in fact, harpsichord- variations call for a lighter registration way to start: Renaissance pieces, easier plex, The Cloisters. We had a very good ists deal with over-legato. and touch. In the partitas, particularly Bach, some pieces in the Orgelbüchlein. time doing that. He had a great deal of in Sei gegrüsset, there are also many It is not necessary to delay learning Bach. knowledge about medieval art. I simply How has the revival of mechanical things that relate directly to the playing Early and modern fi ngering should admired his whole approach to music action infl uenced your thinking? of string instruments. be included within modern teaching making, which was very elaborate. It has infl uenced my thinking entirely. Think of the difference between play- approaches, not as separate entities. My fi rst European trip came quite late, ing a violin and playing a cello or a gamba. When you say he opened up all kinds in 1977. I played many of the great I’m always very happy with students who In recent decades, there has been of possibilities rather than limiting organs in Europe. The organ at Kampen, have played a wind instrument or string a great deal of emphasis on early them, what exactly do you mean? the Netherlands, was the last organ I instrument or have had experience sing- fi ngerings. He spoke about different ways orna- heard in Europe before returning to the ing. Anyone wanting to be an organist You may be surprised, but since I ments could be played, places where you United States. The next day, I heard a should learn another instrument. came back from Europe, I’ve been would or would not play notes inégales— chiffy Positiv Gedeckt on the organ at almost exclusively into historic fi nger- all of the options open to the musician. Hill Auditorium and thought, “This will Can you speak more about singing? ings for early music. That doesn’t mean Would you play over-dotted, double- not do.” So, I found a way of getting to Articulation involves attack as well as always doing the same thing the same dotted, neither, or something in between? a tracker-action organ even though it release. If you were singing all legato, way, but there are times when paired I remember a subsequent class he wasn’t a very good instrument. Students there would be no consonants, no words. fi ngerings—3-4-3-4 ascending and 3-2- did at the University of Michigan. He would have lessons in an unheated It would be just one stream of sound, 3-2 descending in the right hand—work spent an entire session on about three church in the winter simply for this expe- which is vocally impossible. on a good sensitive instrument. The trio measures of music. It was the sarabande rience. And then I took many groups of sonatas include marked articulations that from the C-minor French Suite. He students and others down to the Ashland You’ve said, “Put a D or a T on that are very much related to wind and string talked very much about the expressive Avenue Baptist Church in Toledo, where note.” playing. For me, usually the marked nature of this: if we over-hold this, such the important Brombaugh organ, now Yes, but only on a good organ with articulation determines the fi ngering would happen, but if we don’t overhold, in Rochester, used to be. We learned a suspended mechanical action is that anyway. I tend to write slurs rather than something else will happen. I remember great deal from this opportunity. possible, because it has to do with the numbers in my music. something he told me in the early 1950s and which I strongly believe: dynamics PIPE-DIGITAL COMBINATIONS • DIGITAL VOICE EXPANSIONS • SOLUTIONS FOR OLD PIPE ORGANS are achieved by variations in touch and articulation and by rhythmic adjustment. Thanks to the success of the Did Leonhardt perform at that time? “Growing Into God’s Vision” Oh, yes! I heard him perform many times. I heard him perform the one and campaign at First United only time on an electro-pneumatic organ Methodist Church of Colleyville, at St. Thomas Church in New York City, Texas, the congregation is now and he said, “Never again!” And he didn’t. He commented on what a nice place singing with a new Rodgers this would be to have a fi ne mechanical Infinity 361. Dr. Jung Won Kim, action organ, and fi nally Taylor & Boody organist, was instrumental in the fulfi lled that dream. Leonhardt was also a very fi ne fortepianist, incidentally. two-year organ selection process. The speakers went in behind Are there other teachers or musi- cal experiences you would like to the pipe façade to create an mention? installation of both musical and One of my good experiences was visual beauty. The installation being a fellow judge at the Fort Wayne competition with Arthur Poister. He was was completed in June 2013 by very insightful and was usually right in Church Organ Gallery of Plano, his perceptions of the musical personal- Texas. ity and even gender of the competitors.

Let’s talk about Bach. I’m curious about how your perspective on Bach Rodgers invites you to call for details has changed over the years. You about new hybrid organ solutions. mentioned learning with the Dupré edition. What has happened? For more information, please contact We have reached a new level of Rodgers Marketing at 503-648-4181. www.rodgersinstruments.com understanding of articulation in terms of

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 21 Interview

What about conducting and singing Well, I studied with Dr. Dickinson one of my favorite organs, built by Paul a line? You’ve recommended the in 1952. How many years has it been? Fritts, one that I’d had a voice in design- Kirkpatrick edition of Scarlatti sona- We’re not doing anything the way we ing, and made “Bach on the Fritts.” And tas. He recommends walking. did 60 years ago. Airplanes are not the then “Bach and Friends on the Fritts.” Oh, yes. That’s very good basic read- same. Cars are not the same. The way There are seven recordings in all. I really ing. It’s an essay on rhythm in the fi rst we dress and the way we think are not had wanted to record on the Treutmann volume of the Schirmer edition of the the same. organ in Grauhof, but this was not pos- Scarlatti Sixty Sonatas edited by Kirk- sible because of the illness of my wife. patrick. That’s very good information. It’s You taught at the University of in a question/answer format. Question: Michigan for 17 years. Who were Speaking of the Fritts—after “How do I sense the shape of a phrase?” some of your closest colleagues at teaching at Michigan, you moved Answer: “By dancing it.” Learn the dif- Michigan? to Arizona State and taught for ference between rhythm and meter: My closest friend in the organ depart- 17 more years. It was during this meter is regular; rhythm is essentially ment was Bob Glasgow, who was an inspi- time that you led the creation of irregular. Rubato does exist in Baroque ration even though we were occasionally the new performance hall and the music but not exactly as in Chopin. Kirk- different in our approach. Another very Fritts organ. Could you speak about Do you have any particular memory patrick said, “Rhythm is the superimpo- dear friend was Ellwood Derr, who was that process? techniques? You mentioned using sition of irregularity upon regularity.” really a historian but taught music theory. That was a battle. In the fi rst place, solfège. He knew an incredible amount about nobody trusted that type of acoustic. Yes, I use solfège, but memory, like Dare we talk about the metronome? music in general, and you could go to It was not designed for piano recitals. doing anything else well, simply takes What you should do if you have a met- him with almost any question. Another The harpsichordists usually like it, but time and practice. I have no gimmicks ronome is to throw it in the dumpster. It colleague, John Wiley, was very much an everybody was concerned, “We’ve got whatsoever in memorization. It is an creates arithmetic, not rhythm. expert on Russian music. to deaden that some way or the other!” extension of the learning process. The At Arizona State University, Frank I don’t know how many suggestions were ultimate test is to be in a quiet room You’ve often mentioned continuo Koonce, the classical guitar teacher, and I offered. We fi nally made sort of a dual without scores, and being able to hear and the value of accompanying, became good friends. The late Bill Mag- system where drapes could be drawn every note in a performance the way working with other instrumentalists ers, the viola teacher, taught my daughter manually, and I used that very often in you want to hear it. And that’s the most and vocalists. and was recognized as one of the great teaching when the room was empty. secure way to memorize. Without this Working with other musicians, one viola teachers in the country. There are ability, one tends to rely entirely on a discovers many of the subtleties of articu- many other former colleagues including What led you to start that project? mechanical approach. lation derived from bowing and tonguing. Robert Hamilton, a noted pianist. Was there no good concert hall or I learned the hard way not to jump ahead teaching instrument at Arizona State? You have a nice selection of art- of one’s fellow musicians; you have to You have mentioned Louise Cuyler a All we had was an Aeolian-Skinner in work in your apartment. How listen to the breathing of the musician. number of times. Gammage Auditorium. It was one of the important is study of the other I would often jump ahead of the wind Yes. There are many stories about late, very thinly voiced Aeolian-Skinners. arts—the visual arts, even fi lm—for instrument player, and I’d be playing her. One time she brought to class a 78 But since the scalings were surprisingly a musician? before he completed taking a breath! recording of a Beethoven string quartet, large, it was revoiced and opened up A good example of Baroque per- Many organists have this panicky thing: which did not meet her standards. She quite a bit by Manuel Rosales. There was formance practice that few people “If I don’t get moving, it’s not going to go!” grabbed the shellac record off the turn- no substantial tracker organ available, mention lies in the art of Peter Paul You must leave space for breathing. Not table, tossed it into the waste basket, and except for a few old ones that were quite Rubens, whose works are among the every instrument is like the organ, where then went apologetically to the library. good up in the northern part of Arizona. fi nest Baroque paintings. They are full of you can have a continuous supply of wind. There is now a second Fritts in Tucson. motion, huge sweeps of the brush, and And what about Eugene Bossart? During our fi rst year of recitals, we great detail within those. A good place There has been a great resurgence Oh, he died recently at the age of had overfl ow audiences. Performances for any musician to visit would be the of interest in improvisation in the 94. He helped so many people. His few had to be played twice every Sunday, one Rubens gallery at the Louvre. American organ world. Can you detractors were poor musicians, as he at 2 pm and the other at 5 pm. There was speak about your views on improvi- demanded only the very best. And 99% great appeal among the musical public! Please talk about the sense of sation and how it relates to perfor- of the time, he got it. Yet, he was the motion as it relates to rhythm. Many mance in general? kindest person! I remember him calling Can you give some background on performances are very speedy and In our country we used to have maybe me once after I had played harpsichord the Orgelbüchlein edition that you metronomic, but without a sense of an annual “be nice to improvisation day” continuo for the St. Matthew Passion. and John David Peterson prepared? movement. and that was the beginning and the end He yelled on the phone, “Hello! Is this I visited the Stadtsbibliothek in East Well, Duke Ellington once said, “Man, of it. But in France, where the study of Marcel Dupré??” What he really liked Berlin, and the librarian there was very if it don’t got that swing, it ain’t music.” improvisation is obligatory, this begins in was the recitative regarding “The Veil American-friendly. In fact, he had trav- (laughter) childhood and continues throughout a of the Temple.” Yet, he could be super elled in the United States. I was allowed musician’s entire career. It’s not a thing critical and get away with it. to pick up the original manuscript of You have mentioned the term “lilt.” acquired quickly or easily. the St. Matthew Passion. It was like How does one achieve that? Particularly in music before the Let’s talk about your recordings, touching the Holy Grail! Luckily, the The harpsichordist Isolde Ahlgrimm Romantic era, improvisation was par particularly your experience at librarian mailed me a microfi lm of the had her students learn the steps for the for the course. But if Liszt and other Naumburg. Orgelbüchlein. I shared it with John, dances used in Bach’s keyboard suites. Romantic virtuosos were to play in a Jonathan Wearn, the British record- who was working on the same project. They would learn the choreography of modern-day academic setting, matters ing producer, was very particular in I might say that the Orgelbüchlein that the allemande, sarabande, the courante, would be quite different. recording. After the initial tapes were we prepared goes back to 1984, and it is and gigue in their various forms, bour- made, I spent several days with him an edition that needs to be revised—not rée, gavotte. This is a very good idea. These are some fairly major changes editing at his home in England. Many a great deal, though, because we were The more we can see things moving, from the Dupré method at Central of my recordings have some editing, dealing with the autograph, and there the better! Methodist! although my Clavierübung III recording are simply variants of the autograph that has almost none. need to be acknowledged.

Had you made any recordings ear- Were the Stasi after you in East Saving organs throughout lier in your career? Germany? No. The Naumburg recording got good Oh, yes! They were after any Ameri- America....affordably! notices, I thought, so I went back home to can. It was the typical situation where

Whole & Fast Half Sizes in 3 Widths Shipping!

Try our suede soles and experience the perfect combination of slide and grip on the pedals!

Mens & Unisex Women’s Mary Oxford $60.50* and up Jane $52.50* 1-800-621-2624 *plus postage foleybaker.com TOLL FREE: 1 (888) 773-0066 organmastershoes.com 44 Montague City Rd, Greenfield, MA 01301 USA

22 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM one saw a face in public and then two in Los Angeles and does technical brass conducted by William Revelli, days later that same face appeared work with pathologists. My daughter the only person I know who used the again. One time I was trapped inside the Susan lives in Oxford, Michigan. She moveable-Do system as I do. Wenzelskirche in Naumburg because I is Mrs. Music through the entire area didn’t know how to work the key, and a and manages the Rochester Michi- That was in Hill Auditorium? man came, speaking perfect English, to gan Symphony Orchestra. She’s a Yes. John David Peterson was at the explain how to turn the key. As a matter fine cellist and plays the piano. She piano, and Bill Moersh, a graduate of fact, the tower of that church is the sings and teaches maybe twenty or of the Berklee School in Boston, was highest point in the town, and the chief thirty students. the percussionist. spy looked out from there. She knew The twin of my son is Jill, who is everything that went on in that city, very focused and controlled with You’ve often mentioned Catharine including my presence! everything she does. At the beginning Crozier. After the big change I went to what’s of her career in New York, she won The first time I heard her, I think I called the Runde Ecke. This museum a grant from the Bosch Foundation. was 14 years old, and I was so moved showed many of their methods of interro- Then her husband was moved back to by that. She played the Roger-Ducasse gation, uniforms, and obscene paintings. Deutsche Telekom in Germany, and Pastorale. But I could not figure Every phone in the country was wired. she now works in an executive role in out what she did with the Brahms the famous tower in Bonn. Schmücke dich, because it was not In fact, at least two of my students have What were some of the musical expe- what was on the page, and of course, a background playing the accordion! riences you had in East Germany? What about Barbara? she played the chorale tune in the Sometimes these people can be very I had wanted to go to Stralsund to I could write a book about her. She’s pedal. I revered Catharine. She was a annoying or irritating, but they can be hear the organ there. The organist a singer, very gifted and very devoted perfectionist and had incredibly high brilliant musicians. was Dietrich Prost, and we hit it off to teaching at the Cincinnati Conserva- standards. Some of her interpretive Too much teaching is, “Me teach. You very well. His English was probably as tory. I wish she would perform more, ideas might be out of fashion today, do.” Or with some students, it is, “You defi cient as my German, but we under- because she is at the prime of her career but I love every inch of ground she play. I copy.” The most important thing stood each other; we got to the organ vocally. She knows how to communicate walked on! is to TEACH IMAGINATION! Q and without saying a word we agreed a song in an ever-positive stage pres- that there was something important ence. That would include eye contact, Are there other fi ne performers you Recordings by Robert Clark there. And he said, “You play like a gesture, and movement. admire? Bach and Friends on the Fritts. Cal- German!” “Du bist Deutsch!” We had Any of the fi ne violinists—Zino cante Recordings CAL CD 018. coffee and cake. Many of the musi- And your wife, Evelyn? Francescatti, Itzhak Perlman, Isaac Bach at Naumburg. Calcante Record- cians in local churches were eager to Evelyn was a singer. She studied at Stern. Rachel Podger and Andrew ings CAL CD 041. meet with Americans. Often we went Westminster Choir College and was a Manze, both fi ne Baroque violinists. Orgelbüchlein & More Works by for conversation, coffee, and cake. I good organist in her own right and also Pablo Casals. Fine pianists of any J.S. Bach. Robert Clark & John David remember being in one of the towns had a beautiful soprano voice. She was stripe. I like to hear good musicians Peterson at the Fritts Op. 12 in Organ near the border and the local organist busy raising the children, but made of any type. I like to hear good oboe Hall, Arizona State University, Tempe, was complaining, “Here we are only a a point of keeping a voice studio for players and good fl ute players. And of Arizona. Calcante Recordings CAL few kilometers from West Germany, many years. course, singers! CD 019. and we cannot see our closest friends Robert Clark Plays the Brombaugh and relatives!” What do you think of the combina- Finally, please give your perspective Organ, Op. 35 at First Presbyterian tion of organ and piano? on the current state of the organ Church, Springfi eld, Illinois. ARSIS Did you play any of the Silbermann We performed William Albright’s profession, especially regarding SACD 405. organs? Stipendium peccati for piano, organ, teaching and learning. Robert Clark Plays Organ Works from I think I played every one in exis- and percussion. David Craighead advised even his the Land of Bach. Calcante Recordings tence except one that wasn’t playing. most gifted students to be able to do CAL CD 034. In Crostau, they said, “The organist is Did you participate in one of the something else if necessary. Consid- Bach Clavierübung III. Calcante sick, and the organ is sick.” Strangely Seven Deadly Sins before that? ering the realities of today’s organ Recordings CAL CD 042. enough, one of the fi nest Silbermanns The preface of the score encourages world, is this anything but being hon- is the least known, in Pfaffrode. There all the performers to experience each of est, especially to students who dream Douglas Reed is the university organist and is some speculation that it might have the seven deadly sins—but not neces- about being on the back page of the a professor emeritus of music at the Univer- been the original Rückpositiv for the sarily together. So, we imagined walking organ journals? sity of Evansville, where he has taught since organ in Freiberg. out on stage pretending to be angry, There are teachers who attempt to 1975. He earned bachelor and master of music degrees from the University of Michigan, hamming it up, growling at each other, transfer their own prejudices to their where he studied with Robert Clark and Rob- What about Hildebrandt organs? shaking fi sts, and that sort of thing. We students. It is our duty to deal with gifted ert Glasgow. At the Eastman School of Music, You mentioned Naumburg. had a lot of fun imagining that, and students who are free to ask questions. I he earned the doctor of musical arts degree Oh, yes. That was before the restora- then we settled down and went out to can say that some of my best students are and the performer’s certifi cate as a student of tion and there was enough there that I perform. I also did a work for organ and ones who disagreed with me or others. Russell Saunders. could get an idea of what the original was like. Of course, the organ had been provided with electric action in the early 1930s, but there were enough original pipes left that I got a pretty good idea of EAST TEXAS PIPE ORGAN FESTIVAL the sound. Another colleague, Thomas Harmon, did quite a bit of research on that. The restoration didn’t take place November 10-14, 2013 until after the reunifi cation of Germany. Christian Mahrenholz was one of the leaders in promoting the restoration as Honoring the Life and Work of early as the 1930s. Roy Perry Did you go to Dresden on that trip? I went to the Katholische Hofkirche, Thirteen recitals now Holy Trinity Cathedral. We were told by the tourist guides, “Don’t go in on five Aeolian-Skinners there. Nobody’s there.” But we went in, and we met the organist, Dietrich Wag- with ner, who had lived through the infamous fi re in Dresden and told us all about that. Joby Bell, Charles Callahan, He was very friendly and made sugges- Ken Cowan, Isabelle Demers, tions on my playing—that I deal with Nathan Laube, Lorenz Maycher, the acoustic because I was playing too East Texas Pipe Organ Festival Bruce Power, Jason Roberts, Chandler Teague, legato. I sent him some editions of things P. O. Box 2069 not available in East Germany. So, that Kilgore, Texas 75663 Tom Trenney, Thomas Trotter, was good. Brett Valliant, Bradley Welch, We’ve been talking about all kinds of and special exhibits and presentations professional stuff. Would you like to www.EastTexasPipeOrganFestival.com honoring the life and career of talk about your family and their part [email protected] William Teague. in your life? I have four children and three grandchildren. My son, Robert, lives

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 23 Nineteenth-century Studies Franz Liszt and Johann Gottlob Töpfer A Fruitful Relationship in Weimar By Jens Korndörfer

Introduction he liked.10 Milton Sutter believes that During the travels of his virtuoso two of Töpfer’s early works for organ (the Altenburg, artist unknown, after C. Hoff- Alexander Winterberger, by Sergey years, Franz Liszt liked to try out and Fantasia in C and the Sonata in D, of mann, original 1859 (copyright Klassik Stif- Lvovich Levitsky even perform on various organs through- which the latter had been performed in tung Weimar) out Europe.1 However, it was only after a recital with Liszt’s and Töpfer’s works!) his move to Weimar in 1848 that he was “infl uenced Liszt to a certain extent in 1848), premiered both “Ad nos” and 8′ Spitzfl öte in regular contact with other organists2 that the fi rst version of the Prelude and “B-A-C-H”.18 Thus, he was Liszt’s most 8′ Gamba 4′ Octave and began to compose for the “pope of Fugue on B-A-C-H (1855) contains some important performer and was instrumen- ′ 3 4 Spitzfl öte instruments” —in fact, as Alan Walker material that seems to be an expansion tal in disseminating Liszt’s organ works 4′ Gamba points out, it is “unthinkable that Liszt of some of Töpfer’s ideas as expressed in with his recitals in Germany and Hol- 2′ Octave would have written his two organ master- the Fantasia and the Sonata.”11 land.19 Winterberger’s beginnings as an Cornet IV Mixtur IV pieces Ad nos, ad salutarem undam and Whereas Töpfer’s infl uence on Liszt’s organist are not entirely clear: Hintzen- Cymbal III Prelude and Fugue on B-A-C-H in any organ compositions cannot be ascertained, stern claims that he studied with Töpfer other environment than . . . Weimar.”4 there is more evidence for an infl uence in in Weimar (but does not give proof for Oberwerk As the Catholic Church in Weimar was the other direction. Töpfer’s three Choral his claim), whereas Holloway suggests 16′ Bordun 8′ Principal small and the organ—as well as ‘modern’ Fantasies (1859) can be considered the that he probably studied with Carl Ferdi- 8′ Schweitzerfl öte music (e.g., chromaticism)—unwelcome precursors of Reger’s compositions in nand Becker (1804–1877) in Leipzig and 8′ Hohlfl öte in the liturgy, Liszt became acquainted the same genre: the increased chromati- maybe also with Töpfer in Weimar.20 8′ Flauto traverso with a circle of Protestant organists, cism in these three pieces (compared to Christoph Bernhard Sulze (1829– 4′ Octave 4′ Gemshorn known as the Weimarer Organisten- earlier works by Töpfer), the quotation 1899) studied with Töpfer and became ′ 5 2 Octave kreis. The leading fi gure among the of the chorale in pianissimo just before his successor in the Stadtkirche in Wei- Mixtur V organists in Weimar was Johann Gottlob the hymnic fi nal in major in Jesu, meine mar.21 He arranged some of Liszt’s works Scharff III Töpfer (1791–1870), organist at the Freude (in exactly the same position as in and developed—together with Liszt—a 8′ Vox humana Stadtkirche, professor at the Lehrerse- Liszt’s “B-A-C-H”), and the connection new system of pedal notation (notes for Unterwerk minar in Weimar and—perhaps most of the different variations with thematic the right foot beamed up, for the left foot 8′ Principal importantly—a leading authority in interludes in all three fantasies (similar to beamed down).22 8′ Gedackt organ building in Germany. Mendelssohn’s Sonata No. 6 and Liszt’s 8′ Salicional 8′ Flauto dolce In this article, I will explore the pro- “Ad nos”) point towards an infl uence of The organs in Weimar (Stadt- ′ 12 8 Harmonikafl öte fessional relationship between Liszt and Liszt’s oeuvre on Töpfer’s late works. As kirche) and Denstedt 4′ Octave Töpfer. The mutual infl uence between Bähr points out, Töpfer did maintain his “Töpfer’s credentials as a teacher were 4′ Flauto dolce the two relates to four different areas: conservative style throughout his lifetime, impeccable, [but] his real claim to fame 2′ Octave Cornett III 1) Their direct relationship, including but he also was open to new infl uences was as an organ builder, a fi eld over which Mixtur IV knowledge and performance of and from eminent colleagues like Liszt.13 he exerted great infl uence.”23 Two of the infl uence on each other’s compositions; instruments that were built according to Pedal 2) Mutual students; 3) Organs that were Töpfer’s students and Liszt Töpfer’s ideas24 were very important to 32′ Untersatz 16′ Principal built according to Töpfer’s ideas and well During his 53-year-long tenure as Liszt as he used them for performances 16′ Violon known to Liszt; 4) Indirect infl uence on city organist and professor for organ at and teaching: the Trampeli/Schulze 16′ Subbas each other’s registrational practice. the seminary, Töpfer taught numerous organ (1812/1824) in the Stadtkirche in 8′ Principalbass German organists: three of them also Weimar and the Peternell organ in Den- 8′ Octave 25 8′ Violon Professional relationship became students of or collaborated with stedt (1859/60). 8′ Bordun 1 between Liszt and Töpfer Liszt. We can assume that through their 5⁄3′ Quint When Liszt fi rst arrived in Weimar, playing and in their discussions, they Peternell organ in Denstedt (II/19) 4′ Octave the older Töpfer was “fi rst skeptical and further familiarized the pianist Liszt with Cornett V Hauptwerk C–f′′′ 32′ Posaune hostile towards the progress instigated Töpfer’s ideas. 16′ Quintatön 16′ Posaune by Liszt. . . . Later he was honest enough The most important organist in Liszt’s 8′ Principal 8′ Trompete to admit that much nice and great music life, his editor and link to other organists 8′ Hohlfl öte 4′ Clarine has been created by the new direction.”6 as well as his close friend, was Alexander 8′ Viola da Gamba 14 4′ Octave That there was indeed a signifi cant Wilhelm Gottschalg (1827–1908). A 4′ Hohlfl öte The Weimar organ is considered to improvement in their mutual esteem student of Töpfer, Gottschalg became 3′ Quintfl öte be the “earliest example of [a] Ger- can also be witnessed by Liszt dedicat- the great pianist’s disciple when Liszt 2′ Octave man romantic instrument,”26 and is ing two of his arrangements for organ to accidentally overheard Gottschalg prac- Mixtur IV characterized by its full, warm sound Töpfer (Aus tiefer Not, BWV 38, in 1856 ticing one of Liszt’s organ arrangements Oberwerk C–f′′′ (dominance of foundation stops), the and Ich hatte viel Bekümmernis, BWV in Tiefurt and had technical diffi culties. 16′ Lieblichgedackt (from Co) ‘thunderous’ pedal, its quick response, 21, in 1860), Töpfer’s fi rst performance His low technical level also prevented 8′ Geigenprincipal and its expressive and poetic voices, of two compositions by Liszt (Psalm 23 Gottschalg from playing Liszt’s large- 8′ Lieblichgedackt which were praised for their Lieblich- 8′ Harmonika for soprano, harp, and organ, and Psalm scale organ works, but Liszt would teach ′ keit; however, it had neither a swell box 4 Geigenprincipal 27 137 for soprano, violin, harp, and organ him nonetheless (Orgelconferencen in 4′ Flauto dolce nor playing aids. in October 1859, on the same program Denstedt and Tiefurt in 1860) and rework The organ in Denstedt was designed were two pieces by Töpfer: his Sonata many of Gottschalg’s arrangements (for Pedal C–d′ for service playing and not for concert. 16′ Subbas in D Minor and the Nachspiel in C, example, the Pilgerchor from Wagner’s ′ However, the essential—and poetic— 7 15 16 Violon performed by Gottschalg and Buckel), Tannhäuser). Gottschalg’s Repertorium 8′ Principalbass foundation stops are there, and some of Liszt’s contribution of two pieces for (1869–75),16 a compendium of mostly 8′ Gedacktbass Liszt’s works can be performed on such a Töpfer’s ‘Jubelalbum’ in 1867 (Consola- nineteenth-century organ music (origi- smaller instrument.28 tion No. 4 in D-fl at and Hosanna: Choral nal compositions and numerous arrange- Couplers 8 II/I for Organ and Trombone), and other ments), contains twelve works by Liszt I/Ped Liszt’s registrational practice premieres of Liszt in Töpfer’s church that exhibit the ‘new spirit’: pianistic These two instruments (as well as the (Seligkeiten in 1859 and Psalm 18 in virtuosity, orchestral registration, and Calcantenwecker (wind signal) Ladegast organ in Merseburg), together 1861). In 1870, Liszt even led Töpfer’s constant connection to Bach are essen- with the organists Gottschalg and Win- 9 17 funeral procession. tial for Liszt’s view of the ideal organist Weimar, Stadtkirche (III/49) terberger, were of vital importance to Liszt owned several of Töpfer’s com- and his music. Liszt, as he would explore his (new) positions, including the Choralstudien The virtuosity that Gottschalg lacked Hauptwerk ideas for registration with them. As we ′ (edited and published by Gottschalg in was Alexander Winterberger’s 16 Principal shall see, this had repercussions for Töp- 16′ Quintatön 1871), a collection of Intonations, Pre- (1834–1914) strength: Winterberger, 8′ Octave fer, as he was either present at recitals ludes, Trios, and ‘Konzertsätze’, which one of the fi rst students of Liszt (since 8′ Gedackt that Liszt had prepared or—in the case

24 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM Liszt, BACH

Liszt and his students of Gottschalg—would hear his former student play in a different way. Numerous contemporary sources, like Gottschalg and von Bülow, tell us that Liszt had “little knowledge of local organ practice [and] was willing to experiment with registration,” that he was praised for his “brilliant registration, [and] his rich range of nuances in creating only soft tone colors,”29 and his amazing skill in the combination of stops and choice of registration, as well as in the alterna- Gottschalg’s signature (copyright Feijoo) tion of the four manuals in Merseburg.30 In short, “Liszt enjoyed using the full Notes resources of the instrument and . . . 1. Hermann J. Busch, “Die Orgel Men- delssohns, Liszts und Brahms,” in Proceedings had no time for the cautious, colourless of the Göteborg International Organ Acad- renderings of Bach’s works which then emy 1994, ed. Hans Davidsson and Sverker prevailed in Germany,”31 to the extent Jullander (Göteborg: Göteborg University, that—after the performance of “Ad nos” 1995), 237. For a list of Liszt’s performances on organs in Europe between 1823 and 1847, in Merseburg in 1855—“other organists, see James Dale Holloway, “Performance who grew up in the old tradition, and Convention and Registrational Practice in the who used to play a quarter of an hour Weimar Organ Works of Franz Liszt” (Seattle: long on the same registration, ranted University of Washington, D.M.A. disserta- and raved about this deconsecration of tion, 1998), 36. 32 2. Holloway, 40. the church organ.” 3. Martin Haselböck, Franz Liszt und die Töpfer, Grosse Concert Fantasie When Gottschalg played Bach’s Orgel, in Franz Liszt, Sämtliche Orgelwerke, Dorian Toccata and Passacaglia in Vol. X/b (Vienna: Universal Edition, 1998), 26. Ibid., 43. ——————. Franz Liszt und die Orgel. accordance with the teachings of Töpfer, 411. 27. Hermann J. Busch, “Die Orgelwelt In Franz Liszt, Sämtliche Orgelwerke. Vol. 4. Alan Walker, Franz Liszt: The Weimar Liszt answered: “Do you really believe Franz Liszts und die Klanggestalt seiner Or- X/a, b. Vienna: Universal Edition, 1998. Years 1848–1861, Vol. II (New York: Alfred A. gelmusik,” in Zur deutschen Orgelmusik des Hintzenstern, Michael von. “Der Kreis that Bach played these two compositions Knopf, 1989), 7. 19. Jahrhunderts, ed. Hermann J. Busch and evangelischer Kirchenmusiker um Franz continuously on the full organ? Never! 5. Michael von Hintzenstern, “Franz Liszt Michael Heinemann, 115–134 (Sankt Au- Liszt.” Musik und Kirche 3, no. 56 (1986): He was a far too great and sensitive und der Weimarer Organistenkreis,” in Das gustin: Butz, 1998), 104f. Busch, “Die Orgel 120–125. Weimarer Schaffen Franz Liszts und seine artist!”—and they reworked the piece, Mendelssohns, Liszts und Brahms,” 238. ——————. “Franz Liszt und der Wei- Ausstrahlung auf die Weltmusikkultur, ed. 28. Busch, “Die Orgelwelt Franz Liszts und marer Organistenkreis.” In Das Weimarer making use of Liszt’s “fantastic sense for Uta Eckardt and et al., 140–152 (Weimar: Der die Klanggestalt seiner Orgelmusik,” 114f. Schaffen Franz Liszts und seine Ausstrah- sound.” Gottschalg reports exactly the Arbeitskreis, 1987), 141ff. Hintzenstern, “Franz Liszt und sein ‘legend- lung auf die Weltmusikkultur, edited by same chain of events for his playing of 6. Ibid., 144. arischer Kantor’,” 116. Uta Eckardt and et al., 140–152. Weimar: 7. Ibid., 144f. 29. Holloway, 48, 160. Der Arbeitskreis, 1987. the Toccata in D. He later played all of 8. Holloway, 44. these pieces in the ‘new way’ for Töpfer, 9. Hintzenstern, “Franz Liszt und der Wei- 30. Haselböck, Franz Liszt und die Orgel, ——————. “Franz Liszt und sein ‘legend- who endorsed the new approach whole- marer Organistenkreis,” 145. Vol. X/a, 71. arischer Kantor’: Zur Zusammenarbeit mit 10. Ibid., 143f. 31. Walker, 159. Alexander Wilhelm Gottschalg.” Musik und heartedly and urged Gottschalg never to 32. Martin Haselböck, “Franz Liszt als Kirche 3, no. 56 (1986): 115–120. 33 11. Quoted in Holloway, 45. play in the old-fashioned way again. 12. Hans-Peter Bähr, “Im Schatten Liszts: Orgelkomponist,” Musik und Kirche 5, no. 56 Holloway, James Dale. “Performance Con- Interestingly, Töpfer indicates a cre- Johann Gottlob Töpfer,” in Zur deutschen Or- (1986), 218. vention and Registrational Practice in the scendo by adding stops in two of the fi nal gelmusik des 19. Jahrhunderts, ed. Hermann 33. Haselböck, Franz Liszt und die Orgel, Weimar Organ Works of Franz Liszt.” J. Busch and Michael Heinemann, 209–217 Vol. X/b, 441f. Seattle: University of Washington, D.M.A. movements of the three chorale fanta- 34. Bähr, 193. dissertation, 1998. 34 (Sankt Augustin: Butz, 1986), 193ff. Hollo- sies. This could very well be another way, 45, 275. 35. Holloway, 162. Walker, Alan. Franz Liszt: The Weimar Years infl uence of Liszt and his novel usage of 13. Bähr, 195. 36. Ibid., 276. 1848–1861. Vol. II. New York: Alfred A. the organ on the older Töpfer. 14. Michael von Hintzenstern, “Der Kreis Knopf, 1989. evangelischer Kirchenmusiker um Franz Bibliography Conclusion Liszt,” Musik und Kirche 3, no. 56 (1986), Bähr, Hans-Peter. “Im Schatten Liszts: Johann Jens Korndörfer is organist at First Pres- 120. General discussion in Michael von Hint- byterian Church in Atlanta, Georgia. He During the thirteen years that Liszt Gottlob Töpfer.” In Zur deutschen Orgel- zenstern, “Franz Liszt und sein ‘legendarisch- musik des 19. Jahrhunderts, edited by Her- has published articles in English, French, spent in Weimar, Töpfer and Liszt gradu- er Kantor’: Zur Zusammenarbeit mit Alexan- mann J. Busch and Michael Heinemann, German, and Russian music journals. He has der Wilhelm Gottschalg,” Musik und Kirche ally overcame their initial skepticism and 209-217. Sankt Augustin: Butz, 1986. performed widely, including at Westminster 3, no. 56 (1986): 115–120. Busch, Hermann J. “Die Orgel Mendels- learned to appreciate each other. Com- 15. Haselböck, Franz Liszt und die Orgel, Abbey in London, Notre Dame Cathedral in mon students and the usage of the same Vol. X/b, 311, 438. sohns, Liszts und Brahms.” In Proceed- Paris, the Minster in Ulm, Suntory Hall and 16. Holloway, 49ff. ings of the Göteborg International Organ Metropolitan Art Space in Tokyo, Kyoto Con- instruments provided a fruitful platform Academy 1994, edited by Hans Davidsson for mutual exchange in their ideas on 17. Michael Gailit, Julius Reubke (1834– cert Hall, St. Thomas Aquinas in Boston, St. 1858): Leben und Werk (Langen: Günter and Sverker Jullander. Göteborg: Göteborg organ composition and registration. University, 1995, 235–250. James Cathedral in Toronto, and Notre Dame Lade, 1995), 44. Haselböck, Franz Liszt und Basilica in Montreal. Especially in the latter area, there can die Orgel, Vol. X/b, 436. ——————. “Die Orgelwelt Franz Liszts be little doubt that Liszt’s new approach 18. Gailit, 32. und die Klanggestalt seiner Orgelmusik.” Jens Korndörfer holds degrees from the to the organ’s dynamic and expressive 19. Holloway, 275. In Zur deutschen Orgelmusik des 19. Jahr- Bayreuth Conservatory (Church Music 20. Hintzenstern, “Franz Liszt und der Wei- hunderts, edited by Hermann J. Busch Diploma in 2004), the Paris Conservatory possibilities—“guided by the spirit, not and Michael Heinemann, 115–134. Sankt 35 marer Organistenkreis,” 145. Holloway, 60. (Organ Diploma in 2007, studio of Olivier the letter of the law” —convinced the 21. Holloway, 64. Augustin: Butz, 1998. Latry and Michel Bouvard), the Oberlin Con- Gailit, Michael. Julius Reubke (1834–1858): representative of the old “Thuringian 22. Hintzenstern, “Franz Liszt und der servatory (Artist Diploma in 2009, studio of Weimarer Organistenkreis,” 149f. Haselböck, Leben und Werk. Langen: Günter Lade, Organo Pleno tradition for the works of James David Christie), and McGill University 36 Franz Liszt und die Orgel, Vol. X/b, 405. 1995. Bach” to reconsider his position and to 23. Walker, 159. Haselböck, Martin. “Franz Liszt als Orgel- in Montreal (D.Mus. in 2013, studio of Hans- incorporate a gradual crescendo in his 24. Holloway, 78ff. komponist.” Musik und Kirche 5, no. 56 Ola Ericsson, John Grew, and William Porter). later works. Q 25. Stoplists in ibid., 105, 108. (1986): 215–218. His website is www.jenskorndoerfer.com.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 25 Cover feature

Orgues Létourneau Limitée, Saint-Hyacinthe, Québec Opus 125 St. Paul’s Episcopal Church, Murfreesboro, Tennessee

From the builder Whether organbuilder or organist, most of us savor the process of plan- ning for a grand instrument with four or fi ve manuals, multiple 32′ stops, and an extravagant Solo division on heavy wind. But such projects are rare; the develop- ment of more modest instruments is undoubtedly a greater exercise of an organ builder’s creativity. Pipe organs should be fl exible and colorful no matter what their size; playing even the smallest instruments—and listening to them— should always be a rewarding experience. Each Létourneau instrument is care- fully planned to sit comfortably within its surroundings, not just in terms of its physical size but also in the organ’s tonal inclinations. The pipe organ must be a powerful and expressive tool in the church’s music ministry, so it is hardly unusual to develop and later tweak an organ’s specifi cation to a denominational liturgy or a specifi c repertoire the organ needs to serve. The instrument at St. Paul’s Episcopal Church in Murfrees- boro, Tennessee, is an example of these Opus 125 in the chancel of St. Paul’s Episcopal Church (photo credit: Fant Smith) sentiments in practice, with the result that our Opus 125, a small but uncom- The Swell division is centered behind rich Great 8′ Open Diapason. Out of led to us being a frontrunner in their monly capable pipe organ, fi ts seamlessly the façade where it addresses the 23 ranks in the manuals, some 13 ranks selection process. George Carlson gra- into its new home. room fully; the individual swell shades play at 8′ or 4′ pitches. Both manual ciously volunteered hours of his time 3 From our fi rst meetings with the are 1 ⁄4 inches thick, and, coupled to a divisions have mild 16′ fl ue stops that to serve as our man on the ground in organ committee at St. Paul’s, it was responsive mechanism, the Swell offers are duplexed to the Pedal; the Swell Murfreesboro, and we know the organ’s clear this dynamic group put a high value a tremendous dynamic range. The low- 16′ Bourdon has a particularly gentle installation was accomplished in record on music and quality. The parish itself est octave of the 16′ Bassoon is sited at and effective character. The presence of time in no small part due to his tireless observed consistent growth throughout ground level underneath the Swell, but two 8′ trumpet stops in the specifi cation coordination. Vestry member and choir the twentieth century and the church’s its full-length resonators rise up such permits a choice in dynamic and color, member Wendi Watts was another facilities expanded commensurately, that the pipes speak into the Swell box. with the bolder Great 8′ Trompette liv- tremendous supporter of the St. Paul’s culminating in the dedication of a new Meanwhile, the Great division is divided ing up to its French nomenclature. The organ project, whose steadfast resolve sanctuary in 2002 with seating for 300 into two chests—C and C# sides—on Pedal division is relatively modest, but to see it through was an inspiration to all people. For the sanctuary’s opening, the either side of the Swell, where its ele- with a number of intelligently borrowed of us. Finally, the Rev. Polk Van Zandt parish’s aging M. P. Möller unit organ vated position and the Swell sidewalls stops and elegant balancing between listened to the church musicians’ and was relocated, though it was clear this actively direct sound down the nave. the ranks, there is always more than one parishioners’ hopes for a new instru- was a stopgap solution. The little Möller Like the Swell 16′ Bassoon, the Great choice to balance the manual registra- ment to enhance worship and to provide was out of its depth, and as the church’s 8′ Trompette’s Pedal extension, the 16′ tions. Equally, the Pedal’s traditionally new ministry opportunities. Without his organ committee recognized, it needed Trombone, features full-length resona- dominant role in tutti combinations is invaluable support, the campaign for to be replaced with a larger instrument tors for superior tone. pleasingly fulfi lled. the new organ would never have been properly scaled for the worship space. As with the parish itself, it was a The organ is played from a two-man- achieved so readily or in such a short Sitting in an apse-like space at the joy to get to know and work with the ual console, with terraced stopjambs that period of time. front of the sanctuary, the new organ’s church’s director of music, Angela Tipps. combine a comfortable playing position In closing, organists and organbuilders casework was designed to complement A student of the legendary Dr. Wilma with excellent visibility. The console is alike get periodically swept up in empha- the surrounding architecture and fur- Jensen, Angela is Professor of Organ at built with a rigid internal structure and sizing the number of stops or ranks in a nishings, while displaying some infl u- Middle Tennessee State University and casters to enable mobility within the pipe organ rather than the instrument’s ences from the organ cases of Hook & is the founding director of the acclaimed church’s chancel area. It features a com- essential musical character. Like our cli- Hastings. The polished tin façade pipes Nashville Chamber Singers. Our discus- plete system of divisional and general ents, we are pleased that our pipe organ are taken from the bass of the Great 16′ sions focused on how we could extract pistons with 256 levels of memory and a for St. Paul’s Church has proved to be Violonbass in the central fl at, while the maximum fl exibility out of a small instru- general piston sequencer. as fl exible and colorful as anyone could basses of the Great and Pedal 8′ princi- ment, and a collective decision was made No successful organ project is the hope. Opus 125 stands as a testament to pals fi ll in the outer two fl ats. The instru- early on to build the organ with electro- product of one person or one company, the faith and vision of St. Paul’s parish; ment is located immediately behind the pneumatic windchests. This cleared the and Opus 125 was no exception. We we are collectively delighted that this church’s choir, and one of our goals with way for the limited number of borrow- were assisted at every turn by the good instrument has so quickly established the organ’s internal layout was to keep ings and extensions between and within people of St. Paul’s Episcopal Church, itself as a key component in St. Paul’s as much of the organ above impost level divisions respectively. and we would be remiss if we did not music ministry. as possible. Not only does this help the The result of our discussions is a stop- single some of them out for thanks. —Fernand Létourneau, President organ project sound unimpeded down list with a wide variety of foundation Ed Rogers was a key member of the —Andrew Forrest, Artistic Director the nave, but it equally spares the choir tone ranging from the delicate Swell 8′ organ committee and did much of the —Dudley Oakes, Vice President for Sales from exposure to excessive decibels. Bourdon to the keen Swell strings to the research and stoplist evaluations that Orgues Létourneau Limitée

Orgues Létourneau Limitée, Opus 125 St. Paul’s Episcopal Church, Murfreesboro, Tennessee

GREAT (85mm wind) SWELL (expressive, 80mm wind) PEDAL Full complement of inter- and intramanual 16′ Violonbass 61 pipes 16′ Bourdon (wood) 61 pipes 32′ Resultant (derived from 16′ Subbass couplers 8′ Open Diapason 61 pipes 8′ Gamba 61 pipes and 16′ Bourdon) Electro-pneumatic windchests 8′ Spindle Flute 8′ Voix Celeste (from G8) 54 pipes 16′ Subbass (C1–B24 wood) 61 pipes 8′ Bourdon 12 pipes (wood, 100mm wind) 32 pipes 21 independent stops 8′ Violoncello 12 pipes 4′ Principal 61 pipes 16′ Violonbass (Gt) 26 ranks 4′ Principal 61 pipes 4′ Traverse Flute (harmonic) 61 pipes 16′ Bourdon (Sw) 1,459 pipes 4′ Open Flute 61 pipes 2′ Octavin (harmonic) 61 pipes 8′ Principal (100mm wind) 32 pipes 1 2′ Fifteenth 61 pipes 1⁄3′ Larigot 61 pipes 8′ Violoncello (Gt) 1 1⁄3′ Mixture II–IV 213 pipes 16′ Bassoon-Oboe (full length) 61 pipes 8′ Bass Flute (from Subbass) 12 pipes 2 2⁄3′ Cornet III (F18 to F54) 111 pipes 8′ Trumpet 66 pipes 4′ Choral Bass (85mm wind) 32 pipes 8′’ Trompette 66 pipes 8′ Oboe 12 pipes 16′ Trombone (from Gt 8′ Trompette, full length) 12 pipes 16′ Bassoon-Oboe (Sw) 8′ Trompette (Gt)

26 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM St. Paul’s Episcopal Church Console

Panoramic view of sanctuary

From the organist/director of music The parish received some very gener- Opus 125’s story began more than ten ous donations to its small organ fund, years ago, when the parish of St. Paul’s and this helped the vestry decide to use built a new worship space. The congrega- these donations as seed money for a new tion had outgrown what is now our chapel, instrument rather than simply repair the and a lovely nave with excellent acoustics Möller. Within a matter of months of was completed in 2002. Funds for a new launching a new pipe organ campaign, organ were not included in the capital the entire amount was pledged—and campaign, however, so the six-rank M.P. all this in the worst economy since the Möller Artiste from the old worship space Great Depression! was moved into the nave. Needless to say, By the end of 2011, the contract the instrument simply could not keep up! was signed and Opus 125 was being When I became the organist and built. The excitement was palpable as director of music in 2004, the senior war- Andrew Forrest regularly sent pictures den of our vestry asked what our options of the progress from the shop. Every were regarding adding to or replacing the few weeks the congregation was greeted current organ. We obtained a proposal in the narthex by pictures of its newest View from the nave from a builder in our state to renovate member. We were also fortunate to have and augment “Ethel” (as the Möller had choir member George Carlson volun- is what makes Opus 125 such a won- of Opus 125 completes the vision of the now been named by the choir) and even teer to serve as project manager. An derful instrument. With only 26 ranks, “new” nave of 2002. at a very reasonable $150,000, rebuilding ex-Marine, ex-engineer, and ex-verger certain stops had to play dual roles: the From the beginning, I wanted an Ethel proved too much for the vestry to in the Episcopal Church, George was Great 8′ Open Diapason had to serve as organ that could do three things: lead add to an already tight budget. It seemed the perfect person to prepare the site a solo stop as well as the foundation of congregational singing, accompany cho- as if an organ project of any kind was out for installation. the principal chorus. Likewise, the Swell ral anthems, and play a wide variety of of the question. On Tuesday, June 19, 2012, the huge 8′ Oboe had to be used as a solo stop as solo organ repertoire. The Létourneau It was the determination of Ed Rog- truck containing Opus 125 arrived from well as a light ensemble reed for choral team accomplished all three goals, ers, a choir member who is also an expe- Canada. More than 50 congregation accompanying. To me, that is the beauty with only 26 ranks. As Wilma Jensen rienced organist, who kept the momen- members met in the parking lot to help of this instrument: each stop maintains said when she was preparing to assist tum going. He knew exactly what kind of unload. After a prayer—in French and its own character while still being part of with the dedication service, “This is a sound I had in my head and set to work in English—everyone from age eight to an ensemble sound. very fl exible instrument, which should to fi nd a good match. Ed spent countless over 80 carried in those precious pipes. It has been a whirlwind year for St. accommodate the many needs of the hours listening to examples from build- It was a great day in the life of St. Paul’s. Paul’s. From the dedication service with Episcopal liturgy quite well.” Of course, ers’ websites and even visiting churches It seems that the instrument was Bishop John Bauerschmidt celebrating she is absolutely right; I could not have on his own to narrow the fi eld. assembled in no time at all, and we the Eucharist and my teacher Wilma asked for better variety or a more ver- Ed quickly settled on Létourneau all became very attached to Michel, Jensen accompanying the anthems, to a satile instrument. Colleagues who play as the right builder for St. Paul’s and Michel, and Eric from Létourneau. Nashville AGO program for organ and Opus 125 consistently mention the lush took several of us to visit the Abbey of They were very cordial in allowing instruments featuring my colleagues from strings, the soaring fl utes, and the warm Gethsemani, a Trappist monastery near congregation members to watch, and Middle Tennessee State University, to the 8′ principal around which the organ is Bardstown, Kentucky; Christ United even let our rector install the last piece! dedication recital by Sewanee’s Dr. Robert built: all the sounds I fell in love with Methodist Church in Louisville; and The tremendous care and craftsman- Delcamp—all have been well-received many years ago. Beeson Divinity School at Samford Uni- ship with which this instrument is built by our parish and community. We even —Angela Tipps versity in Birmingham, Alabama. Each is remarkable: it’s as beautiful on the hosted two organ crawls for children: one Organist and Director of Music of these instruments was very different, inside as it is on the outside. on the eve of the dedication service for the yet just right for their spaces. I fell in The voicing process completely families of our parish, and another during Cover and page 26 photos by Fant love with their common denominators: amazed me. The skill and tenaciousness the school year for our Cub Scout pack. Smith; other photos by Kenneth Stein, warm principals and lush strings. of the voicers to get just the right sound To the people of St. Paul’s, the installation www.photosbystein.com

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 27 New Organs

Russell Meyer & Associates Organ Builders, Bridgeton, New Jersey The Catholic Community of St. Charles Borromeo, Skillman, New Jersey The Catholic Community of St. Charles Borromeo is a large parish located in Skillman, New Jersey, seven miles north of Princeton, New Jersey. The building complex, which relies heavily on both modern and ancient stone and wood elements, was conceived by Monsignor Gregory E. S. Malovetz and designed by the architect Martin DeSapio. The 51,000-square-foot com- Positiv Spitzprincipal, Blockfl öte, Dolce, Celeste, Cromorne, Trompette Organ case corner detail plex includes a sanctuary space, which houses the new organ, a daily prayer of the sanctuary space. The detail in the chapel, ministerial offi ce space, meeting organ case mirrors the design elements rooms, a library, a large youth ministry found throughout the entire building complex, two large gathering spaces, and complex. The exposed façade is made of a great room, St. Francis Hall. The entire aluminum, with the largest pipes on the structure is modeled after a monastery left and right of the instrument and the design, where the entire complex sur- remaining pipework sloping to the cen- rounds a courtyard prayer garden. ter. This design refl ects the action of the The music ministry of St. Charles cantor’s arms when inviting the congre- Borromeo, under the direction of Tim gation to sing. As viewed from the front: Keyes, is an active part of the parish the Great division is located on the right, community, providing music for the the Positiv division is located on the left, large variety of weekly liturgical and and the Swell division, which is under paraliturgical celebrations. The entirely expression, is located in the center. volunteer ministry includes a 35-mem- The action is electro-mechanical. The ber parish orchestra, two parish choirs, state-of-the-art “Opus-Two” control sys- a high school youth choir, and a large tem is manufactured by Essential Tech- cantor staff. There are also numerous nology of Kanata, Ontario, Canada. The musical groups that support the fam- new moveable console was built by Steven ily catechesis program GIFT, women’s Van Name—a terrace design constructed ministries, and the Children’s Liturgy of of mahogany, with rosewood drawknobs the Word. set in bird’s-eye maple terraces. The Salvator Mundi (Latin for “Savior The new pipes were manufactured of the world”) Pipe Organ takes its name to Russell Meyer’s specifi cations and Movable console in front of organ façade from the painting by 19th-century British include 48 new aluminum façade pipes artist Sir Edward Coley Burne-Jones that made by Matters, Inc. of Hermosa, Church, Camden, New Jersey. The Spitz- Members of Russell Meyer & Associ- is featured in the center of the organ’s South Dakota, and 856 pipes (14 ranks) octave rank is from an organ that was in ates involved in the construction of the swell box. The original conte crayon imported from the Rieger-Kloss Com- Logan Memorial Presbyterian Church Salvator Mundi Organ include Russell and pencil on board, 2′ x 4′ painting is pany in the Czech Republic. in Audubon, New Jersey. The Chimes Meyer, Adam Bojaciuk, Eric Nyman, owned by the Brooklyn Museum in New The recycled pipes come from a vari- were previously installed in St. Andrew’s Steven Van Name, James Murray, York. Special permission was obtained ety of sources: 427 pipes (7½ ranks) come Episcopal Church in Trenton. Joseph Ritter, and James Holland, with by designer Meg Poltorak Keyes to from an organ (circa 1960) removed Three ranks come from farther away. installation assistance from Dave Milton, reproduce the painting and use it as part from the chapel/theatre of Sussex Com- The large wood pipes of the Subbass George Grover, Stephen McCarthy, and of the instrument design. The 4′ x 8′ munity College (formerly an Oblate were made by the Estey Organ Company Richard Sawicki. Assisting in the tonal reproduction is printed on archival linen, Friars Seminary) in Newton, New Jer- in 1925 for Patterson Memorial Pres- fi nishing were Brantley A. Duddy, Den- mounted to perforated quarter-inch sin- sey. Of these, two ranks were new when byterian Church in Dayton, Ohio. The nis Cook, and John Thomas. tra to allow for sound penetration, and installed in that organ: the Rohrfl öte and Bombarde and Trompette Harmonique Several members of St. Charles Borro- hangs by custom-designed, hand-forged the Trompette. The rest were recycled were manufactured in 1956 by the Reuter meo Church assisted in the installation, iron brackets from the Swell case top. ranks when installed in that organ and Organ Company for St. Mark’s United most notably music director Tim Keyes, The organ was constructed by the now range in age from 80 to 100 years old, Methodist Church, Baytown, Texas. Meg Poltorak Keyes, Dr. Harvey Smires, retired Russell Meyer & Associates of and include Geigen Diapason, Viole de And, fi nally, the copper pipes of and Nick Pavia. Also involved were Bridgeton, New Jersey. It comprises 27 Gambe, Nasongedeckt, Dolce, Dolce the Cromorne were manufactured numerous members of the youth min- ranks, totaling 1,735 pipes, of which 904 Celeste, and Lieblich Gedeckt. (The in Germany in 1972 by the Laukhuff istry, St. Charles staff, and parish volun- are new and 831 recycled, repaired, and Lieblich Gedeckt is identifi ed as origi- Company for one of the last organs teers. Special thanks are due to Kenneth revoiced from older instruments. Except nally having been made in 1927 for St. of the Aeolian-Skinner Company and Knieser for his efforts toward the dona- for two wind regulators in the Swell Peter’s Episcopal Church in Mountain installed in Hughes Hall Auditorium tion of the Sussex pipe organ, the contin- division, which were rebuilt by Meyer Lakes, New Jersey.) of Ohio State University in Columbus. ued support of Monsignor Gregory E. S. & Associates, the entire mechanism and The Voix Celeste rank came from The recycled pipework was completely Malovetz, and all of the many generous structure is new. an organ in the Chapel of First United cleaned and revoiced to blend with the fi nancial donations that made this proj- The organ casework is constructed of Methodist Church of Millville, New new pipework. All the reed pipes were ect possible. red oak, fi nish stained by Meg Poltorak Jersey. The Hautbois (Oboe) was from an restored and revoiced by Trivo, Co., Inc. —Tim Keyes Keyes to match the interior woodwork organ in Holy Trinity German Lutheran of Hagerstown, Maryland. www.borromeo.org

Russell Meyer & Associates, Opus 12, 2009 St. Charles Borromeo Church, Skillman, New Jersey GREAT (unenclosed) SWELL (enclosed) POSITIV (unenclosed) PEDAL (unenclosed) 16′ Gedeckt Bass (common bass, Pos) 8′ Geigen Diapason* 61 pipes 8′ Spitzprincipal 12 pipes 32′ Untersatz (resultant) 8′ Open Diapason 61 pipes 8′ Rohrgedeckt* 61 pipes 8′ Nasongedeckt* 61 pipes 16′ Open Diapason 12 pipes 8′ Spillgedeckt* 12 pipes 8′ Viole de Gambe* 73 pipes 8′ Dolce* 61 pipes 16′ Subbass* 32 pipes 8′ Dolce (Pos) 8′ Voix Celeste CC* 73 pipes 8′ Dolce Celeste TC* 49 pipes 16′ Lieblich Gedeckt* 12 pipes 4′ Octave 61 pipes 4′ Geigen Octave* 12 pipes 4′ Spitzoctave* 61 pipes 8′ Octave 32 pipes 4′ Spillflöte 61 pipes 4′ Rohrflöte 12 pipes 4′ Blockflöte 61 pipes 8′ Bourdon* 12 pipes 2 2 2⁄3′ Twelfth 61 pipes 2⁄3′ Nazard 7 pipes 2′ Blockflöte 12 pipes 4′ Choral Bass 12 pipes 1 2′ Fifteenth 61 pipes 2′ Kleinflöte 5 pipes 1⁄3′ Larigot 4′ Blockflöte (Pos) 1 3 2 1⁄3′ Mixture III 183 pipes 1⁄5′ Tierce TC 39 pipes 1′ Sifflöte 2 ⁄3′ Rauschquint II (Gt) 8′ Trompette (Sw) 2′ Plein Jeu III 183 pipes 8′ Cromorne* 61 pipes 32′ Grand Cornet VII (derived) 4′ Clairon (Sw) 16′ Contre Trompette* 12 pipes 8′ Trompette Harmonique** 61 pipes 16′ Bombarde* 12 pipes Chimes* 25 tubes 8′ Trompette* 61 pipes Tremulant 16′ Contre Trompette (Sw) 16′ Swell to Great 8′ Hautbois* 61 pipes 16′ Swell to Positiv 8′ Trompette (Sw) 8′ Swell to Great 4′ Clairon 12 pipes 8′ Swell to Positiv 4′ Cromorne (Pos) 4′ Swell to Great Tremulant 4′ Swell to Positiv 8′ Great to Pedal 8′ Positiv to Great 16′ Swell to Swell Zimbelstern (prepared for) 8′ Swell to Pedal 4′ Swell to Swell 4′ Swell to Pedal 8′ Positiv to Pedal * indicates recycled ranks ** includes 17 new pipes

28 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM 2013 Summer Carillon Concert Calendar Bert Adams, FAGO PATRICK ALLEN Park Ridge Presbyterian Church By Brian Swager Park Ridge, IL GRACE CHURCH Allendale, Michigan Kennett Square, Pennsylvania Pickle Piano & Church Organs NEW YORK Grand Valley State University, Cook Caril- Longwood Gardens, Sundays at 3 pm Bloomingdale, IL lon, Sundays at 8 pm August 4, Daniel Kehoe August 4, Helen Hawley August 18, John Widmann August 11, Jeremy Chesman August 25, Gordon Slater August 18, Julianne Vanden Wyngaard September 1, Ellen Dickinson Christopher Babcock September 8, Janet Tebbel Austin, Texas September 15, Doug Gefvert University of Texas, Kniker Carillon St. Andrew’s by the Sea, Lincoln, Nebraska August 18, Austin Ferguson, 4 pm Hyannis Port First-Plymouth Congregational Church Belmont, North Carolina Saturdays at 6:15 pm First Presbyterian Church August 10, Brent Shaw August 25, Mary McFarland & Joseph Mariemont, Ohio GAVIN BLACK Vaughan, 6:30 pm Mary M. Emery Memorial Carillon Dean W. Billmeyer Sundays at 7 pm Berea, Kentucky Princeton Early Keyboard Center August 4, August 18, September 2 (2 University of Minnesota Berea College pm), Richard D. Gegner 732/599-0392 August 5, John Gouwens, 6:30 pm August 11, September 1, Richard M. Minneapolis 55455 • [email protected] www.pekc.org Watson Birmingham, Alabama August 25, Richard D. Gegner & Richard Samford University, Rushton Memorial M. Watson Carillon, Wednesdays & Thursdays at 4:30 THOMAS BROWN pm in August Middlebury, Vermont Byron L. Blackmore Stephen Brooks Knight, carillonneur Middlebury College, Fridays at 5 pm UNIVERSITY August 2, Phillipe Beullens Crown of Life Lutheran Church PRESBYTERIAN CHURCH Bloomfi eld Hills, Michigan August 9, Gordon Slater Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Christ Church Cranbrook, Sundays at 4 pm August 16, George Matthew Jr. (7 pm) 623/214-4903 ThomasBrownMusic.com August 4, Kipp Cortez August 11, Dick van Dijk Naperville, Illinois Naperville Millennium Carillon Kirk in the Hills Presbyterian Church Tuesdays at 7 pm JAMES DORROH, AAGO, PhD Sundays at 10 am & noon August 6, Gijsbert Kok DELBERT DISSELHORST August 11, Dick van Dijk August 13, Lisa Lonie & Janet Tebbel Saint Luke’s Episcopal Church August 20, Dick van Dijk September 1, Dennis Curry Professor Emeritus Samford University Birmingham, Alabama Centralia, Illinois New Haven, Connecticut University of Iowa–Iowa City Centralia Carillon, evenings at 6:30 pm Yale University, Yale Memorial Carillon Organ Consultant Organ Recitals August 31, Julianne Vanden Wyngaard Fridays at 7 pm August 2, Roy Lee September 1, Robin Austin August 9, Philippe Beullens September 2, Carlo van Ulft STEVEN EGLER JOHN FENSTERMAKER Central Michigan University Northfi eld, Vermont Chicago, Illinois Mt. Pleasant, Michigan Norwich University, Saturdays at 1 pm Artist in Residence TRINITY-BY-THE-COVE University of Chicago, Rockefeller Chapel August 3, Phillipe Beullens Sundays at 5 pm First Congregational Church August 10, Gordon Slater Saginaw, Michigan NAPLES, FLORIDA August 4, Gijsbert Kok [email protected] August 11, Lisa Lonie & Janet Tebbel Norwood, Massachusetts August 18, Dick van Dijk Norwood Memorial Municipal Building August 25, Wylie Crawford Mondays at 7 pm August 5, Gordon Slater STEPHEN HAMILTON Cohasset, Massachusetts August 12, Philippe Beullens WILL HEADLEE St. Stephen’s Episcopal Church August 19, Lee B. Leach recitalist–clinician–educator 1650 James Street Sundays at 6 pm Syracuse, NY 13203-2816 August 4, Gordon Slater Ottawa, Ontario www.stephenjonhamilton.com August 11, Philippe Beullens Peace Tower Carillon (315) 471-8451 August, weekdays, 11 am August 18, Lee Leach Owings Mills, Maryland Culver, Indiana Gary L. Jenkins McDonogh School, Fridays at 7 pm ANDREW HENDERSON, DMA Culver Academies, Memorial Chapel Caril- August 2, Buck Lyon-Vaiden Central Presbyterian Church lon, Saturdays at 4 pm Madison Avenue Presbyterian Church Director, Schmidt Concert Series August 31, September 28, John Gouwens Princeton, New Jersey New York, NY Carmelite Monastery Princeton University, Grover Cleveland Denver, Colorado Curator of Organs Tower, Sundays at 1 pm www.andrewhenderson.net Rose-Hulman Institute of Technology University of Denver, Williams Carillon August 5, Linda Dzuris Terre Haute, Indiana Sundays at 7 pm August 11, Doug Gefvert August 11, Jeff Davis August 18, Gordon Slater August 25, Joey Brink August 25, Lisa Lonie & Janet Tebbel September 1, Anton Fleissner Erie, Pennsylvania David Herman Penn State University, Smith Chapel Springfi eld, Missouri August 1, Philippe Beullens, 7 pm Missouri State University, Jane A. Meyer Trustees Distinguished Professor Emeritus of Music and University Organist Carillon, Sundays at 7 pm The University of Delaware Q [email protected] Gainesville, Florida August 11, Tin-Shi Tam University of Florida September 8, Jeremy Chesman August 18, Laura Ellis, 3 pm Storrs, Connecticut Glencoe, Illinois Storrs Congregational Church A Professional Card in Chicago Botanic Garden, Mondays at 7 pm August 25, Ellen Dickinson, 4 pm August 5, Gijsbert Kok The Diapason Valley Forge, Pennsylvania August 12, Lisa Lonie & Janet Tebbel Washington Memorial Chapel For rates and digital specifi cations, contact Jerome Butera August 19, Dick van Dijk Wednesdays at 7:30 pm 847/391-1045; [email protected] August 26, Wylie Crawford August 7, Daniel K. Kehoe September 2, Mark Lee August 21, Gordon Slater August 28, Doug Gefvert Jackson, Tennessee LORRAINE BRUGH, Ph.D. First Presbyterian Church, Jackson Memo- Victoria, British Columbia rial Carillon Netherlands Centennial Carillon Associate Professor August 24, Jackson Symphony Orches- Sundays at 3 pm, August tra with carillon, 6:45 pm Rosemary Laing, carillonneur University Organist Valparaiso University Valparaiso, IN Send items for Carillon News to www.valpo.edu Dr. Brian Swager, c/o THE DIAPASON 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025; 219-464-5084 [email protected] [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 29 CALIFORNIA LUTHERAN UNIVERSITY Calendar Visit The Diapason Kyle Johnson, DMA 4 SEPTEMBER website: This calendar runs from the 15th of the month University Organist Florence Mustric; Trinity Lutheran, of issue through the following month. The deadline 

r
LFKPIOT!DBMMVUIFSBOFEV Cleveland, OH 12:15 pm www.TheDiapason.com is the fi rst of the preceding month (Jan. 1 for Feb. issue). All events are assumed to be organ www.callutheran.edu 6 SEPTEMBER recitals unless otherwise indicated and are grouped Alan Morrison within each date north-south and east-west. •=AGO ; Providence United Meth- chapter event, • •=RCCO centre event, +=new organ odist, Charlotte, NC 7 pm dedication, ++= OHS event. Brian Jones KIM R. KASLING 7 SEPTEMBER D.M.A. Information cannot be accepted unless it Director of Music Emeritus specifi es artist name, date, location, and hour in Alan Morrison, masterclass; Providence St. John’s University United Methodist, Charlotte, NC 9:30 am TRINITY CHURCH writing. Multiple listings should be in chronological order; please do not send duplicate listings. Collegeville, MN 56321 BOSTON THE DIAPASON regrets that it cannot assume 8 SEPTEMBER responsibility for the accuracy of calendar entries. Ken Cowan; Fordham University Church, Bronx, NY 4 pm Christopher Betts; Washington National JAMES KIBBIE UNITED STATES Cathedral, Washington, DC 5:15 pm East of the Mississippi Vincent Dubois; Westminster Presbyte- The University of Michigan rian, Lynchburg, VA 4 pm Ann Arbor, MI 48109-2085 ORGAN CONSULTANT 16 AUGUST Alan Morrison, worship services; Provi- 734-764-1591 FAX: 734-763-5097 Ray Cornils; St. Saviour’s Episcopal, dence United Methodist, Charlotte, NC www.gabrielkney.com email: [email protected] Bar Harbor, ME 12:15 pm 8:30 am, 11 am Daryl Robinson; First Presbyterian, Ath- 17 AUGUST ens, OH 4 pm Gordon Turk; Ocean Grove Auditorium, David K. Lamb, D.Mus. A Professional Card in Ocean Grove, NJ 12 noon 10 SEPTEMBER Director of Music/Organist The Diapason Chelsea Chen; Daniel Chapel, Furman For rates and digital specifi cations, 18 AUGUST University, Greenville, SC 8 pm First United Methodist Church contact Jerome Butera Nick Capozzoli; St. Paul Cathedral, Rob McWilliam; Church of the Gesu, Columbus, Indiana 847/391-1045 Pittsburgh, PA 4 pm Milwaukee, WI 7:30 pm 812/372-2851 [email protected] Adam Detzner; Basilica of the National Shrine of the Immaculate Conception, 11 SEPTEMBER Washington, DC 6 pm Les Petits Chanteurs of Holy Trinity Ca- Paul Jacobs; Loyola University, Chica- thedral, Port au Prince, Haiti; St. John’s go, IL 3 pm Episcopal, Hagerstown, MD 7 pm Dick van Dijk, carillon; Rockefeller Me- Florence Mustric; Trinity Lutheran, morial Chapel, Chicago, IL 5 pm Cleveland, OH 12:15 pm John Chappell Stowe; Shrine of Our Lady of Guadalupe, La Crosse, WI 3 pm 12 SEPTEMBER Isabelle Demers; Church Street United 20 AUGUST Methodist, Knoxville, TN 7:30 pm Ray Cornils, with Kotzschmar Festival Brass; Cathedral of St. Luke, Portland, ME 13 SEPTEMBER ANDREW PAUL MOORE 7:30 pm Bruce Neswick; Cathedral of Christ the Erica Johnson; Old West Church, Bos- King, Lexington, KY 7 pm A.S.C.A.P. FELLOW, AMERICAN GUILD OF ORGANISTS ton, MA 8 pm CHRIST CHURCH 14 SEPTEMBER 345 SADDLE LAKE DRIVE 21 AUGUST Chelsea Chen & Lewis Wong, organ ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 Yun Kyong Kim; Methuen Memorial Mu- and violin duo; Ford Chapel, Allegheny sic Hall, Methuen, MA 8 pm College, Meadville, PA 2 pm Ralph & Marillyn Freeman; St. Paul Lu- Tom Trenney, masterclass; Myers Park theran, Neenah, WI 12:15 pm United Methodist, Charlotte, NC 10:30 am LEON NELSON DOUGLAS O’NEILL Bruce Bengtson; Sinsinawa Mound, Sinsinawa, WI 7 pm 15 SEPTEMBER Director of Traditional Music Cathedral of the Madeleine Vincent Dubois; Hendricks Chapel, Syr- Southminster Presbyterian Church Salt Lake City, Utah 24 AUGUST acuse University, Syracuse, NY 4 pm Pierre Zevort; Washington National Ca- Arlington Heights, IL 60005 [email protected] Gordon Turk; Ocean Grove Auditorium, 801/671-8657 Ocean Grove, NJ 12 noon thedral, Washington, DC 5:15 pm •Craig Cramer, masterclass; St. Rapha- John Peragallo III; Williamsburg United el’s Catholic Church, Naperville, IL 11 am Methodist, Williamsburg, VA 2 pm MARILYN MASON Tom Trenney; Myers Park United Meth- CHAIRMAN, DEPARTMENT OF ORGAN 25 AUGUST odist, Charlotte, NC 4 pm UNIVERSITY OF MICHIGAN Thomas Dressler; Round Lake Audito- David Arcus; Duke University Chapel, ANN ARBOR rium, Round Lake, NY 8 pm Durham, NC 5 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Russell Weismann; St. Paul Cathedral, David Higgs; St. John United Methodist, with awesome technique and a thrilling command of its daring writing.” Pittsburgh, PA 4 pm Augusta, GA 3 pm The American Organist, 1980 Benjamin LaPrairie; Basilica of the Na- Craig Cramer; Christ Church Cathedral, tional Shrine of the Immaculate Concep- Indianapolis, IN 4:30 pm tion, Washington, DC 6 pm Scott Montgomery; St. John the Evan- Wylie Crawford, carillon; Rockefeller gelist United Church of Christ, Collinsville, LARRY PALMER SYLVIE POIRIER Memorial Chapel, Chicago, IL 5 pm IL 3 pm •Craig Cramer; St. Raphael’s Catholic Professor of PHILIP CROZIER Church, Naperville, IL 4 pm 17 SEPTEMBER +Wesley Roberts; Campbellsville Uni- ORGAN DUO Harpsichord and Organ 26 AUGUST versity, Campbellsville, KY 12 noon 3355 Queen Mary Road, Apt 424 Thomas Dressler; Round Lake Audito- James David Christie; Alumni Hall, Indi- Meadows School of the Arts Montreal, H3V 1A5, P. Quebec rium, Round Lake, NY 2 pm ana University, Bloomington, IN 8 pm SOUTHERN METHODIST UNIVERSITY Canada 27 AUGUST 20 SEPTEMBER (514) 739-8696 Jonathan Schakel; Old West Church, Stephen Tharp; Cathedral Church of the Dallas, Texas 75275 Boston, MA 8 pm Advent, Birmingham, AL 7:30 pm Fax: (514) 739-4752 Musical Heritage Society recordings [email protected] 28 AUGUST 21 SEPTEMBER Michael S. Murray; Methuen Memorial Paul Jacobs, masterclass; Stambaugh Music Hall, Methuen, MA 8 pm Auditorium, Youngstown, OH 10:30 am Volodymyr Koshuba; Ocean Grove Au- ditorium, Ocean Grove, NJ 7:30 pm 22 SEPTEMBER Daniel Schwandt; St. Joseph Catholic Gail Archer; St. Joseph of Arimathea, Church, Appleton, WI 12:15 pm White Plains, NY 2 pm Stephen Steely; Sinsinawa Mound, Sin- Carol Williams; Camp Hill Presbyterian, sinawa, WI 7 pm Camp Hill, PA 4 pm Isabelle Demers; Trinity Lutheran, 31 AUGUST Reading, PA 4 pm WARREN D. HOOD II, DSM Gordon Turk; Ocean Grove Auditorium, Brian Mathias; Washington National Ca- Ocean Grove, NJ 12 noon thedral, Washington, DC 5:15 pm Organist and Director of Music John Gouwens, carillon; Memorial Cha- The Chenaults; Hayes Barton United Th e Historic Sharon Baptist Church pel, Culver Academies, Culver, IN 4 pm Methodist, Raleigh, NC 3 pm Christopher Houlihan; Forrest Burdette Baltimore, MD 21217 2 SEPTEMBER United Methodist, Hurricane, WV 3 pm Michael Stairs & Gordon Turk; Ocean Paul Jacobs; Stambaugh Auditorium, Grove Auditorium, Ocean Grove, NJ 7 pm Youngstown, OH 4 pm

30 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar BRUCE POWER Stephen G. Schaeffer Recitals – Consultations 24 SEPTEMBER 9 SEPTEMBER Organist Director of Music Emeritus Karen Beaumont; King’s Chapel, Bos- Larry Palmer, harpsichord and organ; Christ Church Cathedral ton, MA 12:15 pm Caruth Auditorium, Southern Methodist Cathedral Church of the Advent University, Dallas, TX 8 pm Houston Birmingham, Alabama 27 SEPTEMBER Gloriae Dei Cantores; Church of the 10 SEPTEMBER Transfi guration, Orleans, MA 7:30 pm James Welch, Dale Wood organ works; Peter Planyavsky, masterclass; Down- Samuelson Chapel, California Lutheran ROBERT L. town Presbyterian, Rochester, NY 1:30 pm University, Thousand Oaks, CA 7:30 pm Nicholas E. Schmelter Rhonda Sider Edgington; St. Paul Ca- Director of Music and Organist thedral, Pittsburgh, PA 8 pm 12 SEPTEMBER SIMPSON Larry Palmer, demonstration of 1762 First Congregational Church Christ Church Cathedral 28 SEPTEMBER Oldovini organ; Meadows Museum, Saginaw, Michigan 1117 Texas Avenue John & Marianne Weaver, organ and Southern Methodist University, Dallas, TX Houston, Texas 77002 fl ute, with Susan Poliacic, reed organ; 5:30 pm East Craftsbury Presbyterian, East Crafts- bury, VT 7:30 pm 14 SEPTEMBER ORGAN MUSIC OF THE SPANISH BAROQUE Gloriae Dei Cantores; Church of the Stephen Tappe Stephen Hamilton, church music rep- Organist and Director of Music Transfi guration, Orleans, MA 7:30 pm ertoire workshop; University of Iowa, Iowa David Troiano Peter Planyavsky; Third Presbyterian, City, IA 10 am Saint John's Cathedral DMA MAPM Rochester, NY 8 pm Denver, Colorado John Gouwens, carillon; Memorial Cha- 586.778.8035 15 SEPTEMBER www.sjcathedral.org pel, Culver Academies, Culver, IN 4 pm Isabelle Demers; Boston Avenue United [email protected] Methodist, Tulsa, OK 5 pm 29 SEPTEMBER Bradley Welch & Ken Cowan; Highland Victor Hill, harpsichord, Bach works; Park United Methodist, Dallas, TX 6 pm Clark Art Institute, Williamstown, MA 3 pm Matthew Dirst, harpsichord, Goldberg Marcia Van Oyen Alan Morrison; First Trinity Presbyterian, Variations; Christ the King Lutheran, Hous- Joe Utterback Laurel, MS 4 pm First United Methodist Church ton TX 6 pm COMMISSIONS & CONCERTS Plymouth, Michigan UNITED STATES 16 SEPTEMBER 732 . 747 . 5227 West of the Mississippi •Carol Williams; St. Mary’s, Moraga, CA mvanoyen.com 7:30 pm 16 AUGUST Susanna Valleau; Christ Episcopal, Ta- 19 SEPTEMBER coma, WA 12:10 pm Christian Lane; First Christian Church, David Wagner Stillwater, OK 8 pm DMA Kevin Walters 18 AUGUST Madonna University M.A., F.A.G.O. Carol Williams; Spreckels Organ Pavil- 20 SEPTEMBER Livonia, Michigan ion, Balboa Park, San Diego, CA 2 pm Ars Lyrica Houston; St. James Episco- pal, Alexandria, LA 7:30 pm [email protected] Rye, New York 20 AUGUST Mark Rich; Trinity Lutheran, Rochester, 21 SEPTEMBER MN 12:15 pm Craig Cramer; Our Lady of Fatima Par- ish, Seattle, WA 7:30 pm Davis Wortman 25 AUGUST James Welch; Bethania Lutheran, KARL WATSON Carol Williams; Spreckels Organ Pavil- Solvang, CA 1 pm ion, Balboa Park, San Diego, CA 2 pm SAINT LUKE’S St. James’ Church 22 SEPTEMBER New York 27 AUGUST Ars Lyrica Houston; Hobby Center for the METUCHEN Merrill Davis III; Trinity Lutheran, Roch- Performing Arts, Houston, TX 6 pm ester, MN 12:15 pm Katya Gotsdiner-McMahan; Trinity Episcopal, Santa Barbara, CA 3:30 pm 1 SEPTEMBER RUDOLF ZUIDERVELD Bryan Kirk; Grace Cathedral, San Fran- INTERNATIONAL RONALD WYATT cisco, CA 4 pm Trinity Church Illinois College, Jacksonville 8 SEPTEMBER 15 AUGUST Galveston First Presbyterian Church, Paul Jacobs; Redeemer Lutheran, Aus- Gabriel Wolfer; Abbatiale, Bellelay, Swit- Springfi eld tin, TX 3 pm zerland 6 pm David Higgs; First Congregational, Colo- rado Springs, CO 3 pm 16 AUGUST Nathan Laube; Cathedral of the Mad- Benjamin Saunders; Stiftskirche, Stutt- Charles Dodsley Walker, FAGO eleine, Salt Lake City, UT 8 pm gart, Germany 7 pm Artist-in-Residence Founder/Conductor Naomi Shiga; Queen Anne Lutheran, Bine Bryndorf; St. Wenzel’s Church, Saint Luke’s Parish Canterbury Choral Society Seattle, WA 3 pm Naumburg, Germany 7:30 pm 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

William Webber, C.A.G.O. , Organist/Choirmaster, St. John s Episcopal Church, Versailles, KY Instructor of Music & Religious Studies, Maysville Community College Contact Bill at

A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact Jerome Butera: [email protected] 847/391-1045 DAVID SPICER  First Church of Christ  Wethersfi eld, Connecticut  

House Organist The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 31 Calendar

Gail Archer; Church of the Holy Ghost, 25 AUGUST Ronny Krippner; St. Michael & All An- Christophe Mantoux; Cathédrale St Copenhagen, Denmark 8 pm James Lancelot; St. Johannes Baptist, gels, West Croydon, London, UK 1:10 pm Charles de Saint-Etienne, Saint-Etienne, Herford, Germany 6 pm France 4 pm 17 AUGUST Richard Pilliner; St. Paul’s Cathedral, 5 SEPTEMBER Per Bonsaksen; St. Bavo’s Cathedral, London, UK 4:45 pm Jurgen Essl; Dom St. Marien, Freiberg, 18 SEPTEMBER Haarlem, Netherlands 3 pm Paul Derrett; Westminster Abbey, Lon- Germany 8 pm Markus Willinger; Kathedrale, Dresden, Benjamin Righetti, with guitar; Musée don, UK 5:45 pm Germany 8 pm Suisse de l’Orgue, Roche, Switzerland Suzanne Ozorak; Sanctuaire Notre- 6 SEPTEMBER Michele Croese, with trumpet; Chiesa di 5 pm Dame-du-Cap, Trois-Rivières, QC, Canada Albrecht Koch, with cello; St. Annen- S. Pietro, Gattinara, Italy 9 pm Kevin Morgan; Victoria Hall, Hanley, UK 2 pm kirche, Annaberg-Buchholz, Germany, Edward Dean; St. Michael & All Angels, 12 noon 7:30 pm West Croydon, London, UK 1:10 pm 26 AUGUST Ian Wells; Liverpool Cathedral, Liver- 18 AUGUST 7 SEPTEMBER 19 SEPTEMBER pool, UK 11:15 am David Dunnett; St. Johannes Baptist, Dirk Out; St. Bavo’s Cathedral, Haarlem, Stephanie Burgoyne & William Herford, Germany 6 pm Netherlands 3 pm 28 AUGUST Vandertuin; St. Peter’s Anglican, Missis- Ben Chewter; St. Paul’s Cathedral, Lon- Mario Duella, with soprano and contral- Jan Hage; Kathedrale, Dresden, Ger- sauga, ON, Canada 8 pm don, UK 4:45 pm to; Chiesa di S. Maria della Pace, Pralungo, many 8 pm Peter Holder; Westminster Abbey, Lon- Italy 9 pm Hansjörg Albrecht; Westminster Cathe- 20 SEPTEMBER don, UK 5:45 pm dral, London, UK 7:30 pm Mario Duella; Chiesa di San Lorenzo, Benoît Bacon; Sanctuaire Notre-Dame- 8 SEPTEMBER Ponderano, Italy 9 pm Martin Fischer, with narrator; Petri- du-Cap, Trois-Rivières, QC, Canada 2 pm 30 AUGUST Luca Scandali; Stiftskirche, Stuttgart, Kirche, Herford, Germany 6 pm 21 SEPTEMBER 21 AUGUST Germany 7 pm Ton van Eck; St. Bavo’s Cathedral, 9 SEPTEMBER Francesco di Lernia; Kreuzkirche, Dres- Michael Schönheit, with baroque trum- Haarlem, Netherlands 3 pm Michael Radulescu; Kathedrale, Dres- den, Germany 8 pm pet; St. Wenzel’s Church, Naumburg, Ger- Stephen Tharp; Konstantinbasilika, Tri- many 7:30 pm den, Germany 8 pm 24 SEPTEMBER er, Germany 8:30 pm Thomas Trotter; St. Marien Stift Berg, Stephanie Burgoyne & William 10 SEPTEMBER David Wilks; All Saints, Church Square, Herford, Germany 9 pm Vandertuin; Cathedral of St. Paul, London, Celine Frisch, harpsichord; Schloss Au- Leighton Buzzard, UK 8 pm ON, Canada 12:15 pm 31 AUGUST gustusburg, Germany 7:30 pm 22 AUGUST Mari Mihara; St. Bavo’s Cathedral, Haar- 25 SEPTEMBER 11 SEPTEMBER Stephen Tharp; Altenberger Dom, Alten- lem, Netherlands 3 pm Martin Strohhäcker; Frauenkirche, Markku Hietaharju; Kreuzkirche, Dres- berg, Germany 8 pm Ennio Cominetti; Musée Suisse de Dresden, Germany 8 pm den, Germany 8 pm l’Orgue, Roche, Switzerland 5 pm Marc Baumann Angelo Castaldo; St. Michael & All An- ; St. Michael & All An- 23 AUGUST Daniel Cook; Bridlington Priory, Bridling- gels, West Croydon, London, UK 1:10 pm Nathan Laube; Stiftskirche, Stuttgart, ton, UK 6 pm gels, West Croydon, London, UK 1:10 pm Germany 7 pm 12 SEPTEMBER 26 SEPTEMBER David Franke, with harp; St. Marien-Mag- 1 SEPTEMBER Andrew Lucas; Wells Cathedral, Wells, dalenen, Naumburg, Germany 7:30 pm Michael Harris; Jakobi-Kirche, Herford, Michel Bouvard; Dom St. Marien, Frei- berg, Germany 8 pm UK 7:30 pm Germany 6 pm Jonathan Dimmock; St. Paul’s Church, 24 AUGUST James O’Donnell; Mansion House, Lon- Canberra, Australia 8 pm Stephan van der Wijgert, with soprano; 4 SEPTEMBER don, UK 6:30 pm Ludger Lohmann St. Bavo’s Cathedral, Haarlem, Nether- ; Frauenkirche, Dres- 27 SEPTEMBER lands 3 pm den, Germany 8 pm 13 SEPTEMBER David Briggs, silent fi lm improvisation; Stefano Bertuletti; Musée Suisse de Hans Fagius, with instruments; Ev. Wolfgang Zerer; Stadtkirche, Zoblitz, St. Wenzel’s Church, Naumburg, Germany l’Orgue, Roche, Switzerland 5 pm Kirche, Reinhardtsgrimma, Germany 8 pm Germany 7:30 pm Lars Frederiksen; Chiesa di S. Maria, 7:30 pm Valduggia, Italy 9 pm Guy Bovet, Olivier Latry, & Ben van Oosten; St. Bavo’s Cathedral, Haarlem, martin ott pipe Hampus Lindwall, with alto; Notre- organ Dame d’Auteuil, Paris, France 8:30 pm Netherlands 8:15 pm company inc. 14 SEPTEMBER 28 SEPTEMBER 7408 Somerset Ave. Ute Gremmel-Geuchen; St. Wenzel’s Alessandra Mazzanti; Chiesa di S. Se- St. Louis, MO 63105 314-504-0366 Phone Church, Naumburg, Germany 12 noon bastiano, Trivero/Bulliana, Italy 9 pm 801-756-5777 Martin Ott [email protected] Roger Fisher; Bridlington Priory, Brid- www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com Cameron Carpenter; Telekom Forum, Bonn, Germany 8 pm lington, UK 6 pm Rupert Frieberger; St. Bavo’s Cathedral, Jonathan Dimmock; St. John’s Cathe-

Member Firm: The Associated Pipe Organ Builders of America Haarlem, Netherlands 3 pm dral, Brisbane, Australia 6 pm Dietrich Oberdörfer; Chiesa di S. Gior- RANDALL DYER gio, Lozzolo, Italy 9 pm 29 SEPTEMBER & ASSOCIATES, INC. Mario Verdicchio; Chiesa di S. Michele Arcangelo, Cavaglià, Italy 9 pm PIPE ORGANS OF QUALITY AND DISTINCTION 15 SEPTEMBER BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 Stefan Kagl; Herforder Munster, Herford. Jonathan Dimmock; St. Peter’s, Queen- Germany 6 pm stown, New Zealand 8 pm [email protected] ◆ www.rdyerorgans.com

TUNING • MAINTENANCE sound INSPIRATION REBUILDING • RELEATHERING RELOCATIONS • UNIQUE CUSTOM Acoustical Design & Testing Organ Consultation & WOOD CREATIONS Inspection • Organ Maintenance & Tuning • Sound & Video P.O. BOX 601 System Design, Evaluation & Training ANTIOCH, ILLINOIS 60002 847-395-1919 www.riedelassociates.com • (414) 771-8966 ATOS FAX 847-395-1991 email: [email protected] ExperienceAmerican Theatre Organ Society www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Preserving a unique art form. GAN BUILDERS - EST E OR . 187 PI_P 7 Concerts, education, silent film, preservation, fellowship and more. www.atos.org Schoenstein Jim Merry, Executive Secretary, [email protected] SAN FRANCISCO P.O. Box 5327, Fullerton, CA 92838 w ww 58 .sch 47-58 oenstein.com - (707) 7

Advertise in The Diapason For rates and digital specifi cations, contact A. David Moore, Inc. Jerome Butera

TRACKER ORGAN DESIGNERS & BUILDERS 847/391-1045 HC 69 Box 6, North Pomfret, Vermont 05053 [email protected] 802/457-3914

32 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM Organ Recitals

GAIL ARCHER, First Congregational MATTHEW DIRST, St. Cecilia Cathedral, en Taille, de Grigny; Pièce héroïque, Franck; Dialogue (Troisième Livre d’Orgue), March- Church, Crystal Lake, IL, April 28: Praeludi- Omaha, NE, March 1: The Art of Fugue, Bach. Prélude et Fugue sur le nom d’Alain, op. 7, and; Prière, op. 20, Franck; Tu es Petrus (Es- um in d, BuxWV 140, Buxtehude; Allein Gott Durufl é; Prélude, op. 29, no. 1, Pierné; Vater quisses Byzantines), Mulet; Deuxième Fan- in der Höh sei Ehr, BWV 662, Komm, heiliger DAVID A. GELL, First United Meth- unser im Himmelreich, Böhm; Fantasia and taisie, Litanies, Alain; The Embrace of Fire, Geist, BWV 651, Bach; Fantasie und Fuge G- odist Church, Santa Barbara, CA, Febru- Fugue on B-A-C-H, op. 46, Reger. Hakim; Free Improvisation: Hommage à Jean Dur, ‘Wie schön leuchtet der Morgenstern’, ary 20: Processional, Gawthrop; Stunde der Guillou, Tharp. op. 30, Senfter; Variations on America, Ives; Weihe, op. 132, no. 4, Bossi; Fantasia on the JAMES O’DONNELL, Walt Disney Con- Wondrous Love, Barber; And the greatest of old melody, op. 112, Faulkes; In the Cross of cert Hall, Los Angeles, CA, March 10: Toc- DAVID TROIANO, First United Meth- these is love, Borzova; Serene Alleluias, Trans- Christ I Glory, Hebble; Variations on a Hymn cata, Pott; Prélude, adagio et choral varié odist Church, Santa Barbara, CA, March 13: ports de joie (L’Ascension), Messiaen. for Lent, Wood; Prelude on ‘Balm in Gilead’, sur le thème du Veni Creator, op. 4, Durufl é; Hymn Suite, Martin; Psalm 33, Diemer; Re- Gell; Trilogy for Holy Week, Lasky; Variations Allein Gott in der Höh sei Ehr, BWV 664, joice, Goemanne; Da Jesus an dem Kreuze MARIE RUBIS BAUER, St. Paul Ca- on ‘He leadeth me,’ Corl; Recessional, Wagner. Nun komm, der Heiden Heiland, BWV 659, stund, BWV 621, O Lamm Gottes unschul- thedral, Pittsburgh, PA, February 22: Pièce Komm, heiliger Geist, BWV 651, Bach; So- dig, BWV 618, Jesu meine Freude, BWV 610, d’Orgue, BWV 572, Bach; Ave Maris Stella, MICHAEL HEY, First Lutheran Church, nata in G, Elgar. Bach; Batalla, Anon. 16th-c. Portuguese; Cavazzoni; Toccata per le levatione, Fresco- Rockford, IL, March 3: Overture to The Bar- Koleda, Surzynski; Canzona, Langlais. baldi; Sonata per Organo, Pergolesi; Veni tered Bride, Smetana; Prelude and Fugue in WILLIAM PORTER, First Presbyterian Creator Spiritus, de Grigny; Toccata in G, a, Bach; Suite, op. 5, Durufl é; Children’s Cor- Church, Santa Fe, NM, March 8: Praeludium SUE WALBY, with Kathleen Hanson, pia- BuxWV 170, Buxtehude; Fantasia Ut, Re Mi, ner, Debussy, transcr. Hey; Passacaille (Piano circulare, Pastorale, Finale (Symphonie II), no, and Peter Walby, soloist, Viroqua United Fa, Sol, La, Sweelinck; Windows of Comfort: Trio), Ravel; Variations on ‘America’, Ives. Widor; La Vallée du Béhorléguy, au matin Methodist Church, Viroqua, WI, March 3: Two Organbooks, Locklair; Wachet Auf! Ruft (Paysage Euskariens), Bonnal; Toccata, op. Canzona, Gabrieli; Passacaglia on a Theme Uns die Stimme, op. 8, Distler. PETER K. MILLER, St. John Lutheran 53, no. 6, Vierne; Pièce Sonatique, Tobin; by Dunstable, Weaver; Four Hymn Preludes, Church, Athens, TX, March 20: Sei gegrüsset, Carillon-Sortie, Mulet; improvisations upon Ore; Introduction and Passacaglia, Rhein- BYRON BLACKMORE, American Lu- Jesu gutig, BWV 768, Bach; Eleven Chorale given themes. berger; Two Transcriptions for Organ and theran Church, Sun City, AZ, March 12: Preludes, op. 122, Brahms. Piano, Handel; Now Thank We All Our God, Improvisation, op. 150, no. 7, Saint-Saëns; CAROLYN SHUSTER FOURNIER, Uni- Bach; Chorale Prelude on Michael, Burkhardt. Miniature, op. 108, Langlais; O Mensch, be- KATIE MINION, Presbyterian Homes, versity of Kansas, Lawrence, KS, March 5: wein dein Sünde gross, BWV 622, Bach; Prae- Evanston, IL, March 18: Hymne: Ave maris Prelude and Fugue in E-fl at, BWV 552, Bach; JAMES WELCH, with Michael Adduci, ludium in D, BuxWV 139, Buxtehude; Flute stella, de Grigny; Prelude and Fugue in E, Récit de Tierce en Taille (Gloria, Cunctipo- English horn, Mission Church, Santa Clara Voluntary, Thorley; Variations sur le thème BWV 566, Bach; Fugue No. 3 on B-A-C-H, tens genitor Deus Mass), De Grigny; Prélude, University, Santa Clara, CA, February 17: du Pange lingua, Leclerc. Fugue No. 5 on B-A-C-H, Schumann; Allegro Fugue, Variation, op. 18 (Six Pieces), Franck; Prelude and Fugue in E, Lübeck; Sonata No. vivace, Andante (Quasi adagio), Symphony Grand Chorus in D (alla Handel), op. 18, 2 in c, BWV 526, Bach; Votre bonté, grand STEPHANIE BURGOYNE, & WIL- No. 1 in d, op. 14, Vierne; Toccata alla Rum- no. 1, Guilmant; Organ Piece in g, Chauvet; Dieu, Charpentier; Pastorale, Zipoli; Par- LIAM VANDERTUIN, Cathedral Church ba, Planyavsky. Westminster Carillon (Fantasy Pieces, op. 54), tita for English Horn and Organ, Koetsier; of St. Paul, London, ON, Canada, March 12: Vierne; Postlude for the Offi ce of Compline, Trip to Nahant: A Favorite Rondo, Hewitt; Finale (Second Sonata in F, op. 41), Becker; FLORENCE MUSTRIC, Trinity Luther- Litanies, Alain. Prelude and Fugue on ‘Vom Himmel hoch’, Variations sur un thème original, Bédard; an Church, Cleveland, OH, March 6: Do not Pachelbel; Three Settings of ‘Vom Himmel Phantasie, Finale (Sonata No. 18 in A, op. I love thee, O my Lord!, David the king was JEREMY DAVID TARRANT, St. Paul’s hoch’, Pepping; Prelude and Fugue in C, 188), Rheinberger. grieved and moved, Hail! ye sighing sons of Episcopal Church, Flint, MI, March 17: Fan- BWV 547, Bach. sorrow, How happy are the souls above, Thou tasia and Fugue in g, BWV 542, Bach; Andan- PAUL CIENNIWA, St. Anthony of Padua, man of grief, Hark! the jubilee is sounding, te with variations, Mendelssohn; Sonata in D, THOMAS WIKMAN, Lutheran School New Bedford, MA, March 10: De Profundis, Read; Wondrous Love: variations on a shape- K. 288, Sonata in C, K. 255, Scarlatti; Suite of Theology, Chicago, IL, March 5: Toccata op. 16, Liebermann; Magnifi cat en a Mila note hymn, Barber; Swing low, Balm in Gil- pour orgue, Alain; Toccata, Adagio (Sym- and Fugue in C, An Wasserfl üssen Babylon, 3# (très utile aux Dames Religieuses), Cor- ead, Utterback. phonie III), Vierne; Scherzo, op. 2, Durufl é; Pachelbel; Canzon sopra I e bel e bon, Cavaz- rette; ‘Echo’ Fantasia, Sweelinck; Triptych Choral III en la mineur, Franck. zoni; Toccata in d, Froberger; In Festo Trini- for Organ, Bohn; O Filii et Filiae, Dandrieu; ANNA MYEONG, First Presbyterian tatis: Introit (Benedicta sit sancta Trinitas), Le banquet céleste, Messiaen; Toccata (Suite Church, Topeka, KS, April 14: Fantasia and STEPHEN THARP, Cathedral Church of Offertory (Benedictus sit Deus Pater), Trip- gothique, op. 25), Boëllmann. Fugue in g, BWV 542, Bach; Récit de Tierce St. Luke, Orlando, FL, February 24: Grand tyque, Tournemire.

Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859

GUZOWSKI & STEPPE Advertise in The Diapason H.W. DEMARSE ORGANBUILDERS INC For rates and digital specifi cations TRACKER ORGANS NEW INSTRUMENTS REBUILDS - ADDITIONS contact Jerome Butera TUNING & SERVICE 518-761-0239 1070 N.E. 48th Court 847/391-1045 2 Zenus Dr., Queensbury, NY 12804-1930 FT. LAUDERDALE, FL 33334 (954) 491-6852 [email protected]

Visit The Diapason website: Own a piece of history! www.TheDiapason.com The cover of the 100th Anniversary Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. Patrick j. Murphy The historic cover image in full color & associates, inc. is bordered in gold-colored metal, and organbuilders the high-quality plaque has a marble- ized black fi nish; a slot on the back 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 makes it easy to hang for wall display. 610-970-9817 • 610-970-9297 fax Made in the USA, The Diapason [email protected] • www.pjmorgans.com 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Jacques Stinkens The Organ Clearing House members of the 50-Year Subscribers PO Box 290786 Organpipes - since 1914 Club. Order yours today: Charlestown, MA 02129 [email protected] Flues - Reeds Ph: 617.688.9290 847/391-1045 Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 33 Classifi ed Advertising

POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Apprentice sought to train with and suc- Newtown Requiem by Joe Utterback, dedicated Certifi ed appraisals—Collections of organ ceed Frederick Hohman as primary Producer/ to “the loved ones of Sandy Hook Elementary Harpsichord Technique: A Guide to Expres- books, recordings, and music, for divorce, Engineer and/or Director of Artists & Repertoire School” consists of “Balm in Gilead” for bari- sivity—2nd edition with CDs, by Nancy estate, gift, and tax purposes. Stephen L. Pinel, for the American CD/DVD label PRO ORGANO. tone, SATB, fl ute, piano; “We Are Not Alone”, a Metzger, now reduced 30% at author’s Appraiser. [email protected]; 609/448-8427. Applicant must display strong aptitude for acquir- gospel setting for tenor, choir ensemble, piano, website: www.rcip.com/musicadulce. ing modern skills in audio and video media and possible guitar; “Requiem Aeternam” for production and must possess a base level of soprano, alto, SATB, fl ute, piano; and “Dona Eis Raven, providing organ recordings since 1978, knowledge and some practical experience in Pacem” for young soprano and fl ute. Sample offers one hundred CDs and videos at RavenCD. Pipe Organs of the Keweenaw sacred music, with a focus on classical organ pages may be viewed on http://www.jazzmuze. by Anita com. Titles include the 5-disc DVD/CD set about Campbell and Jan Dalquist, contains his- and choral literature. Applicant must be willing to com/catalog_newtown.html. Price for two bound Cavaillé-Coll, the acclaimed Bach Art of Fugue tories, stoplists, and photos of some of commit to a seven-year apprentice program, the copies and fl at sheets for local duplication is $50 DVD/CD set with George Ritchie, Ritchie’s 11-CD the historic organs of the Keweenaw Pen- successful completion of which shall culminate + $6 postage (+NJ sales tax if applicable) from insula, the northernmost tip of Michigan’s set of the complete organ works of Bach, and with the eventual assumption of label operations Jazzmuze, Inc., 80 Rumson Place, Little Silver, Upper Peninsula. Organs include an 1899 Barck- recent CDs recorded by Jeremy Filsell (National in year 2020. Preference given to applicants NJ 07739. Phone orders accepted: 732/747-5227 Cathedral), Scott Montgomery (new 90-rank Questions? [email protected]. hoff and an 1882 Felgemaker. The booklet ($8.00 who are U.S. residents of 30 years of age and per copy, which includes postage) is available Reuter), Jonathan Ryan (new Parkey 3m organ, younger as of July, 2013. Those interested are from the Isle Royale and Keweenaw Parks Asso- Shreveport Cathedral), Barbara Raedeke (new invited to send an introductory cover letter by Historic Organs of Southeastern Massachu- ciation, 49445 US Hwy 41, Hancock, Michigan Juget-Sinclair organ, St. Louis), Jack Mitch- mail or FAX (574/271-9191)—no telephone or setts—New! The long-awaited OHS Convention 49930. For information: 800/678-6925 ener, Adam Brakel, Maxine Thévenot, Harry Internet inquiries, please—detailing reasons and recording is fi nally here! This diverse 4-CD col- Huff, Christina Harmon, Carla Edwards, Damin motivation for pursuing this vocation, along with a lection features stellar performances by 37 dif- Spritzer, Andrus Madsen, Jonathan Dimmock, brief c.v., including contact information, to: Zarex The Tracker—The Organ Historical Society ferent organists, including Brian Jones, Thomas James Hammann, Ken Cowan, Daniel Sullivan, Corp, F. Hohman, P.O. Box 8338, South Bend, IN publishes its journal four times a year. The Murray, Peter Sykes, and Barbara Owen. More John Brock, many more. www.RavenCD.com. 46660-8338 USA. Tr a c ke r includes news and articles about the than just a memento of the convention, this is an organ and its history, organbuilders, exemplary important documentation of many historic organs organs, regional surveys of instruments, and that have never before been recorded, featuring The OHS Catalog is online at www.ohscatalog. PUBLICATIONS / RECORDINGS the music played on the organ. The emphasis instruments by Beach, Erben, Hook, Hutchings, org. More than 5,000 organ and theatre organ is on American organ topics of the 18th, 19th, Jardine, Johnson, and Skinner. Be among the CDs, books, sheet music, DVDs and VHS videos and 20th centuries, and there are occasional Longwood Sketches, by Firmin Swinnen, are fi rst to own this treasury! The booklet offers are listed for browsing and easy ordering. Use a subjects on European topics. Most issues run 32 well-known programmatic pieces that I’ve wanted detailed information about all performers, organs link for adding your address to the OHS Cata- pages with many illustrations and photographs, to restore for a long time, and with the help of and composers. For track information and how log mailing list. Organ Historical Society, Box and at least one annual issue is published the Longwood Gardens Archive and Colvin to order, go to www.ohscatalog.org/ohs-05.html. in full color. Membership in OHS includes a 26811, Richmond, VA 23261. E-mail: catalog@ Randall, the duPont Fellow, I can now announce Regular price: $34.95, member price: $31.95. organsociety.org. that all four of them are done. Discount offered subscription to The Tracker. Please visit our on the entire suite. michaelsmusicservice.com; website for more information or subscription: www.organsociety.org. 704/567-1066. A Baroque Sampler for Organ, Vol. 2—Music PIPE ORGANS FOR SALE of G. F. Handel: A Water Music Suite [includes Overture (Grave), Menuet & Trio, Air, Andante, Pro Organo presents Eric Plutz on a new Hymns for All Seasons from Fruhauf Music Loure, Coro, Menuet in G, & Hornpipe]; Royal Wicks organ, 2 manuals, 10 ranks. Built 1950. recording, French Trilogy (Pro Organo CD Console rebuilt at Wicks factory (w/preparations Publications offers a varied collection of settings Fireworks Overture; Sarabande & 2 Variations; 7255). Recorded on the Aeolian-Skinner Opus for organ, including: Baroque Partita on Ein feste Queen of Sheba [Solomon]; Organ Concerto, Op. 1257 organ at Winthrop University, Rock Hill, for additions), new relays, rectifi er and swell Burg ist unser Gott, 4 Variations; Processional 6, No. 4. Visit www.frumuspub.net for complete South Carolina, the program includes Pierné, motors installed in 2001. Modern Zephyr blower. on Kremser; Epilogue on Picardy; Intermezzo listings; write Fruhauf Music Publications at P.O. Trois Pièces; Saint-Saëns, Three Preludes and Chests freshly rewired. Set up and playable on Sicilian Mariners; 7 Variations on a Noel. Visit Box 22043, Santa Barbara, CA. 93121-2043, or Fugues, op. 99; and Vierne, Deuxième Sym- in our shop. J & G Lester, 330/256-6531 or www.frumuspub.net for complete listings. phone 805/682-5727. phonie, op. 20. www.proorgano.com. [email protected].

TOTAL PIPE ORGAN RESOURCES

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

Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, For advertising information contact: contact editor Jerome Butera, The Diapason 847/391-1045 847/391-1045 voice [email protected]

847/390-0408 fax Send a copy of THE DIAPASON to a friend: Editor, The Diapason, 847/391-1045; [email protected] e-mail e-mail: [email protected]

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215

PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com

3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

34 Q THE DIAPASON Q AUGUST 2013 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

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

1979 fourteen-rank, two-manual electro-pneu- 1964 M.P. Möller pipe organ. 36-rank Have a Rodgers 925 and need pipes? We have Highest quality organ control systems since matic organ. Dual casework with tin façade American Classic specifi cation including two eight great sets of Laukhuff pipes, windchests, a 1989. Whether just a pipe relay, combination action pipes. See www.goodwinorgans.com, opus 8. célestes, two enclosed divisions and 32′ reed. blower, etc. For more information please see our or complete control system, all parts are compat- Asking $21,000; upgrades and installation avail- Three-manual electro-pneumatic console. No website: www.milnarorgan.com. ible. Intelligent design, competitive pricing, custom able. E-mail [email protected] or casework or façades; instrument is in good software to meet all of your requirements. For call 909/885-3951. condition but will need re-leathering. New price: Console for sale: Famous, enormous, quality more information call Westacott Organ Systems, Asking $35,000 “as is” or can be rebuilt. For more 5-manual built by M.P. Moller (1990) as a sec- 215/353-0286, or e-mail [email protected]. information, contact Létourneau Pipe Organs at Seeburg Combo Player Organ/Piano— ond console for the Crystal Cathedral; limited [email protected] or 888/774-5105. use over the years; good condition; not needed Stopped Flute and Quintadena with octave by new owners in the total renovation of the Aeolian/Robert Morton-style maroon coupler, and tremolo. Blower and vacuum pump Cathedral and the organ. Available immedi- leather is now available from Columbia Organ included. Casework excellent. Piano works OK. 1959 Moller Artiste #9458: 3 ranks, detached ately; asking $40,000. Photos/full details from Leathers! Highest quality. 800/423-7003, All components intact. Some refurbishment for rocker tab console, walnut case, electric switches, [email protected]. www.columbiaorgan.com. action pneumatics suggested. Asking $700. Tom good playable condition; $5,000 OBO. Steve Bed- Rench, Wisconsin; 262/639-3473. dia 609/432-7876; [email protected]. SERVICES / SUPPLIES Wood pipes. Missing pipes made to match. Damaged pipes in any condition repaired. Over 1986 Delaware Organ Company—7 extended 1986 Rudolf von Beckerath, 2/15 (20 ranks) 25 years experience. Filip Cerny, 814/342-0975. unit ranks. Fits under 7′ ceiling. Ideal for home 162″ H, 146″ W, 114″ D. $150,000, Organ or small church. $23,000. For pictures and a Clearing House, phone 617/688-9290, e-mail Need help with your re-leathering project? All pneumatics including Austin. Over 45 specifi cation contact [email protected] (not [email protected]. years experience (on the job assistance Consoles, pipes and numerous miscellaneous Comcast) or call 215/353-0286. available). 615/274-6400. parts. Let us know what you are looking for. 1978 Reuter pipe organ, 15 stops in excellent E-mail [email protected] (not comcast), Expressive and compact—3/27 Kilgen (1940). condition tonally and great working condition. phone 215/353-0286 or 215/788-3423. Two expressive divisions. 17 manual 8-foot fl ues. For specifi cations or more information, visit Releathering all types of pipe organ actions Reeds include Tuba, Cornopean, Oboe, Clarinet, www.milnarorgan.com. and mechanisms. Highest quality materi- ′ ″, ANNOUNCEMENTS Vox Humana. Harp. 16 Open Wood. H: 237 W: als and workmanship. Reasonable rates. 170″, D: 189″. Stopkey console. Original restor- Columbia Organ Leathers 800/423-7003. Historic 1937 Kilgen pipe organ for sale or able condition. $30,000. Organ Clearing House, www.columbiaorgan.com/col. THE DIAPASON 2014 Resource Directory will 617/688-9290, [email protected]. donation: two manuals, 18 ranks, excellent con- soon be in preparation. Don’t forget to check dition. No longer needed here. Want to fi nd good your supplier listing and provide any needed home. Kalamazoo, Michigan. Call 269/375-5265. Complete Pipe Organ Services from the Organ updates—or add your listing if you haven’t yet Wicks organ, 2 manuals, 4 ranks, ca. 1990. Clearing House: 450 vintage pipe organs avail- done so. For assistance, contact Joyce Robin- 16′ Rohrfl ute 97 pipes, ′8 Principal 85 pipes, able, renovation, tuning, consultation. Other 4′ Gemshorn 73 pipes, 8′ Trumpet 61 pipes. 1938 Kimball studio/practice organ, 4 ranks, services include transportation, cleaning and son, 847/391-1044, [email protected]. Excellent condition. Oak casework and console. 21 stops, excellent condition, 91″ H, 85″ W, renovation of carvings, reredos, liturgical furnish- Advertising deadline is November 1. Contact Lauck Pipe Organ Co. 269/694/4500; e-mail: 56″ D (+pedalboard). Organ Clearing House, ings. Call John Bishop at 617/688-9290. john@ sales manager Jerome Butera, at 847/391-1045, [email protected]. 617/688-9290, [email protected]. organclearinghouse.com. [email protected].

Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045, [email protected] GOT WEB? GOT SEO? GOT RESULTS? NEED HELP?

At MediaPress Studios, we apply now + tomorrow solutions to “now” problems, whether enhancing existing sites or building new device-independent websites.

Want to know more? Contact us at [email protected].

CLASSIFIED ADVERTISING • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES THE DIAPASON 847/391-1045 • [email protected]

Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type.

Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition ❑ of a ruled box (border) surrounding the Place on website advertisement. Regular Classifi ed, per word $ 1.00 Ad Copy ______Regular Classifi ed minimum 23.00 Display Classifi ed, per word 1.35 ______Display Classifi ed minimum 27.00 ______Additional to above charges: Box Service (mail forwarding) 8.00 ______Website placement (includes photo) 17.00 ($30 if not ordering print ad) ______NOTE: Orders for classifi ed advertising ______must be accompanied by payment in full for the month(s) specifi ed. ______

Non-subscribers wanting single copies ______of the issue in which their advertisement appears should include $5.00 per issue ______desired with their payment. Name ______Phone ______The Diapason reserves the right to designate appropriate classifi cation to Address ______Total Enclosed ______advertisements, and to reject the insertion of advertising deemed inappropriate to this City/State ______Zip ______E-mail ______magazine.

WWW.THEDIAPASON.COM THE DIAPASON Q AUGUST 2013 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Daryl Robinson 2012 AGO National Competition Winner Available 2012-2014

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Choirs

The Choir of Saint Thomas Church, NYC John Scott, Director March 2014

The Choir of Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Westminster Abbey, UK James O’Donnell, Director October 2014

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Jonathan Ryan Ann Elise Smoot Donald Sutherland

Celebrating Our 92nd Season!

*=Artists based outside the U.S.A. Tom Trenney Thomas Trotter* Todd Wilson Christopher Young