THE DIAPASON APRIL 2013

Advent Lutheran Church Melbourne, Florida Cover feature on pages 26–27 CHRISTOPHER HOULIHAN

“STAR POWER FROM A YOUNG ORGANIST: Astonishing performance…Houlihan proved a captivating showman at the keyboard .” (The Birmingham NewsAL, 2011, awarded 5 out of 5 stars)

PETER FLETCHER “Gracious virtuosity” (Fanfare)

[email protected] www.concertartists.com

LYNNE DAVIS

“A strong sense of drama, brilliant theatrical contrasts.” (The New York Times) “A level of authority in playing French works that is virtually unmatched in this country.” (St. Louis Post-Dispatch)

“A commanding technical control and a re- fined sense of style and taste.”(The Diapason)

“Exemplary performances: Lynne Davis gets tempos, registrations and esprit just right.” (The American Organist) THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fourth Year: No. 4, In this issue Whole No. 1241 As this issue was in preparation, word arrived of the death APRIL 2013 of the great French organist Marie-Claire Alain on February Established in 1909 26. We are all diminished by the death of this great artist and Jerome Butera ISSN 0012-2378 teacher. Few organists have had the profound infl uence on our 847/391-1045; [email protected] profession as did Madame Alain. She leaves a legacy of more www.TheDiapason.com An International Monthly Devoted to the Organ, than 2,500 recitals, more than 280 recordings, and former stu- the Harpsichord, Carillon, and Church Music dents in prominent positions in this country and in Europe. This issue also includes the annual listing of summer confer- This issue includes an obituary written by James David Christie ences, in addition to our regular departments of news, reviews, CONTENTS (page 23), instead of our usual “Nunc Dimittis” notice. new organs, an international calendar, organ recital programs, FEATURES Among the offerings in this issue of The Diapason, John and more. Beyond the Nun Danket of Sigfrid Karg- Stallsmith examines organ works by Sigfrid Karg-Elert, on the Elert: On the 80th anniversary of the occasion of the 80th anniversary of the composer’s death. He In preparation composer’s death by John A. Stallsmith 20 suggests exploring works beyond the oft-played “Nun Danket,” In the coming months, we will be publishing articles on and discusses easier repertoire and more diffi cult works. the medieval organ and related conferences in Europe that Marie-Claire Alain August 10, 1926–February 26, 2013 Jay Zoller presents a personal remembrance of Heinz Wun- took place in 2012, an interview with Robert Clark, organs in by James David Christie 23 derlich one year after Wunderlich’s death, and cites his earlier Poland, Franz Liszt and Johann Gottlob Töpfer, fugal improvi- Heinz Wunderlich articles on the German organist and composer. sation, and much more. A Remembrance One Year Later The cover feature is the new Schlueter pipe organ at Advent by Jay Zoller 24 Lutheran Church in Melbourne, Florida. TheDiapason.com NEWS & DEPARTMENTS In his column “In the wind . . .”, John Bishop muses on Have you visited The Diapason’s website recently? We Editor’s Notebook 3 the music of Bach, number symbolism, the Fibonacci series, continue to expand and refi ne the offerings found there. Here & There 3 Cavaillé-Coll and the French Romantic organ and its reper- To access all of the site, you will need your Diapason sub- Appointments 10 toire, technical advances of Ernest Skinner, modern console scriber number, which is found above your name on the label Nunc Dimittis 10 controls, and transcriptions. of your copy of The Diapason. View current news items, Harpsichord News by Larry Palmer 11 Gavin Black offers part seven of his organ method, continu- artist spotlights, extensive calendar listings, new organs, Carillon News by Brian Swager 12 ing the section on pedal playing: analyzing a pedal passage, classifi ed ads, videos, blogs, issue archives, and much more. On Teaching by Gavin Black 16 choosing pedaling, practice techniques, and begins the section You can also sign up for our free e-mail newsletters. Contact In the wind . . . by John Bishop 18 on the use of heels. me with any questions. Q REVIEWS Music for Voices and Organ 13 Book Reviews 13 Here & There New Recordings 14 New Organ Music 15 Events its 2012–13 music series: April 14, SUMMER CONFERENCES 28 The Cathedral of Saint Paul, St. Margaret Mills, piano; 4/28, Russian Paul, Minnesota, continues its music Chamber Chorus of New York; May 5, CALENDAR 28 series: April 4, Choir of King’s Col- New York City Children’s Chorus; 5/19, ORGAN RECITALS 32 lege, Cambridge; 4/21, dedication of Haydn, The Creation. For information: CLASSIFIED ADVERTISING 34 the restored cathedral organs; May 19, 212/288-8920; Steele Family Singers. www.mapc.com/music/sams. The Choral Mass series: April 28, Widor, Messe à deux choeurs et deux Holy Trinity Lutheran Church, orgues; May 19, Pärt, Missa Syllabica. Lancaster, Pennsylvania, continues its For information: 651/228-1766; 2012–13 concert series: April 14, Hymns www.cathedralsaintpaul.org. of Faith; 4/28, the Heritage Chorale of Lancaster. For information: 717/397- St. Louis Cathedral, St. Louis, Mis- 2734; www.trinitylancaster.org. souri, continues its 20th anniversary season of concerts: April 6, Regensburg Washington National Cathedral Walt Disney Concert Hall organ Cathedral Choir; May 18, St. Louis continues its recital series on Sundays Archdiocesan Choir and Orchestra. at 5:15 pm: April 14, Benjamin Sheen; Walt Disney Concert Hall For information: 4/28, Christopher Dekker; May 5, Ines concludes its 2012–13 organ www.cathedralconcerts.org. Maidre; 5/19, Richard Spotts; 5/26, recital series on April 21 with COVER Paul Carr; July 4, Christopher Betts Cameron Carpenter. Designed by A. E. Schlueter Pipe Organ Company, Musica Sacra San Antonio contin- and Benjamin Straley. For information: Frank Gehry and Manual Rosales, Lithonia, Georgia; Advent Lutheran Church, ues its third season of Solemn Evensongs 202/537-5757; the organ was built by Glatter- Melbourne, Florida 26 at Our Lady of the Atonement Catholic www.nationalcathedral.org. Götz Orgelbau, in collaboration Church in San Antonio, Texas: April 7 with Rosales. For information: and May 19. Robert Finster is musical First Presbyterian Church, Pom- 323/850-2000. Editor & Publisher JEROME BUTERA [email protected] director. For information: pano Beach, Florida, concludes its music 847/391-1045 www.MusicaSacraSA.org. series on April 14 with Mark Jones and pianist Jon Robertson. For information: The First International Church Associate Editor JOYCE ROBINSON The Bratislava Philharmonie in 954/941-2308 x112; www.pinkpres.org. Choir Competition takes place [email protected] 847/391-1044 Slovakia continues its concert series April 25–28 in Kronach, Germany. in the Slovak Philharmonic Concert The Cathedral of St. John, Albu- Each of the four rounds (Renaissance Designer DAN SOLTIS Hall in Bratislava, on the new 66-stop, querque, New Mexico, continues its and Baroque, Classic, Romantic, and Contributing Editors LARRY PALMER three-manual and pedal Rieger organ: 2013 concerts: April 14, Parthenia con- Contemporary) includes a compulsory Harpsichord April 7, Monica Melcová (Bach, Mes- sort of viols; May 19, cathedral choirs. piece, and free choice of one or two a siaen, Franck, Vierne, and Melcová); For information: www.fcmabq.org. cappella pieces from the period. Jury JAMES MCCRAY Choral Music June 2, Thierry Escaich (Franck, Durufl é, members are Dario Tabbia and Friede- Vierne, Escaich). For information: http:// St. Norbert Abbey, De Pere, Wis- mann Johannes Wieland. In addition BRIAN SWAGER www.filharmonia.sk/index.php?page= consin, concludes the 2012–13 season to fi rst through third prizes (€2,000, Carillon concerts&cycle=128Project Gallery. of its Canon John Bruce Memorial €1,500 and €1,000), publishers Bären- JOHN BISHOP Concerts on April 20 with Michael Hey. reiter, CARUS, and Edition Peters have In the wind . . . Emmanuel Church, Chestertown, For information: www.norbertines.org/ provided special prizes. The winning Maryland, continues its music series: abbey_music_canon_john_bruce.html. choir will present a concert on April GAVIN BLACK On Teaching April 12, Brian Harlow; May 9, Ascen- 28 at Christuskirche Kronach, with sion Evensong; 5/17, Ken Cowan. For The Church of St. Luke in the additional concerts April 29 at Miche- Reviewers John L. Speller information: 410/778-3477; Fields, New York City, continues its liskirche Ludwigsstadt, and April 30 James M. Reed www.emmanuelchesterparish.com. concert series: April 25, music by Allegri, at Päpstliche Basilika Marienweiher. David Lowry Palestrina, Josquin, and Anerio. For For information: John Collins Madison Avenue Presbyterian information: 212/414-9419; www.churchchoir-competition.com. Jay Zoller Church, New York City, continues www.stlukeinthefi elds.org. ³ page 4 Kenneth Udy

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 847/391-1045. 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 APRIL 2013 Q 3 Here & There

³ page 3 (4 pm), Marcia Van Oyen (5 pm); May St. Paul R.C. Cathedral, Pitts- St. Lorenz Lutheran Church, The Cathedral of St. Joseph the 18, Spring Choral Concert; 5/31, Jeremy burgh, presents its organ recital series: Frankenmuth, Michigan, concludes Workman, La Crosse, Wisconsin, contin- David Tarrant. For information: May 3, Crista Miller; June 23, Kenneth its music series on May 9 with Choral ues the recital series on its Noack organs www.detroitcathedral.org. Danchik, July 14, Paul Weber; 7/21, Vespers. For information: 989/652-6141; (four manuals, 58 stops, 71 ranks; and two Steven Anisko; 7/28, Marisa & Roger www.stlorenz.org. manuals, 14 stops, 19 ranks) on April 26 (3 First Congregational Church Cazden. For information: 412/621-6082; pm) with a program featuring Christopher (UCC), Crystal Lake, Illinois, presents stpaulpgh.org. The Church Music Association of Houlihan. For information: 608/782-0322 its annual Wesley M. Vos Memorial America presents its Summer Chant x232; www.cathedralsjworkman.org. Organ Recital on April 28, 4 pm, featur- Resurrection Parish, Santa Rosa, Intensive June 3–6 Duquesne University ing Gail Archer. The series is presented California, continues the seventh sea- in Pittsburgh, Pennsylvania. Now in its St. Mary’s Episcopal Cathedral, in memory of Wesley M. Vos, who served son of its Creative Arts Series: May 5, sixth year, the CMAA Chant Intensive Memphis, Tennessee, concludes its as associate editor of The Diapason Paul Cienniwa, harpsichord; June 2, will cover all aspects of traditional Grego- 2012–13 concert series: April 26, Scott from 1967 to 2002, professor of music Vinaccesi Ensemble. For information: rian notation (square notes). The course Elsholz. For information: 901/527-6123; at DePaul University, Chicago, and was 707/824-5611; will also address Latin pronunciation, [email protected]; a member of the First Congregational www.ClassicalSonoma.org. ³ page 6 www.stmarysmemphis.org. Church. For information: 815/459-6010; www.fcc-cl.org. VocalEssence continues its 2012–13 season: April 26, 27, Britten, Paul First United Methodist Church, Bunyan; May 21, ¡Cantaré! community Ocala, Florida, continues its music concert. For information: series: April 28, Central Florida Master www.vocalessence.org. Choir; May 5, Marion Civic Chorale. For information: 352/622-3244; The William Ferris Chorale, Chi- www.fumcocala.org. cago, Illinois, concludes its 2012–13 sea- son: April 27 and 28, The Chorale at the Trinity Episcopal Church, Santa Opera. For information: 773/508-2940; Barbara, California, continues its music www.williamferrischorale.org. series: April 28, Kirkin’ o’ Tartans; May 5, Olesya Kravchenko; 5/12, young artist The Cathedral Church of St. showcase; June 2, David Gell, with piano Paul, Detroit, Michigan, continues its and vocal quartet. For information: music series: April 28, Choral Evensong www.trinitysb.org.

Yale-Schoenstein contestants, back row: Ian Tomesch, Michael Salazar; front row: Stephen Buzard, Paul Thomas, Kenneth Miller

Shawn Thomas, Matthew Edwards, Christopher Henley, Faythe Freese, Jim Cook, Charles Kennedy, and Fred Teardo

The 2013 University of Alabama Organ Scholarship Competition fi nals were held January 24 at the Moody School of Music. The awards were UA scholarships in the amounts of $8,000, $5,000 and $3,000 for fi rst, second and third place, respec- tively. Christopher Henley, from Talladega, Alabama, was the fi rst place winner; he is a Community Music School student of Faythe Freese, professor of organ at the University of Alabama. Matthew Edwards, from El Centro, California, won second place; he is a student of Hope Davis and Carol Williams. Shawn Thomas, a master’s student of Laura Ellis at the University of Florida in Gainesville, won third place. Judges for the recorded round were Patricia Fitzsimmons, Karen Eschelman, and Charles Tompkins; judges for the fi nal round were Fred Teardo, Charles Kennedy, and Jim Cook.

Yale-Schoenstein judges: Murray Somerville, Davis Wortman, Brian Jones

The Yale Institute of Sacred Music announces the winners of the Schoenstein Competition in the Art of Organ Accompaniment: fi rst prize ($1,000) was awarded to Kenneth Miller; second prizes ($500 each) went to Stephen Buzard and Paul Thomas. Judges for the 2012 competition were Brian Jones, Murray Somerville, and Davis Wortman. Five graduate organ majors competed in the event, organized by Thomas Murray, chair of the Yale University organ department. The competitors played required rep- ertoire, including sections of Britten’s Rejoice in the Lamb, “The Call” from Vaughan Williams’ Five Mystical Songs, an Anglican chant psalm, and two hymns. A balanced choir of eight singers was organized and conducted by Simon Jacobs, a graduate of the Yale choral conducting program and a former organ scholar of Westminster Abbey. Andrew Padgett was the baritone soloist. The purpose of the Schoenstein Competition is to encourage organists to place skills in accompaniment on an equal plane with playing solo repertoire. The competi- tion, fi rst held at Indiana University under the direction of Jeffrey Smith in 2011, is sponsored by Jack Bethards, President and Tonal Director of Schoenstein & Co. Organ Builders.

4 Q THE DIAPASON Q APRIL 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 Rochester, New York 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 the eight church modes, Psalm tones and their applications, the rhythm of plainsong, and more. The course will be taught by Wilko Brouwers, internationally known com- poser, conductor, and pedagogue. He is the conductor of the Monteverdi Cham- ber Choir Utrecht, the Strijps Kamerkoor, and the Gregorian schola of the Cister- cian Abbey De Achelse Kluis in Achel (Belgium). He is director of Ward Cen- trum Nederland, an institute for music education. He wrote “Words with Wings, Gregorian chant for children in twenty lessons.” For information: musicasacra. Mark Laubach The Rodland Duo Michael D. Boney com/summer-chant-intensive-2013. Concert Artist Cooperative, beginning its 26th year of operation in April, The third annual Ascension Organ welcomes organist/choral conductor Michael D. Boney, organist Mark Laubach, Academy will be held June 10–14 at the organist Christopher Marks, organist/pianist Shelly Moorman-Stahlman, the Church of the Ascension, New York City. organ and viola Rodland Duo, and the voice and continuo Vinaccesi Ensemble to Centered around the French organ built its roster of soloists and ensembles from around the world. by Pascal Quoirin, the academy offers Michael D. Boney is the Canon for Music at St. Michael’s Episcopal Cathedral, in-depth guidance to students as well Boise, Idaho. Mark Laubach is the Canon for Music at St. Stephen’s Episcopal as experienced performers; it is limited Church, Wilkes-Barre, Pennsylvania. Christopher Marks is Associate Professor to eight performing participants as well at the University of Nebraska-Lincoln. Shelly Moorman-Stahlman is Professor as auditors. The schedule is organized of Music at Lebanon Valley College in Annville, Pennsylvania. Catherine Rod- into two daily masterclasses, taught by land is Artist in Residence at St. Olaf College, Northfi eld, Minnesota, and Carol Dennis Keene and Jon Gillock, in which Rodland is Associate Professor of Viola at the Eastman School of Music. The each participant performs once each Vinaccesi Ensemble is based in the San Francisco Bay area. day. In addition, each participant has Further information is available at www.ConcertArtistCooperative.com and/ daily practice time on the Quoirin organ. or from Beth Zucchino, 7710 Lynch Road, Sebastopol, CA 95472; 707/824-5611, For information: 212/254-6820; voicesof 707/824-0956 fax, or [email protected]. ascension.org/OrganAcademy.aspx. Christopher Marks The Church Music Association of America presents its Sacred Music Colloquium June 17–23 at the Cathedral of the Madeleine, Salt Lake City, Utah. The primary focus of the colloquium is instruction and experience in chant and the Catholic sacred music tradition, participation in chant choirs, daily and nightly lectures, and performances and daily celebrations of liturgies in both English and Latin. The faculty includes Adam Bartlett, Mary Jane Ballou, Wilko Brouw- ers, Horst Buchholz, Charles Cole, Gregory Glenn, David J. Hughes, Ann Labounsky, Melanie Malinka, William Mahrt, Matthew J. Meloche, Jeffrey Morse, Arlene Oost-Zinner, Jonathan Ryan, Edward Schaefer, and others. For information: Vinaccesi Ensemble Shelly Moorman-Stahlman http://musicasacra.com.

The AGO Region V convention, The International César Franck plus an audience prize of €500. The jury search for a new Advent or Christmas “Great Lakes—Swell Organs,” takes Competition takes place September 24, includes Guy Bovet, Olivier Latry, and carol. For information: 651/698-8871; place June 30–July 3 in Kalamazoo 26, and 28 at St. Bavo’s Cathedral and Ben van Oosten. For information: www. www.macalester-plymouth.org. and Battle Creek, Michigan. Present- Basilica, Haarlem, the Netherlands, with cesarfranckcompetition.org. ers include Bruce Neswick, Joe Miller, the theme, “César Franck and Gaston Dale Ramsey’s Fantasia on CRUCIFER Susan De Kam, Nathan Laube, Renée Litaize.” The deadline for applications Macalester Plymouth United is the winning entry in the Kansas City Ann Louprette, Huw Lewis, Karl and recordings is June 1. A maximum of Church of St. Paul, Minnesota, has AGO Chapter’s 75th Anniversary Schrock, Thomas Bara, Yun Kyong Kim, 10 candidates will be invited to partici- announced the winner of its 17th annual Year Composition Competition. the Kalamazoo Ringers, Western Brass pate in the fi rst round on September 24. hymn contest, a search for new hymn Thirty entries from the United States Quintet, and others. For information: There are three prizes: fi rst prize texts that address the scriptural call to and Canada were submitted. First www.AGOKalamazoo.org. €2,000, second €1,500, third €1,000, speak out loudly and clearly against round judges were Sharon Hettinger, injustice, and to unite with others work- Mary Ellen Sutton, and Ken Walker. ing for change. The top ten entries were adjudicated The winning hymn, Now Is the Time by three different judges: James to Speak, was written by the Rev. Dr. Charles Barnes, Elisa Williams Bick- John A. Dalles, pastor of Wekiva Pres- ers, and Beth Elswick. Chelsea Chen byterian Church in Longwood, Florida. will perform the winning entry on He is a graduate of both Lancaster her concert May 20 on the Julia Irene Theological Seminary (UCC) and Pitts- Kauffman Casavant Organ at Helzberg burgh Theological Seminary (PCUSA). Hall in the new Kauffman Center of A life member of the Hymn Society in the Performing Arts. The concert is the United States and Canada, his hymn a collaborative agreement between texts have been published in a number of the Kauffman Center and the Kansas denominational hymnals. City AGO chapter. For information: The 2013 Macalester Plymouth www.kcago.com. United Church hymn contest will be a ³ page 8

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6 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM When Morrow Memorial United Methodist Church in Maplewood, New Jersey decided to replace their pipe organ, they turned to Allen. The following is excerpted from the church’s website: www.morrowchurch.org:

“This organ was designed to make worship more inspiring. It is rich with a kaleidoscope of different sounds, able to be plaintive or triumphant, mysterious or declamatory, whispering or roaring. All divisions except the String can be assigned to antiphonal speakers discreetly installed in the rafters over the balcony. This allows for greater support of congregational singing and permits special dialogue effects between the front of the sanctuary and the rear. The String Division is installed over the central transept area, inspired by the celestial divisions that builders would regularly install in transept domes during the pre-Depression heyday of organ building. The Festival Trumpet speaks from the balcony and is suitable for fanfares and ushering a bride down the aisle. We have a King of Instruments which will serve us for decades to come. Soli Deo Gloria!”

Holland Jancaitis, Director of Music Ministry

MADE IN AMERICA. PREFERRED THROUGHOUT THE WORLD.

Allen Organ Company, LLC, 150 Locust Street, Macungie, PA 18062 t (610) 966-2202 [email protected] t www.allenorgan.com Here & There

³ page 6 the Association des Grandes Orgues de Arizona-Tucson, on January 23–25. The Chartres. Dufourcq is the son of Norbert work was inspired by three of Faythe People Dufourcq, French musicologist, founder and Jerry Freese’s original art works of of Les Amis de l’Orgue, and organist of Nall, a protégé of Salvador Dali. The the Eglise St. Merry in Paris. concert program, including works by At an American reception given in her Tournemire and Paulus, was choreo- honor for receiving the French distinc- graphed by UA dance professors Corne- tion of Chevalier de l’Ordre des Arts et lius Carter, Rita Snyder, and Sarah Barry, des Lettres, Lynne Davis was presented and danced by members of the Univer- with the seal of the City of Wichita, Kan- sity of Alabama Repertory Dance The- sas by Mayor Carl Brewer. The reception atre. Dr. Freese performed the three- took place on February 2, 2013 at the movement, 15-minute work—plus the Ambassador Hotel in Wichita. works by Tournemire and Paulus—on the 86-rank, four-manual, mechanical- action Holtkamp organ in the University of Alabama Moody School of Music Concert Hall. The premieres were part of the 25th birthday celebration of the Wolfgang Rübsam Lynne Davis Holtkamp organ. Is the Splendid Day; and Rejoice Now Lynne Davis Firmin-Didot, Ann & All Christians. For information: www. Dennis Ross Endowed Faculty of Dis- schott-music.com. tinction in Organ at Wichita State Uni- versity, was awarded the Chevalier de Jonathan Ryan plays for a new l’Ordre des Arts et des Lettres (Knight recording on the Raven label, featuring of the Order of Arts and Letters) from the organ built in 2011 by Parkey Organ- the Republic of France and its Ministère Builders for the Cathedral of St. John de la Culture et de la Communication, in Berchmans in Shreveport, Louisiana. January 2012. The offi cial presentation The program includes the fi rst record- ceremony was on December 19, 2012 at ing of the Three Liturgical Improvisa- the city hall in Chartres, France, in the Faythe Freese tions by George Oldroyd (1887–1956) presence of the Préfet (governor) of the and also the fi rst recording of Prelude Region of Eure-et Loir, Didier Martin, Faythe Freese, professor of organ on Resignation by Zachary Wadsworth the Député-Maire of Chartres, Jean- at the University of Alabama, com- (b. 1983), commissioned by Ryan from Pierre Gorges, and the Bishop of the missioned and performed three world his classmate at the Eastman School of Diocese of Chartres, Michel Pansard. premieres of The Freese Collection by Music, along with works by Shearing, Presenting the medal was Ambassador Pamela Decker, professor of organ Travis, Tournemire, Dupré, Schumann, Bertrand Dufourcq, former president of and music theory at the University of Eben, Byrd, and Bach. Marilyn Keiser

Marilyn Keiser is honored by the American Guild of Organists on April 5, with a recital and gala reception at the Cathedral Church of St. John the Divine in New York City. Dr. Keiser plays works by Wyton, Howells, Sandresky, Rhein- berger, and Vierne. The proceeds benefi t the AGO Endowment Fund in honor of Dr. Keiser.

Dan Locklair’s new work From the rising of the sun (A Short Festival Piece for Brass Quartet, Percussion & Organ) has been published by Subito. Com- missioned by Peachtree Road United Methodist Church in Atlanta, Georgia to honor the tenth anniversary of their sanctuary and Mander organ, it was premiered on September 9, 2012 by Jonathan Ryan organist Nicole Marane and the Atlanta Brassworks (Scott Atchison, conductor). Ryan is the recipient of six fi rst prizes Joyce Jones, Las Vegas Two Locklair choral works, O Mag- at international and national organ play- num Mysterium and Hodie Christus ing competitions, including the Jordan Joyce Jones visited Las Vegas in January to perform a concert for the South- Natus Est, are included in the new International Organ Competition (2009). ern Nevada Chapter AGO Artist Series. She also led a session at First Presbyterian Novello publication, Noel! 3 (Carols First place awards conferred on Ryan Church, Las Vegas, “Introduction to the Organ,” for piano students. More than 30 and Anthems for Advent, Christmas were in the Poister (2006), Rodland students gathered around the console to learn about the sounds, controls, and playing & Epiphany for Mixed Voice Choirs), (2006), Schweitzer (2004), and Augus- technique of the organ. edited by David Hill. For information: tana Arts-Reuter (2003) competitions. www.locklair.com. He has studied with David Higgs and William Porter at the Eastman School Wolfgang Rübsam’s second volume of Music, Todd Wilson at the Cleveland MANDER ORGANS of chorale preludes has been published Institute of Music (where he was also by Schott Music: Christ the Lord Is Wilson’s assistant at Church of the Cov- New Mechanical Risen Again!—10 Chorale Preludes for enant), Joyce Jones at Baylor University, Action Organs Lent and Easter; ED 21644, ISMN: and André Lash earlier. 979-0-001-19352-8, €17.99. The collec- Jonathan Ryan currently serves tion includes settings of Ah, Holy Jesus; as organist/choirmaster at St. Mary’s O Sacred Head, Sore Wounded; At the Church in Nutley, New Jersey, and Last Supper; O Man, Thy Grievous Sin visiting artist at St. James Cathedral Bemoan; O Sorrow Deep!; Good Chris- Concerts in Chicago, where he regularly tians All, Rejoice and Sing!; Christ the appears both as a collaborative and solo Lord Is Risen Again!; Christ Jesus Lay performer. Jonathan Ryan concertizes in Death’s Strong Bands; Here Shining ³ page 10

³ St. Peter’s Square - London E 2 7AF - England Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 CLAYTON ACOUSTICS GROUP Continuo Organs [e] [email protected] 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.mander-organs.com www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM Imaginative Reconstructions ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP

8 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM The New Vivaldi Your musical companion for all four seasons.

The new Vivaldi 270 and 370 organs by Johannus bring the experience of a pipe organ right into your very own home. Infi nite possibilities, authentic sound and life-like reverb enable the Vivaldi to reproduce the atmosphere of virtually any pipe organ anywhere. Imagine hearing the sweet sounds of springtime at Notre Dame in Paris, or feeling the mood of a mellow summer evening in a concert hall in Holland, the rich colors of fall in a quaint church in Vermont or a brisk winter morning in a chapel in Bavaria. The Vivaldi sets a different tone for every season. Here & There

³ page 8 Salk Institute, which can be found on under the auspices of Karen McFarlane You Tube at www.anfarch.org/activities/ Appointments Artists, Inc. For information: 804/355- Conference2012VideosDay2.shtml. Ahreum Han has been appointed 6386; www.ravencd.com. lecturer in organ at Iowa State University Publishers in Ames, Iowa, where she teaches applied Jazzmuze announces the release of organ and administers the organ program, Newtown Requiem by Joe Utterback. including monthly recitals. She continues With his Connecticut residence close as the principal organist, assistant director to Newtown, the composer created of music, and artist-in-residence at First the four-movement work “For the Presbyterian Church in Davenport, Iowa. loved ones of Sandy Hook Elementary Han has performed throughout the School.” Newtown Requiem includes United States, Asia, and Europe. She settings of “Balm in Gilead” and “We was a featured soloist at the 2012 AGO are not alone,” and ends with “Requiem convention in Nashville, Tennessee, Aeternam.” For information: and has appeared in recital at the Kim- Ahreum Han www.jazzmuze.com. mel Center’s Verizon Hall, Princeton University, Harvard University, Jack Singer Hall (Calgary, Canada), Michae- Stephen Tharp Recordings liskirche (Leipzig, Germany), Oxford Town Hall (Oxford, United Kingdom), Gothic Records and Blanton Nottingham Albert Hall (Nottingham, U.K.), and Esplanade Concert Hall in Stephen Tharp plays recitals this Alspaugh received a Grammy Award Singapore. She has received prizes from competitions, including the Albert spring in Germany and Switzerland: for the CD In Paradisum, which fea- Schweitzer Organ Competition, the Carlene Neihart Organ Competition, and April 21, Prämonstratenser-Abtei, tures the South Dakota Chorale, Brian the West Chester University Organ Competition. Her live performances have Duisburg-Hamborn, Germany; April A. Schmidt, conductor (Gothic G-49279, been featured on Pipedreams. 24, Auferstehungskirche, Düsseldorf- $19.98). Alspaugh won the Grammy Han holds a bachelor’s degree in organ performance from Westminster Choir Oberkassel, Germany; April 27, St. for Producer of the Year, Classical. For College, a diploma from the Curtis Institute of Music, and a master’s degree Andreas Kirche, Köln, Germany; May information: www.gothic-catalog.com. from Yale School of Music and Yale Institute of Sacred Music, where she studied 9, Barockkirche St. Peter, Freiburg, with Ken Cowan, Alan Morrison, and Thomas Murray, respectively. Q Germany; May 11, Dom St. Gallen, St. Organ Builders Gallen, Switzerland. For information: The Andover Organ Company www.stephentharp.com. newsletter announces staff changes. Sound System for Immaculate Heart of Nunc Dimittis Don Olson retired as president in Mary Roman Catholic Church in Stoney David Warren “Dave” Brubeck September 2012 after serving in that Creek, Ontario, Canada. The installation died in Norwalk, Connecticut, Decem- position for 15 years. He founded includes over 20 speakers. Included with ber 5, 2012, one day before his 92nd Andover in 1962. Benjamin Mague the organ is a Viscount CM-100 sound birthday. A jazz pianist and composer, he was appointed as the company’s new module, which adds over 300 stops using was known for his use of unusual time president. He joined Andover in 1975, Pipe Modelling technology. The pastor signatures and combinations of contrast- working as a designer, project team is Father Bill Trusz; audio technician ing rhythms, meters, and tonalities. Born leader, shop manager, and treasurer. is John Van Trost; organists are Bill in Concord, California, he studied piano Michael Eaton is the new treasurer. Tamborini and Luigi Visocchi; Martha with his mother; he graduated from He joined Andover in 1991, specializes Visocchi served as committee chair. PAS the University of the Pacifi c, studying in slider windchests and mechanical Audio/Video of Cambridge assisted with veterinary science and later music. He actions, and has served as designer and the installation. For information: www. then enlisted in the Army, serving in on one of the maintenance teams. Ryan schmidtpianoandorgan.com. ³ page 11 Bartosiewicz joined the company last Bruce Wheatcroft year as apprentice organbuilder. Peter Rudewicz began in September 2012 as The Academy of Neuroscience for part-time intern. For information: www. Architecture held its fi rst annual con- andoverorgan.com. ference at the Salk Institute in La Jolla, California, September 22–24, 2012. Canadian organist, teacher, speaker, and organ consultant Bruce Wheat- croft was invited to present a paper at the conference that addressed the reverberation characteristic of architec- tural spaces and how it informs sound in the context of music in both concert halls and worship spaces. Dr. Wheatcroft has also been invited to address the Eighth International Arts in Society Conference in Budapest, Immaculate Heart of Mary Roman Cath- Hungary in June 2013, where he will olic Church, Stoney Creek, Ontario, present a similar paper. Wheatcroft Canada has performed, recorded, and lectured nationally and internationally. Further Schmidt Piano and Organ Service information can be found on his websites announces the completion of a two- at www.organconsulting.ca and www. manual Viscount V-40 church organ and theabbey.ca together with his talk at the custom-built Schmidt Classique Organ Noack Opus 156 open house

The Noack Organ Company celebrated the last stage of the workshop construc- tion of their Opus 156 for the Baptist Church of the Covenant, Birmingham, Alabama, on January 19 with a recital by Dan Lawhon, organist-choirmaster of the church. The fi rm’s assembly room was fi lled with 130 people, squeezed in to hear Leyding, Bach, A. E. Schlueter Pipe Organ Company Dandrieu, Buxtehude, Bach, Brahms, Vaughan Williams, Vierne, and Jehan Alain, is pleased to announce the contract along with Flor Peeters’ “Speculum vitae,” sung by soprano Sharon Lawhon. to build a new 47-rank pipe organ for Noack Opus 156 is a two-manual, 28-stop organ that will be housed at the front of the church. An off-center chamber that once housed an electro-pneumatic instru- Iglesia ni Cristo, Central Temple, ment is now receiving a new tracker organ. The unusual placement of the various in Quezon City, Philippines. The components (chamber, chests, console, etc.) and the presence of multiple obstacles resources of this instrument will (HVAC) posed challenges in solving the trackers’ path. The simple lines of the be controllable from a IV-manual church’s architecture called for a simple façade: a chromatic row of fl amed copper drawknob console. Several divisions pipes set at the left of the central cross visually balances the baptistery setting. For of the organ will have chamber information: www.noackorgan.com. openings into side chapels which   can be closed off from the main 035DWKNH,QF 3LSH2UJDQ%XLOGHUV Temple to allow the organ to also   be playable as two separate two- 3RVW2IILFH%R[ manual instruments. 6SLFHODQG,QGLDQD86$ 7HO)D[ ZZZUDWKNHSLSHRUJDQVFRP

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

Europe in the Third Army, where he for sales, a position he held until his II. In November 1943 Karl lost his life Harpsichord News formed a racially integrated band, “The retirement in the fall of 1988. Dur- when his ship, the USS Liscome Bay, by Larry Palmer Wolfpack,” which was spared from ing his career at Casavant, he worked was sunk in the Pacifi c Ocean. combat service. Brubeck had lessons closely with tonal directors Lawrence Elizabeth Mittelsteadt was an with Arnold Schoenberg while on active Phelps, Gerhard Brunzema, and Jean- elementary school teacher in Sparta Remembering Irma Rogell duty; after his discharge he studied with Louis Coignet. An avid traveler, he was and La Crosse, Wisconsin and Winona, “Walks with Wanda,” the only English- Darius Milhaud at Mills College. instrumental in developing the market Minnesota. An accomplished organist language essay in Martin Elste’s lavishly The Dave Brubeck Octet, which in Japan, where Casavant installed 26 and pianist, she made frequent trips illustrated volume Die Dame mit dem recorded for Fantasy Records, was suc- new organs. to Europe on organ study tours. She Cembalo [The Lady with the Harpsichord] ceeded in 1951 by the Dave Brubeck In the 1960s, the Corbetts lived in was a church organist for most of her published by Schott in 2010, consists Quartet, which recorded for Colum- Westport, Connecticut, where Don was adult life, serving at Grace Lutheran of fi ve pages—Chapter Four—from an bia Records. In 1954 Brubeck was organist and choirmaster at Green’s Church in La Crosse, and as director of otherwise-unpublished memoir by harpsi- featured on the cover of Time. After Farm Congregational Church. He was music and education at Mount Calvary chordist Irma Rogell, in which she remi- the disbanding of the quartet in 1967, also director of music at the Convent of Evangelical Lutheran Church. She nisces about her four summers of lessons Brubeck continued not only perform- the Sacred Heart in Noroton, Connecti- also taught privately; in 1999 a number with Landowska, beginning in 1955 and ing and recording, but produced many cut, where he was responsible for the of her students performed an organ ending with the pioneering harpsichord- compositions, including cantatas, ora- installation of a new Casavant organ in concert in La Crosse in honor of her ist’s death in 1959. The following year, at torios, a Mass, and other sacred choral 1967. He was also very actively involved decades of worship accompaniment and age 40, Ms. Rogell made her well-received music, such as La Fiesta de la Posada in several organ study tours with West- training of future musicians. Elizabeth solo recital debut at Boston’s Jordan Hall (Schirmer), a Christmas choral pageant, minster Choir College. In Quebec, he Mittelsteadt is survived by brother and during the next fi ve decades she con- Lenten Triptych (Hinshaw), a Lent/ was organist for many years at St. Paul’s Arthur (Carolee) Beutler, and by nieces tinued to pursue a solid career of recitals, Easter trilogy, and the oratorio The Anglican Church in Knowlton, Eastern and nephews Barbara Beutler, Robert recordings, and teaching. On February 9, Light in the Wilderness (Schirmer). He Townships, where he resided. Beutler, Susan Heartt, John Beutler, 2013 Irma Rogell died in Newton, Con- composed the entrance music for the Retirement found Donald and Rose David Beutler, Carol Loggins, and necticut, at the age of 94. 1987 visit of Pope John Paul II to San Corbett, who had raised fi ve children, Karen D’Ambrisi. Francisco. In 2000, Brubeck founded enjoying life in Somerset, England, and the Brubeck Institute with his wife, in 1989 Donald once again became Elizabeth Abeler Stodola died Iola, at their alma mater, the University organist and choirmaster, this time at St. December 9, 2012, in Little Rock, of the Pacifi c. Initially a special archive, Michael’s Parish Church in the village Arkansas. She was 90 years old. A St. consisting of the personal document of Minehead for “my love of English Paul native, she graduated from the collection of the Brubecks, the Institute church music.” University of Minnesota, did graduate has since expanded to provide fellow- After returning to North America in work at the Manhattanville College of ships and educational opportunities in the 1990s, the Corbetts settled fi rst in the Sacred Heart, and received a mas- jazz for students. Middlebury, Vermont, where Don was ter’s degree in music education from David Warren Brubeck is survived by organist and choirmaster at St. Stephen’s the University of Iowa. She taught vocal his wife, Iola, fi ve children, ten grand- on the Green Episcopal Church. They music in the Iowa public schools for 25 children, and four great-grandchildren. then moved to Nova Scotia, where years. Returning to St. Paul in 1971, she he was organist at St. John’s Anglican served as music director at St. Leo the Thomas W. Byers died on Christ- Church, Parish of Horton. Through his Great Catholic Church and at the St. mas Day, 2012. Born in 1923, his early fi nal years, from 2003 to 2012, Donald Paul Seminary. interest in music and a talent for wood- was a member of the Annapolis Valley In 1982, Stodola moved back to working and mechanical design led to RCCO Centre. Cedar Rapids and worked as a music his apprenticeship at Henry Pilcher’s —Alan T. Jackson, Stanley Scheer, instructor in the Davenport school Sons in Louisville, Kentucky; he later Jacquelin Rochette, Richard Knapp system, and as organist-choir director worked with Chester A. Raymond in at the First Congregational Church in Princeton, New Jersey. In 1948 Byers Elizabeth “Betty” Mittelsteadt, Moline. She returned to Little Rock in Die Dame mit dem Cembalo book cover started the Andover Organ Company in age 95, died October 3, 2012 in La 1988 and served as organist-choir direc- Methuen. Charles Fisk joined him as a Crosse, Wisconsin. She held bach- tor at Lakewood United Methodist Alerted to the news of her passing partner a few years later, and took over elor’s degrees in education from Martin Church, Trinity Episcopal Cathedral, by the ever-vigilant harpsichord enthu- the company when Byers left in 1958 to Luther College, New Ulm, Minnesota, and St. Michael’s Episcopal Church. siast Robert Tifft, I read Irma Rogell’s return to Louisville. Fisk left Andover in and the University of Wisconsin-La She was active in the Arkansas Bach obituary, which, strangely enough, did 1961 to start C. B. Fisk in Gloucester; in Crosse, and a master’s degree in early Chorus and the Organ Historical Soci- not mention the harpsichord at all. At 1973, Byers moved back to join Fisk as a childhood education from Northwest- ety, and served as dean of the St. Paul- fi rst a little uncertain that the subject of designer. He later worked in electronics ern University, Evanston, Illinois, where Minneapolis and Cedar Rapids-Iowa the notice was indeed “our” Irma Rogell, and for a harpsichord builder; in recent she also studied organ. She married Karl City, Blackhawk, and Central Arkansas I checked several tributes written for the years he volunteered at the Sawyer Free A. Mittelsteadt in February 1943 when AGO chapters. Elizabeth Abeler funeral home’s guest book; words from Library in Gloucester. Thomas W. Byers Karl was serving as an ensign in the Stodola is survived by two sons, three Teri Noel Towe and Peter Watchorn, is survived by his wife of 52 years, Ann United States Navy during World War grandchildren, and a brother. Q ³ page 12 (Norman) Byers, son John, and daugh- ter-in-law Mary.

Donald “Don” Corbett died in Port Dalhousie, Ontario, Canada, on January 7. A born salesman, he was able to combine his talent as an organist and choirmaster with a successful career in the organ industry. Born August 4, 1923, he studied organ in Toronto with Frederick Silvester and William Findlay. Throughout his career he held organist and choirmaster positions in Canada, the United States, and the U.K. Already an organist in 1940 at age 17, he was playing in Toronto churches. He joined the College of Organists in 1949 and was at that time organist of St. Aidan’s Church, Queen Street. In 1953 Corbett was elected to the executive committee of the Toronto Centre of the College of Organists. During World War II, he served overseas as staff sergeant for the Royal Rieger builds classics Canadian Air Force, 1943–1946. In 1957, Don moved to the United States, for the future. selling fi rst for M. P. Möller and, from 1964, for Casavant Frères, fi rst as sales representative in New York and New Rieger-Orgelbau GesmbH England (1964–1974), then as sales A-6858 Schwarzach-Vbg., Hofsteigstraße 120 manager (1970–1974), coordinating the T +43 (0) 5572/58132-0, F +43(0) 5572/58132-6 company’s sales activity in the United www.rieger-orgelbau.com, [email protected] States, and, fi nally, as vice president

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2013 Q 11 Here & There

³ page 11 I hope this short excerpt will whet the Of Landowska’s “last student,” Irma Guild of Carillonneurs in North America both distinguished members of the appetite for further reading in the pub- Rogell, Emer Vaughan chose these in 1998. Its mission is to promote the harpsichord community, confi rmed a lished chapter from Irma Rogell’s mem- words to end his 2005 Harvard Maga- growth and vitality of the North Ameri- relationship with our instrument, and led oir. On her walks with Landowska many zine profi le “A Musical Education”: can carillon culture by encouraging to correspondence with these gentlemen. topics familiar to Landowska afi cionados study in carillon performance, composi- Now, after years of touring, record- In notes to her recordings it was cus- were covered. One puzzling bit of his- ing . . . and teaching, Rogell again plays tion, music history, or instrument design tomarily noted that Rogell had remained tory—the story of Landowska’s husband mainly for her own enjoyment . . . she in North America. All North American faithful to Landowska’s preferred Pleyel Henri Lew and his sudden demise after listens to her old tapes (“Hard work!”) residents are eligible to apply. Informa- concert harpsichord; her own Pleyel being hit by an automobile—is set in for new recording projects, “because I’d tion and requirements are listed at www. like to share my belief that the harpsi- instrument built by the Parisian fi rm Paris rather than the usually cited city of chord can be a very expressive instru- gcna.org/scholarships.html. was acquired in 1958. However Peter Berlin. The correct venue, Berlin, is listed ment, which is at the core of what I Watchorn’s tribute to Rogell noted that in Martin Elste’s comprehensive chronol- learned from Landowska.” Carillonneur Appointments “. . . shortly after arriving in [the USA] to ogy of Landowska’s life, so it must be that Two Dutch cities and one American join the staff of the Frank Hubbard Harp- memory—whether Landowska’s, as she To hear an example of Rogell’s key- university have appointed new carillon- sichord Workshop in Waltham, MA . . . related an oft-told anecdote, or Rogell’s, board artistry, access her performance neurs. Rien Donkersloot has succeeded one of my fi rst jobs was to work on a new as she remembered a conversation from of the Sarabande from Handel’s Suite in retiring Haarlem city carillonneur Ber- instrument for Irma, and we came to know fi fty years earlier—simply transposed the D Minor, HWV 437, as recorded on the nard Winsemius. In Breda, following a each other well over the next 25 years.” To site in which the event actually happened. 33-1/3 rpm disc La Tomba di Scarlatti tradition, retiring carillonneur Jacques my request for clarifi cation about Rogell’s (1982), the fourth item in the section Maassen handed over his position to harpsichord(s), Peter responded: “We illustrating the sounds of the Pleyel his son, Paul Maassen. Jacques’ father built a Hass copy for her in 1989—with harpsichord on Robert Tifft’s website and grandfather were previously the seven pedals (like the Pleyel). She also devoted to Janos Sebestyen and other Breda city carillonneurs. Lisa Lonie has had one of Eric Herz’s big Model F instru- 20th-century harpsichordists of note: assumed the post of University Carillon- ments—the one with 16-foot. She also had http://jsebestyen.org/harpsichord/audio. neur at Princeton University. her Pleyel. I’m not sure how long she kept html#Pleyel. the Hass—she couldn’t tune, so it didn’t If any reader has further information Carillon Library see all that much use, I think” [E-mail about Irma Rogell and her unpublished Joy Banks, the librarian at the Anton communication 25 February 2013]. memoir, please share it with the Harp- Brees Carillon Library at Bok Tower In an interview with alumna Rogell sichord Editor at [email protected] or Gardens in Lake Wales, Florida, for the Harvard Magazine (May-June write to Dr. Larry Palmer, Division of has announced that they now have a 2005), Emer Vaughn mentioned that Music, Southern Methodist University, searchable, online catalog for their “she is writing a memoir of her studies Dallas, Texas 75275. Q collection. It can be found at http:// with Landowska . . . ,” the source, obvi- antonbrees.mlasolutions.com/oasis/ ously, for the excerpt published in Dr. catalog/?installation=Default, but I sug- Elste’s book. Trying to ascertain just how Carillon News gest that you simply google “anton brees much more of this memoir might exist Irma Rogell and Wanda Landowska by Brian Swager library catalog.” Banks promises that it led to correspondence with Teri Towe, is a work in progress, and they welcome Christine Gevert, and Martin Elste, who By all means, do not allow the lack of feedback from users. kindly searched his Landowska fi les and a reading knowledge of German to deter North American Carillon School responded with an additional chapter you from acquiring Die Dame mit dem A carillon school has been established Oakland University Carillon not included in his published book. Cembalo. The pictorial feast assembled in Centralia, Illinois. The school is an Oakland University has announced The fi rst paragraphs from Rogell’s for this 240-page, coffee-table-sized book affi liate of the Royal Carillon School plans to install a 49-bell carillon on its “Chapter Three” immediately show her includes 306 images, many not seen previ- “Jef Denyn” in Mechelen, Belgium. The campus in Rochester, Michigan. Donors to be a captivating writer: ously in print. These include record labels school offers both a performance diploma Hugh and Nancy Elliott have given $6.5 and album covers, two pages of fi nger and a profi ciency certifi cate. In addition to million for the carillon and a 151-foot “What is she like?” The question came exercises from a notebook belonging to performance studies, the school will offer tower with a garden, fountain, and land- unexpectedly that fi rst time and I heard myself say spontaneously, “She is just like St-Leu student Lily Karger, a Bach Inven- coursework in arranging, composition, scaping. They have also provided fund- your grandmother—that is, of course, if tion score with Landowska’s fi ngerings, improvisation, campanology, and market- ing for an endowment for operations your grandmother also happened to be numerous witty caricatures, and, as an ing and promotion. The faculty currently and maintenance. A groundbreaking Empress of the World.” exceptional labor of love from Dr. Elste, includes three carillonneurs: Carlo van ceremony is tentatively planned for the That fi rst imperious “madame” with which she had greeted me at our fi rst his own recent photographs of the current Ulft, Frank DellaPenna, and John Gouw- university’s Founders’ Day celebration in meeting was the last such greeting. Al- state of places Landowska called home ens. More information is available at April 2013. ways thereafter I was “little one.” She sur- in Paris, Berlin, St-Leu-la-Forêt, New www.carillonschoolusa.org. rounded me with love, exactly, in fact, as York, and Lakeville, as well as her fi nal Iowa State University my beloved great-grandmother had done. Which is why she was “Mamusia,” the Pol- resting place in the cemetery of Taverny Carillon Scholarships Carillon Festival and ish word for little mother, which is what she (France), where her urn is placed next to The Ronald Barnes Memorial Schol- Composition Competition preferred to be called. that of her brother Paul Landowski. arship Fund was established by the Iowa State University Department of Music announces a carillon composition PIPE-DIGITAL COMBINATIONS • DIGITAL VOICE EXPANSIONS • SOLUTIONS FOR OLD PIPE ORGANS competition. The competition is a part of the carillon festival to be held on Sep- tember 21, 2013. The purpose of the competition is to encourage the writing of original caril- First United Church of Christ in Salisbury, NC selected a custom lon compositions by young composers Rodgers 3-manual with a colonial finish, mechanical drawknobs and under age 35. Prizes include one cash MIDI to be interfaced to 11 ranks of new Ruffatti pipes. The pipe ranks award of $500 and the premiere per- formance of the winning composition at are 8’ Principal, 4’ Octave, 2’ Super Octave, IV Mixture, 8’ Gemshorn, the carillon festival. 8’ Flute Harmonique, 8’ Pedal Principal and 4’ Pedal Octave. The submitted work shall be an origi- nal composition for four-octave carillon The installation was completed by R. A. Daffer Church Organs, Inc. (tenor C to C4), with two-octave pedal The late Paul E. Oakley was the consultant to the church. board (C-C2). The composition may be a solo, a duet for one carillon, or a work for carillon with one or more other instru- ments or chorus. Submitted composi- tions must be postmarked no later than August 15, 2013. For more information, visit www. music.iastate.edu/carillon, or contact Tin-Shi Tam, University Carillonneur, at Iowa State University, Music Depart- ment, 149 Music Hall, Ames, IA 50011; 515/294-2911; [email protected]. Q

Send items for “Carillon News” to Dr. Brian Swager, c/o THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025; or e-mail brian@ For more information, please contact allegrofuoco.com. For information on the Rodgers Marketing at 503-648-4181. www.rodgersinstruments.com Guild of Carillonneurs in North America: www.gcna.org.

12 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM Reviews

Music for Voices and Organ duplication. There are four verses, which unison. The text focuses on memory and Book Reviews by James McCray may be sung by a soloist or select group. faith. There is a standard closing Amen. Organ Building: Journal of the The keyboard part is easy and doubles Institute of British Organ Building, Communion music the melody. The sweet, gentle music When Invited to the Feast, William Volume Twelve (2013). 116 pp., concludes with a brief coda that intro- Pasch. Two-part mixed, piano, and paperback; ISBN 978-0-9545361-90, In the question, in the answer, In the moment of acceptance, duces a 3+3+2 rhythm for the fi rst time. optional assembly, Augsburg For- £16.50. Available from bookstores or In the heart’s cry, in the healing, tress, 978-1-4514-2409-6, $1.75 (M-). from www.ibo.co.uk. In the circle of your people, For the Bread Which You Have There are fi ve verses, which always The 2013 issue of Organ Building: Jesus Christ be the wine of grace, Broken, Timothy Shaw. SATB and retain the melody; two are for unison Journal of the Institute of British Organ Jesus Christ be the bread of peace. —Shirley Erena Murray keyboard, MorningStar Music Pub- women or men, two have alternate per- Building, dealing with the chief achieve- At This Table lishers, MSM-50-9760, $1.70 (M-). formance possibilities, and the last one, ments of British organ building during The fi rst verse is for two-part mixed which has modulated, is somewhat more the past year, begins with the usual Christians generally would agree choir, and the second slower verse uses sophisticated. The assembly’s melody is overview by the editor, Paul Hale. The that one of the important and poignant four parts with optional passages for on the back cover for duplication, and principal instruments described this year moments in their worship is during the unaccompanied choir. Tempo I returns they may sing on any or all of the last are the new 4-manual, 41-stop electro- taking of Communion. This usually for the third verse, which dissolves into three verses. pneumatic organ by Mander Organs in evokes strong emotions, perhaps more a brief, contrapuntal Amen ending that Our Saviour’s Church, Lagos, Nigeria, so when the elements are distributed also may be sung unaccompanied. The Song of Remembrance, Tom Fettke. and a new 4-manual, 43-stop organ by at an altar and worshippers are brought easy keyboard music helps create a SATB and piano, Hope Publishing Kenneth Tickell for Keble College, to the front of church. To many, includ- fl owing character. Especially useful for a Co., C 5540, $1.95 (E). Oxford. I recall that back in 1992, when ing me, this seems more personal, as small church choir. With a text based on I Corinthians Keble College’s old pipe organ was swept individuals are kneeling, instead of 11: 24–26, this simple four-part set- away and replaced by an electronic sub- comfortably remaining in the pews and Living Bread, Joel Raney. SATB, ting vocally moves in block chords with stitute, my old Oxford friend, the late Dr. passing containers of bread and wine. piano, and optional congregation, intermittent moments of unison. The John Caldwell, resigned his Fellowship (Admittedly, in some cases, age and Hope Publishing Co., C 5715, piano accompaniment has a few fl owing at Keble in protest, so I am very glad that health issues may prohibit some from $2.10 (E). phrases but is always background for the his wishes have fi nally been honored by coming forward.) Unlike the simple two settings above singers. Useful as an easy anthem on the installation of a new pipe organ in The music associated with Commu- (by Shaw and Mengel), which are Communion Sundays. Butterfi eld’s fi ne case. nion plays a helpful role for the congre- more appropriate during the taking of Besides these large showcase organs gation. Church choir directors often pro- Communion, this more elaborate, yet This Gift Is Free, Fred Gram- there were several interesting new gram a selection with a Communion text easy, Raney setting could be used as an ann. SATB unaccompanied, E.C. instruments of one and two manuals, as their weekly anthem. Some churches anthem on Communion Sundays. The Schirmer, No. 7501, $1.55 (M). mostly with mechanical action. Among have the choir sing appropriate music eight-measure keyboard introduction There are four verses, with the fi rst signifi cant rebuilds were that by Henry during the Communion ceremony, some also serves as the backdrop when the melodic statement in unison, which Willis & Sons of the organ in St. use a background of organ music, and choir enters on verse one. The congre- could be sung by a soloist; that melody Matthew-in-the-City, Auckland, New some employ congregational singing. gation, whose part is on the back cover, is clearly heard throughout the other Zealand, and Harrison & Harrison’s Nevertheless, in most cases, music adds joins the singing for the last verse. The verses, although each develops with rebuild of the organ in the Central Hall, to the emotional impact. melody of the second verse differs only brief, alternate harmonies. The text is Westminster, London’s principal United Publications of sacred music are in being sung by the men and women based on Isaiah 55. Lovely music. Methodist Church, as well as a number quite numerous in certain categories. separately. The fi nal section modulates of smaller instruments. For example, Christmas is one of the but has the same text and music that The Lord’s Supper (Choral Set- Among rebuilds, Walker organs largest; another topic that receives eventually closes quietly. tings for Communion), compiled by seemed to have fared well in 2012. frequent publication is music for Com- Jack Schrader. SATB and organ (or First, Mander carried out a sympathetic munion. Denominations have various I Am the Bread of Life (Yo Soy el Pan piano), Hope Publishing Co., No. rebuilding of the celebrated hundred- schedules for taking Communion; de Vida), Suzanne Toolan, SATB, 8428, $8.95 (M/M+). year-old 3-manual, 50-stop Walker some celebrate every week, some once assembly, keyboard, guitar, and two There are ten “top-selling choral organ in Sacred Heart Roman Catholic a month, and some only offer com- C instruments, GIA Publications, anthems” in this collection, which Church, Wimbledon, London, including munion at selected times of the year. G-7374, $1.95 (E). includes works by Lloyd Larson, Hal retention of the original tubular pneu- Another difference among denomina- There are fi ve verses in this prag- Hopson, Jay Althouse, and others. matic action. Second, the Wells-Kennedy tions is that some offer the elements matic setting, which may be performed Some include music for optional/addi- partnership carried out a restoration to anyone who attends the service, but in English or Spanish. Only the refrain tional instruments with possible vocal of the 1948 3-manual, 53-stop Walker some have more restricted guidelines. is in SATB; however, both verses and soloists. All have been published sepa- organ in St. Mark’s Church, Portadown, Both Protestant and Catholic churches refrain are printed for use by the assem- rately. This will be especially valuable Northern Ireland, which includes a fi ne consider the taking of Communion as bly. Also included are parts for the two for those churches where Communion late example of a 17-19-b21-22 Harmon- an important feature of worship. C instruments. The vocal line has a is served regularly and music is needed ics mixture. Most church libraries contain numer- limited range and is very simple, as is more often. ³ page 14 ous choral works appropriate for Com- the keyboard part, which also includes munion. It is recommended that as chord symbols. church choir directors select new music each year, at least one work be appro- Observing Communion priate for Communion. To guide read- The Lord Invites Us Here, C.J. A Precious Gift ers along that direction, this month’s Adams. SATB, piano with optional reviews feature choral works whose violin, Hope Publishing Co., C 5659, texts and music enhance the focus on $2.05 (M). from the Past Communion. Since the topic of Com- This peaceful, tuneful setting is pri- munion is appropriate at various times marily in unison or two parts; the music for the Present throughout the year, works will fi nd fre- is syllabic with memorable rhythms. quent use. Communion music is easily When not doubling the voice parts, the recycled for frequent performances, so keyboard has fl owing right-hand lines. and the Future having a variety of musical styles helps The solo violin plays throughout the Supremely beautiful and blendable maintain freshness for the standard entire setting; its music is easy, usually texts. Choral Communion music tends as a counter-melody to the choir, with a tonal color – a Gift from the Venetian to be easy, usually gentle, and has a separate part on the back cover. Lovely School of organbuilding, a monumental part of our focus on a sweet melody, as noted in the and simple music that is appropriate JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH reviews below. as background for Communion or as SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN an anthem. About the bread This Is the Bread, Dana Mengel. Meditation for Communion, Jay Intriguing? Let us build your dream. Unison and keyboard with assembly, Althouse. SATB and piano, Hope GIA Publications, G-6375, $1.50 (E). Publishing Co., C 5679, $1.95 (M-). The refrain that opens the setting is While not diffi cult, the piano music to be sung by everyone, so the congre- is busier than that for the choir, whose gation’s music is on the back cover for music is chordal with brief moments of

Fruhauff Mussiic Publliicattiionss Music of Ed Nowak Compositions, Historical Transcriptions, Choral, hymn concertatos, psalm Builders of Fine Pipe Organs to the World Hymn Tune Settings & Liturgical Music  Scores for Organ, Voices, Carillon & Ensembles  settings, organ, piano, orchestral www.frumuspub.net and chamber ensembles www.ruffatti.com D P.O. Box 22043 E Santa Barbara, CA 93121-2043 http://ednowakmusic.com Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370

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

³ page 13 in Boler, Norway of an 1884 instrument Tickell & Company writes of the new People, look East Paul Hale’s overview is followed by a by August Nilsen of Oslo, with a most 2-manual, 16-stop Tickell tracker God is light collection of essays authored by organ unusual mechanism with individual organ in St. John’s College Chapel, I will go unto the altar of God builder David Wyld of Henry Willis & “cotton reel” valves for each pipe, oper- University of Brisbane, Australia. The I will receive the cup of salvation Sons, independent draftsman Geoff ated by a roller and tracker system. After striking asymmetrical case has amazing Be fi lled with the Spirit McMahon, and architect and project- this, we hear of the Mander restoration pipeshades featuring the kookaburra The Kontakion of the Departed manager Peter Reed on the organ in St. of the Walker organ in Sacred Heart, and Australian magpie surrounded by Late have I loved thee Matthew-in-the-City, Auckland, New Wimbledon, mentioned above, in essays eucalyptus leaves. The name of Dr. Harry Bramma will Zealand, already mentioned above. This by organ builder John Mander and recit- Finally, Mark Venning of Harrison be known to many Anglican musicians instrument is a very interesting design alist David Briggs. The organ had been & Harrison, and William McVicker, in the United States as a result of his in a number of ways. It comprises 68 somewhat altered over the years, as well consultant, describe the rebuilding of successful tenure as director of the stops spread over four manuals and as “releathered” with Perfl ex, and was in the organ in Westminster’s Methodist Royal School of Church Music (RSCM), pedals, and apart from the Solo—which a fairly ruinous state. As well as restoring Central Hall. The organ, originally a Hill and as the director of music for some David Wyld characterizes as a Bom- the original tubular-pneumatic action—of instrument of 1912, had last been rebuilt years at London’s great shrine of Anglo- barde division with a large Harmonic which there are some very interesting in 1970 by Rushworth & Dreaper, in con- Catholic worship, All Saints’ Church, Flute—it is classic Willis, even down to photographs accompanying the text— sultation with then organist, the late Dr. Margaret Street, Westminster. So it is including tierces in the mixtures. The Mander has revised the tonal design to be W. S. Lloyd Webber, the father of Andrew fi tting that the choir, having recorded instrument was somewhat diffi cult to somewhat nearer to what it was originally. Lloyd Webber (Baron Lloyd-Webber, of several discs on the Priory label under fi t into the chambers and so the only Following this are three essays Sydmonton) and Julian Lloyd Webber. Dr. Bramma’s direction, should now way to make it possible to service the describing the new Kenneth Tickell The original casework, with an impres- produce this fi ne recording of his own 32′ pedal reed was to suspend the whole organ, already mentioned in the over- sive 32-foot façade, originally housed compositions, particularly as the choir stop upside down! Another interesting view, by Simon Whalley, Fellow of Keble a 42-stop organ, but since 1970 it has is the dedicatee of several of the works design feature is the vertical stack of and director of music; Kenneth Tickell, housed no fewer than 80 stops. The fi rst included here. reservoirs of graded pressures. organ builder; and William McVicker, thing that was apparent when it came The singing is exactly what one would Next come essays by organ builder consultant. The new organ incorporates to the current rebuild was that it was expect from a small, professional SATB Martin Goetze and consultant William the case from the original Hill organ of essential that the instrument should be choir in an important London parish— McVicker on the new Goetze & Gwynn 1876, designed by William Butterfi eld, reduced in size. The rebuilt instrument the choir’s performances are powerful 2-manual, 20-stop tracker in All Saints’, architect of the college. The tonal design, thus has 66 stops, spread over four manu- and emotional, and their diction clean Odiham, Hampshire. The instrument is especially the reeds, is also infl uenced by als and pedal, with an integrated tonal and clear. Their dramatic, seamless built in a historical style based on “Father” Hill’s work. Surely this must be a very scheme that harkens back to the original crescendi and diminuendi appear effort- Smith’s work from the late seventeenth fi ne organ indeed. Hill organ without slavishly copying it. less, and are remarkable for such a small and early eighteenth century, though Grimsby Town Hall houses an organ At the end there are the usual appen- ensemble of a mere 11 voices. (Very with some concessions to modernity in of 1912 by Brindley & Foster of Shef- dices listing the membership of the Insti- occasionally, the soprano vibrato is a the form of a full-compass Swell includ- fi eld, originally built for All Saints, tute of British Organ Building, together little too heavy for my personal taste.) ing a Dulciana, as well as a Pedal division. Grimsby. Following bombing damage with their areas of specialization. As in Henry Parkes’s organ accompaniment Later on, an article by Martin Goetze’s in World War II, the instrument was previous years, Organ Building is attrac- is sensitive and skillful throughout on partner, Dominic Gwynn, describes in repaired by Cousans of Lincoln, who tively produced and profusely illustrated the church’s magnifi cent four-manual detail the various forms of construction made some tonal changes and converted in full color. It is an excellent periodical Harrison & Harrison organ, and having employed by British organ builders for the original tubular-pneumatic action to that deserves to be widely read. heard the excellent choral accompani- making wooden pipes between the six- electro-pneumatic. In 1985 the church —John Speller ments here, it is a great pity that there teenth and eighteenth centuries. closed and the organ was relocated to St. Louis, Missouri is not some Bramma organ repertoire to An interesting organ transplant Grimsby Town Hall by Aistrup & Hind include. (Given the importance of the prompted essays by Guy Russell and of Lincoln. Now Aistrup & Hind have New Recordings tonal colors of the organ when accompa- Andrew Moyes of Nicholson & Co., replaced the electro-pneumatic action The Church Music of Harry Wake- nying this type of liturgical repertoire, it which deal with their relocation of the with new direct-electric chests. There fi eld Bramma. The Choir of All is regrettable that many recordings fail 1851 George Smith organ from St. Jude’s is an article by organ builder Chris Saints’, Margaret Street, London; to include details of the particular organ Church, Southsea, Hampshire to St. Hind describing the work, and another Paul Brough, director; Henry heard, and this is unfortunately the case Barnabas, Ealing, London. The instru- article describing the Cousans rebuild is Parkes, organist. Priory Records here—despite a blank page in the book- ment’s new position on a relatively shal- reprinted from the December 1954 issue PRCD1060; www.priory.org.uk. let, which would have been perfect for low organ gallery required considerable of Musical Opinion. Alleluya. This is the day the instrument’s specifi cation!) reordering of the windchests. I think it This is followed by a couple of The souls of the righteous The presentation of the CD is good, is rather unfortunate that the pitch was essays by consultant Ian Bell and organ O salutaris hostia (1999) and includes a short biography of the lowered from A=454 to A=440, since this builder David Wells, concerning the Tantum ergo Sacramentum (1999) composer, complete texts of each piece would have had a detrimental effect on project to relocate the 1968 Mander Benedicite, omnia opera sung, details of both director and organ- the reeds. organ from St. Paul’s School, Barnes, O salutaris hostia (2003) ist, a listing of members of the choir, and Peter Collins then describes the res- to All Saints, West Dulwich, London. Tantum ergo Sacramentum (2005) even a short description of the church. toration and relocation to a new church After this, Simon Brown of Kenneth It is high time to awake out of sleep Of particular interest is the page written by the composer detailing the circum- stances surrounding several of the com- positions, and giving a little insight into his motivation in writing church music— Thousands of titles, top-tier publishers... “meeting liturgical need” is a theme that runs through Bramma’s music and can be heard in this performance. Stylistically, Bramma’s distinctive musical voice is subtle and unfussy, and evokes sounds of Herbert Howells, Gerald Finzi, and Kenneth Leighton. It embodies the very best elements of Eng- lish sacred choral repertoire of the latter half of the previous century: it is rarely OneLicense.net extravagant, packed with beautiful, soar- ing, lyrical lines, and is truly inspirational. On listening to this disc, one can imagine forSUNDAY ANNUAL and ONE-TIME sitting in Butterfi eld’s “acknowledged architecture masterpiece” of a church, BULLETINS, CHURCH COPYRIGHT WEDDINGandFUNERAL GOT WEB? PROGRAMS, PERMISSIONS GOT SEO? GOT RESULTS? PROJECTION, NEED HELP? SPECIALSERVICE BOOKLETS, At MediaPress Studios, we apply now + tomorrow solutions to “now” problems, PRACTICE TRACKS, Log on and take the tour today! whether enhancing existing sites or building and PODCASTS new device-independent websites. Want to know more? Contact us at 800.663.1501 [email protected].

14 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM Reviews gazing towards the high altar through a American recitalists. These are incred- I love it! A very fast repetitive pattern in At 72, Dr. Al Travis continues to be a fog of incense, and being transported to ibly rewarding works to listen to. Having the left hand provides the background vibrant pillar of the organ community in a higher spiritual plane. There’s just no a huge organ sound, as in this recording, for the melody in the right. A highly Fort Worth, Texas, where he has presided way around it: if you like Anglican choral is fun, but the Esquisses also work well rhythmic section in the middle gives for 35 years at Broadway Baptist Church, music, you’ll love this CD. on moderate-sized organs. It is literature punch to parts of the tune before the home of Casavant’s 191-rank magnum —James M. Reed that perhaps may become, and needs melody returns with added grace notes. opus, and served as Distinguished Pro- Bergen, Norway to become, a part of the major concert Wow, watch out: a big dramatic ending fessor of Organ at Southwestern Baptist repertory. If you wish to attack these follows. Dissonant! Not every congrega- Theological Seminary. Beginning with Trilogies. Gunther Rost, organ. works yourself, they will challenge your tion will like it, but it is my favorite piece the publication of his ever-popular Toc- OEHMS Classics, OC 679, €16.99; knowledge of how to play the pedals! in the volume! cata on “Rejoice, Ye Pure in Heart” in www.oehmsclassics.de. —David Lowry Toccata: Homage to Buxtehude, writ- 1986, his compositions have consistently Marcel Dupré: Trois Préludes et Columbia, South Carolina ten in 2007, is an interesting homage to been “winners” for organists and congre- Fugues, op. 7; Jehan Alain: Trois Danses, the North German composer. Although gations alike. As expected, the excellent JA 120; Dupré: Trois Esquisses, op. 41. New Organ Music there are no quotations from Buxtehude’s and useful settings of the three British Karl Schuke organ in Neubaukirche, Pequenos Preludios Folclóricos, Vol- toccatas, the work draws on the structure tunes in this collection lie well under the University of Würzburg. ume II (Cadernos 5–8), by Calimério and textures of his compositions; and as hands and feet and can be easily learned. The fi rst interesting aspect of this Soares. Wayne Leupold Editions Cooman states, “it is a contemporary When in Our Music God Is Glorifi ed recording of French organ works is that WL600256, $17; ‘take’ on the rather schizophrenic ‘jump- is a fantasy on Stanford’s Engelberg. Gunther Rost is a German artist who www.wayneleupold.com. cut’ form found in many North German Using the fi rst and last phrases of the studied with Marie-Claire Alain, among This slim volume of organ music is keyboard compositions . . . many of the hymn tune, the introduction (which others, and is playing a German organ. part of a new series from Wayne Leupold ideas are ‘disrupted’ by more contempo- could stand alone as a fi ne hymn intro- It was built by Karl Schuke of Berlin in devoted to organ music from Africa, rary harmonies and modulations.” duction or interlude) leads into a British- 1986 for the University of Würzburg’s Central and Southern America, as well as Toccata-Fantasy on a Medieval Welsh style statement of the hymn with treble Neubaukirche, a 16th-century edifi ce France and England. Calimério Soares Carol is a festive piece based on the melody on a reed stop. The ensuing essentially destroyed in World War II, and (born 1944 in São Sebastião, Minas Christmas carol Ar Fore Dydd Nadolig pages are really a written-out impro- rebuilt in 1985, but not as a church—it is Gerais, Brazil, died in Uberlândia, Bra- (On Christmas Morning). Bell-like visation with some twenty registration instead an important concert hall for the zil, June 2011) wrote a series of 40 short sounds begin over a drone-like left changes using different motifs based on university. The organ has four manuals pieces, divided into eight sets of fi ve hand. The music becomes more exuber- each of the tune’s four phrases, seam- with some 64 stops. Placement in this pieces per set, all based on folk tunes. ant and dance-like before turning into a lessly sequencing through multiple keys rebuilt Renaissance building is in its tra- In this volume, the fi nal four sets are fi ery toccata. The work ends with wildly and culminating with full organ. ditional place, high on the wall at the end included, 20 pieces in total, which are pealing bells. All Things Bright and Beautiful is of the structure. numbered from XXI to XL (volume one These pieces are quite approachable a delightfully piquant prelude on the The design of the organ (and there are contained the fi rst four sets of 20 pieces); and are moderate to diffi cult. Choose beloved English folk tune Royal Oak. American examples of Schuke’s work) twelve are of only one page in length, your audience right and they can be Two statements of the hymn tune, fi rst might well be the tonal design of many the remaining eight run to two pages, of quite successful. I highly recommend soloed out on a cornet then a clarinet, American builders. The voicing is uni- which only one requires a page turn. the volume. are sandwiched between three state- versal in concept, with clean principals, Most of the pieces have markings for —Jay Zoller ments of a catchy ritornello played on 8′ mellow fl utes, reeds that blend well, and solo and accompaniment rather than Newcastle, Maine and 2′ fl utes against strings. This makes mixtures that are complementary with- specifi c stops; this disposition often a perfect offertory, which captures the out being obtrusive. switches between the hands during the Albert L. Travis, When in Our Music: spirit of the tune and cannot be topped However, one must question the piece. The melody also appears in the Three Hymn Settings for Organ. for instant audience appeal. position of the microphone(s) for pedals in a few pieces; some of the pedal MorningStar Music Publishers, The simple tune Innocents, often the recording. For example, in the parts require quite a degree of agility, 10-655, $12.00; attributed to Handel, is set in the form of Schwellwerk in the Dupré F-minor especially in the syncopated no. XXVI, www.morningstarmusic.com. ³ page 16 Cantabile, the sound is not as clean as which is set against left-hand 16th notes, is needed to hear the constantly moving and show a marked advance in technical harmonic texture against the solo open requirements from the fi rst volume. The fl ute sounds. The pedal’s quieter stops Brazilian words to the fi rst phrase are arrive late in the ensemble. In bolder included, but without any translation passages when some couplers are on, it into English. Metronome markings are is clear that Rost is not playing behind included, a quarter note ranging from the beat, but the microphone simply 50 to 135. The harmonic language is isn’t in a position to capture what is predominantly diatonic and most of the really happening. The pickup on the pieces are written in two voices only. In 32′ Untersatz renders the sound to be no. XXXIII there is chordal writing over digital although, again, microphone the solo in the pedals in the opening sec- placement may well have something to tion, and passages in thirds against the do with that. The published specifi ca- solo appear in no. XXXVIII. tion does not indicate if there are digital These tuneful works make up a most sounds or not. attractive set. This volume can be rec- Beyond that frustration, there are ommended to players looking for some- many good things to say about the thing different but not inaccessible to recording. First, the entire plethora of audiences. Many of the works included sounds required for the elaborate reg- would also be useful for students, to istrations of the Alain dances are there, practice combining hands on different brought into play superbly by Rost. For manuals with feet. those who know of Mme. Alain’s many —John Collins performances of Trois Danses, it is clear Sussex, England that Rost spent much good time with her on interpretation. Organ Music Volume VI, by Carson There are some aural diffi culties in the Cooman. Wayne Leupold Edi- Dupré preludes and fugues. Again, the tions, Contemporary Organ Music, integrity of ensemble isn’t always clean. WL600248, $20.00; One might well argue about the articula- www.wayneleupold.com. tion of some passages, preferring to hear Unlike the nine pieces in Cooman’s more clarity as to where the strong beats volume II, which I reviewed earlier of the measures are. But the frustration (The Diapason, August 2010, p. 18), is that, whether it is French or some volume VI is devoted to only four larger +LJK3HUIRUPDQFH other school, the chief musical interest compositions. Composed in 2007, Elegia of a fugue is its counterpoint. Hearing was written in memory of conductor ,W¶VSDUWRIRXUKHULWDJH the counterpoint without muddiness is Craig Smith. Beginning with what the where the real excitement lies. The lines composer calls a “rageful shout,” the in this recording do not render that kind music quiets down to present a simple of clarity. But through the aural fog it is lament over a quiet 16′ pedalpoint. The very clear that Rost is a brilliant player. piece builds to several climaxes before a He enjoys these French pieces and his return to the opening ideas, this time in playing of all the works is virtuosic and a whisper and ending sadly. incredibly accurate. Jubilee-Postlude on Converse is a very ,1',$1$32/,6,1',$1$ The most rewarding aspect of this interesting setting of “What a Friend We :::*28/',1*$1':22'&20 recording is the reading of the Dupré Have in Jesus.” It is not something that Esquisses, works not heard often among my grandmother would have liked, but

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2013 Q 15 Reviews On Teaching

³ page 15 Organ Method VII in the end be one of layout and typog- notes. Of course, the pedaling in which a chorale and fi ve straightforward varia- This month’s column starts with a raphy. However, if anyone reading these you use the same toes for successive notes tions. The fi rst four variations comprise a discussion of the ways of using excerpts columns sees something that I appear to creates detached articulation. If you keep canon over a tonic pedal, a variation for from repertoire as pedal exercises—even have failed to explain, I would certainly your pedal touch light, the detached 4′ fl ute and zimbelstern over a dominant very early in the process of learning to appreciate hearing about it. articulation will not seem choppy or arti- pedal, running fi rst-inversion chords in play pedals. I have always suggested this This month’s excerpt ends with a bit fi cial or abrupt. Move each foot from one eighth notes on string celeste, and an to my own students, and, as long as it is about heel playing, which will then be note to the next with the small arc motion 1 ornamented 8′ and 1 ⁄3′ fl ute solo over approached correctly from a technical the main subject of next month’s excerpt. that you learned from the exercises above 8′ fl ute chords. The fi nal variation is a point of view, it has the great advantage That will round off the chapter on learn- [see February and March issues]. Note plenum fi nale using a triplet ostinato of being really interesting, more so than ing pedal playing, though of course that these right-foot notes would be stag- over the melody in fi rst-inversion chords, most scales and exercises. pedal playing will be discussed later on gered against the beat in the piece itself.) with a very effective modulation from C We are, these days, in a kind of fl ux in the context of putting hands and feet Each foot’s part should be practiced to A-fl at. about availability of printed music, and together and learning pieces. separately—slowly, lightly, not looking at it is not absolutely clear how to best pro- the pedal keyboard, bearing in mind all David Schelat, Fantasy for a Festive vide students with written musical mate- Analyzing a pedal passage of the things that you have learned about Occasion. MorningStar Music Pub- rial. I am inclined to direct students to The key to using passages from reper- foot position—until it feels comfortable. lishers, 10-985, $9.00; the various ways of fi nding pieces, espe- toire for pedal practice in the early stages Then the two feet should be combined, www.morningstarmusic.com. cially those that are Internet-based, and of learning to play pedals is to approach that is, you should play the passage as David Schelat is the director of thus convenient, being almost instant. the process systematically. Working on written—all of the notes, still slowly and music at First & Central Presbyterian That is, I do not expect to include as part passages like this will move your pedal lightly. Work on a little bit at a time—a Church in Wilmington, Delaware, and of this method an anthology of pieces playing along most quickly and lead to measure or two at fi rst, then three or also teaches organ at the Music School or to publish one separately. The wide the most solid results. four measures. of Delaware. This piece, commissioned and easy availability of music makes it As an example of how to analyze and Later on in this piece there is a passage by Marvin Mills, is very sectional and simple for students to choose their own practice a pedal passage, let us look at the that requires a different sort of pedaling requires fairly good pedal technique. The opening section in C minor features double pedal with majestic fanfares. The next Allegro section doubles in tempo, with chord entrances on the second beat over running eighth notes in the pedal. This is followed by an “open-touch” fughetta in G using a bell-like subject interrupted by a tripartite solo-accom- paniment Adagio in G minor, a ten- measure interlude on celestes in G-fl at major, and a return to an ornamented Example 1 version of the G-minor theme. The fi nal section is a reprise of the Allegro section with a pedal solo and coda.

Robert Lind, Children of the Heav- enly Father. Paraclete Press, PPMO 1210, $11.25; www.paracletepress.com. Example 2 Example 3 Dr. Don Erickson, long-time English professor at Augustana College, com- pedal passages, for example, though missioned the prolifi c Chicago organist- of course with as much guidance as a composer Robert Lind to compose this teacher (or a method) needs to give. All piece in April 2010 in memory of Dr. the passages that I mentioned at the end Example 4 Erickson’s mother, who died the previous of last month’s column, for example, can month. It is an extended 14-page fantasy be found through the Internet with ease. Bach Pedal Exercitium. The opening of that directly quotes the short hymn tune I am very interested in readers’ thoughts the piece is shown in Example 1. Through Tryggare kan ingen vara (in honor and experiences on this point. this much of the piece, and indeed for of the Ericksons’ Swedish roots) four dif- The method will contain several “side- most of the rest of it as well, a pedaling in ferent times, the fi nal time in a quodlibet bars” or charts and explanations of vari- which the toes of the two feet alternate— Example 5 with Lasst uns erfreuen. The intro- ous practical matters. These will include an “alternate-toe pedaling”—is suitable. ductory pages and lengthy modulating a defi nition of the pedaling notation— If the left toes play the fi rst note, and the (see Example 4). With these notes it is interludes are cloaked with melodic and including mention of my own preference toes alternate from then on, the pedaling not possible to use a consistent pattern of harmonic hints of the hymn tune as the for O for heel, rather than U. (I think is very comfortable. Once a pedaling is alternate toes. There is a common-sense piece builds to full organ. Although there that it is less likely to be confused with or set, then it is possible to practice the feet pedaling that is probably appropriate are no specifi c registrations indicated, mistaken for V), and a description of the separately. This is often a good idea for musically and is certainly right when the piece is fi lled with many tempo, key, pitch notation that I employ (C meaning learning any pedal part, even for experi- using the exercise for practice: right foot and dynamic changes and feels some- the lowest c on the keyboard, c′ meaning enced players. It is a crucial part of good on the high notes, left foot on the low what akin to settings by Lind’s mentor, middle c, and so on). These are all mat- practice technique for the early stages of notes (see Example 5). Leo Sowerby. ters that are not needed in the context of learning pedal playing. With this pedaling the separate feet —Kenneth Udy these column excerpts, and the question The left-foot part of the opening of will play as shown in Examples 6 and University of Utah, Salt Lake City of where and how to include them will the Pedal Exercitium begins as shown 7. When the feet have been practiced in Example 2, and the right-foot part separately for long enough that the pas- begins as shown in Example 3. sage feels comfortable, they can be put (I have written these as eighth notes. together. Notice that in this case, the They should be played detached, since intervals required of the right foot are they represent sixteenth notes and, in quite normal: seconds, thirds, repeated effect, sixteenth-note rests in between the notes. The left foot is challenged to

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16 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM By Gavin Black play a very unusual and wide interval, a pieces as material for the early stages of also mastering—several pedal passages major seventh. learning to play pedals: in this way will give you a strong and Later still in this piece is a passage that 1) For working on toe-only pedaling, reliable sense of the geography and kin- does not have an obvious common-sense music written before about 1750 is an esthetics of the pedal keyboard: how to pedaling (see Example 8). Assuming abundant source of material. fi nd notes. that for now we want to use this passage 2) For use as exercises, pedal passages as an exercise in all-toe pedaling, a solu- should be broken up into fairly short Playing with heels tion like that shown in Example 9 would segments: typically, increments involving The fi rst step in becoming adept at work. In this pedaling, all the sharps and about 25 or 30 notes per foot are suitable. playing pedal notes with the heels is to fl ats are played by the left foot. This will 3) The fi rst step is to decide on a ped- practice a type of simple exercise that enable the left foot to remain forward aling. For the purpose under discussion allows the heels to play without asking and the right foot back when you put the here, any pedaling that feels comfortable them yet to fi nd any notes from scratch or two feet together and they have to cross is fi ne. (Of course it could well happen to do anything too complex. This involves one another. However, the feet should that later on, revisiting the same passage fi nding a raised key—sharp or fl at—with fi rst be practiced separately, until each for the purpose of learning and perform- the toe, and playing adjacent notes with foot’s part is thoroughly learned. ing the piece, you will want to approach the heel. See Examples 13 and 14. These The opening pedal solo from the Pach- the pedaling differently.) can be adapted easily to other similar you bring the heel to the desired key by elbel D-minor Praeludium is a passage 4) Once you have worked out a pedal- groups of notes. In playing short patterns turning the ankle, or is it necessary to in which the pedaling is not completely ing, you will know what each foot’s separate like this, observe the following: change the position of the leg a little bit? regular, but is fairly straightforward. The part is. Practice each foot separately, notic- 1) When you play the fi rst note (the 2) What choice have you made about passage with a pedaling sketched in is ing what intervals each foot travels through raised key), if you relax your leg and which part of the toe to use to play the shown in Example 10. (The unmarked as it goes from one note to the next. foot, where does your heel naturally fall? fi rst note? Could you change this? What middle section can be played with alter- 5) This practicing should be kept What part of the heel? Is it over the next difference would that make in going on nating toes.) In beginning to practice the extremely slow. If one foot’s part is not— note that you want to play? If not, can to play the second note? 3) Does the gesture of moving from the third note to the fourth feel different from the gesture of moving from the fi rst note to the second (apart from its simply being in the opposite direction)? Example 6 Example 7 4) Try playing the notes of the exercise lightly detached, as you have been doing with the toe-only exercises, but then also try making the notes fully legato. Even experiment with audible overlapping from one note to the next—though this may sound odd. Does this feel comfort- Example 8 Example 9 able? Does it suggest anything different about foot or leg position? (To be continued) Q

Gavin Black is the Director of the Princeton Early Keyboard Center in Princeton, New Jersey. He can be reached, to offer thoughts about the column or for any other purpose, at [email protected]. Example 10

Example 11

RICHARD PURVIS Example 12 ORGANIST OF GRACE separate feet for this passage, notice that each foot goes fairly far in the “opposite” direction. Take this into account when planning for the tilt of the feet and other aspects of positioning and posture. Example 13 The Bach Toccata and Fugue in F Major, BWV 540, has two very long pedal solos near the beginning. Both suggest extremely regular pedaling—alternat- ing toes, starting with the right foot. (The last notes of the fi rst solo probably constitute an exception to this.) The Example 14 separate foot parts are easy to extract and to practice. Since the solos are long, it is in the context of the piece itself—rhyth- best to use only a few measures at a time mically regular, then it is OK to practice as exercises. One passage in the second it without a steady beat. Just practice the solo requires the left foot to go extremely shape of the notes. high indeed, and therefore requires a lot 6) When each foot’s part is well- JOIN THE OHS TODAY! of attention to foot position. This pas- learned and comfortable, then it is time sage looks like Example 11; the left foot to put the two feet back together. At this www.organsociety.org part (assuming alternate toes) looks like stage you should observe correct rhythm, Example 12. In practicing this left-foot and keep the tempo slow enough that IN STOCK FOR IMMEDIATE SHIPMENT! part you must be extra attentive to foot the notes come accurately and easily. You NOW CHOOSE FROM OVER 5,000 TITLES! and leg position. Many players will turn may have to change something about in such a way that the comfortable part foot position in spots where the two feet ORDER ANY TIME ONLINE: www.ohscatalog.org of the left toe for playing these very high come close together. If so, it is a good notes is the very outside edge, with the idea to practice the separate feet again ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we foot almost perpendicular to the fl oor. briefl y in those spots, taking account P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. of the new choices about foot position, Telephone: (804) 353-9226 Media Mail shipping is $5.00 for your entire Ground rules before putting them together again. order. Shipping outside U.S. is $4.50, plus Monday-Friday 9:30am-5:00pm ET the cost of air postage, charged to your VISA Let us recap the things to bear in mind Mastering the exercises with which this E-mail: [email protected] SHIPPING or MasterCard. when using pedal parts extracted from chapter began, and then practicing—and

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

As it was in the beginning three trumpets and timpani like only know enough of the personal relation- Every student of the music of Johann Bach could do—bouncing chords and ships between these men to certify such Sebastian Bach learns early how much driving rhythm. As the piece nears a possibility, but it’s fun to imagine. I’ve more there is to it than meets the its end, there’s a boisterous reprise of been at quite a few of those post-concert untrained ear. There’s no contesting that the opening fi gure driving toward the tables, at which no one is in doubt! he was a genius of melody and harmony, fi nal Amen. The text for the reprise is Keeping in mind those organist-com- but when you start digging into the Sicut erat in principio (As it was in the posers, consider the genius organbuilder mathematical structure of his music, beginning)—terrifi c. Aristide Cavaillé-Coll who lived from you quickly get the sense that the depth 1811 until 1899. Monsieur Cavaillé-Coll is infi nite. We might take for granted Turn, turn, turn was eleven years old when Franck was the seamless counterpoint between the Another part of my undergraduate born, and Tournemire and Vierne were obbligato and the chorale tune in the days was the purity of the music we were twenty-nine when he died. Throughout One of the blowers at Woolsey Hall ubiquitous Jesus bleibet meine Freude focused on. The resurgence of interest in the nineteenth century, Cavaillé-Coll (Cantata 147), Nun danket alle Gott organs with mechanical action was in full was putting magnifi cent organs under a power lunch at the brand new Oyster (Cantata 79), or Wachet auf, ruft uns die swing— there were dozens of companies the hands of a bevy of marvelous com- Bar during which Skinner and Noble Stimme (Cantata 140), but if we think it around the country digging in the history posers. He was the constant among argued about whether the 16-foot Swell through even superfi cially, we’re baffl ed of the trade and creating wonderful new them, and his mechanical and tonal reed should be available independently by how the harmonic progression of instruments with mechanical action and genius infl uenced that entire epoch of on the Pedal at 4-foot. They must have the obbligato anticipates the relative low wind pressures, and we as students music. From one monumental organ to disagreed about something, and it must cadences at the end of each phrase of of playing were in the thrall of the quest the next, he gave his colleague musicians have been quite a show. the chorale. for authenticity in our performances. new voices to try, new registration aids, So what came fi rst, the chicken or the We learn about the Fibonacci series, When we laid out a concert program, we and radical concepts like progressive egg? It’s widely understood that Cavaillé- a simple and infi nite progression of were careful to consider the progression wind pressures that increased as you Coll was the great innovator, creating equations that starts with zero and one, of keys, and the juxtaposition of histori- went up the scale. The highest notes of marvelous new devices and watching what and continues so that each successive cal styles and epochs. Including a tran- Cavaillé-Coll’s Trumpets and Harmonic the musicians could do with them. I think number in the series is the sum of the scription of a romantic orchestral piece Flutes soared across the vast stone naves that the early twentieth-century version previous two (0+1=1, 1+1=2, 1+2=3 . . . was unthinkable. We considered them like little comets. What would Widor’s was more a collaboration between organ- 5, 8, 13, 21, etc.). Use that series to chart decadent. And the symphonic electro- music have been without those heart- ist and organbuilder—they took turns the entrances of a fugue subject.1 pneumatic organs on which they were rending trebles? infl uencing each other. Americans were Or use the formula of numbering the played were considered decadent. As I Some of the more rewarding moments being introduced to new technological letters of the alphabet (A=1, B=2, etc.). look back on those days, I see how easy it of my career have been those spent with marvels every day. I can picture a client Add up BACH and you get 14. Add up is to dismiss something about which you clients brainstorming about the capa- asking, “If J. P. Morgan can have electric J. S. BACH and you get 41. Look for know nothing. bilities of an organ console as it relates lights in his mansion on Madison Avenue, those two numbers recurring in Bach’s to the tonal resources of the organ. What why can’t I have one on my music rack?” music—how many notes in a fugue Chickens and eggs, smoke if the Solo French Horn could be played Think of the lucky organist who was the subject, how many measures, etc.? Start and fi re, and trees falling in from the Great, and if so, what if there fi rst to have one! digging and you’ll fi nd you’re fi guratively the woods were divisional pistons under the Great From our twenty-fi rst century per- sweeping a beach. There’s no end. I César Franck (1822–1890) is generally keyboard that affected the Solo stops? spective, one of the most remarkable but haven’t tried it with Anna Magdalena, considered to be the fi rst of the compos- Imagine the conversation between overlooked facts about the huge body of but I’ll bet it’s a gold mine. Maybe a good ers of Romantic French organ music, the organist and organbuilder involving nineteenth-century French organ music pick for the lottery. father of the style. His melodic and har- “what-ifs” like that, before there had is that it was all conceived, composed, When I was an undergraduate, I spent monic languages exploited the resources been a full century of whiz-bang electric practiced, and performed on hand- a semester with Bach’s Magnifi cat in D of the organs of his day, and his use of and solid-state gizmos for organ con- pumped organs. They may be hundred- (BWV 243), writing a nicely researched tone color foreshadows the voluptuous soles. If you had only ever drawn heavy stop jobs, but they were hand-pumped. paper and leading the church choir I orchestral intentions of the great masters mechanical stop actions by hand, how It must be that the electric blower was directed through a performance. I was who followed him. would you like an iron pedal that would the single most important innovation in amazed to chart the sequence of move- Consider this incomplete list of throw on the principal chorus with one the history of the organ. Widor started ments and fi nd the architectural sym- Franck’s successors: heave of the hips? his work at St. Sulpice in 1870. I do not metry, and the piece has been with me Camille Saint-Saëns (1835–1921) Or this: know precisely when the fi rst electric ever since. It includes some very nice Charles-Marie Widor (1844–1937) blower was installed there, but let’s guess Cavaillé-Coll: “We could place the reeds examples of “word painting,” where the Gabriel Pierné (1863–1937) and mixtures of the Swell on a separate that Widor played that instrument for 35 music illustrates the text. One of those Marcel Dupré (1886–1971) windchest that you could turn on and off years relying on human power to pro- beauties is the last chord of the alto aria. Charles Tournemire (1870–1939) with a lever next to the pedalboard. Any vide his wind-pressure. At fi ve Masses The text is Esurientes implevet bonis, Louis Vierne (1870–1937) stops you had drawn on that chest could be a week—again, I’m just guessing—that accessed at once. We could call it a Ventil2 et divites dimisit inanes (He hath fi lled Henri Mulet (1878–1967) because it turns the air on and off.” would be 8,750 Masses. Kyrie eleison. the hungry with good things, the rich he The span between Franck’s birth and Saint-Saëns: “Yes, please.” All the photos I’ve seen of Widor hath sent away empty). The alto soloist Dupré’s death is nearly 150 years. The show him to be serious, even dour, and is accompanied by basso continuo and lives of all these revered composers were There’s a famous portrait of Franck the little herd of pumpers in the next two fl utes in a beautiful duet with lots of intertwined. Two of them were born in seated at the console of Cavaillé-Coll’s room must have been a distraction, parallel sixths. The fi gures repeat many the same year, and three of them died organ at Ste. Clotilde in Paris, his left snickering and shirking. But I imagine times (maybe a Fibonacci number?) in the same year. They were each other’s hand poised with raised wrist on the he cracked a smile the fi rst time he with a lovely cadence at the end of each, teachers and students. They lived near (I assume) Positif manual, and right turned on the new blower and sat down but at the closing cadence, the fl utes each other. They must have heard each hand drawing a stopknob. Take a look: to play in that great church, alone with leave out the last resolving note, send- other play. Think of the Sunday evening http://www.classicalarchives.com/com- his thoughts and imagination. Having ing the rich away hungry with a wafted dinner after someone’s recital, a fes- poser/2536.html. Man, that knob travels the luxury to sit at the console for hours dominant-seventh chord. tive bistro table with cheese, wine, and far. It’s out about fi ve inches and it looks in solitude must have been a revelation. The opening movement is a rollicking cigars, and Pierné and Tournemire argu- like he’s still pulling. Franck’s face wears Organists on both sides of the Atlantic jubilation with full orchestra, including ing about Widor’s registrations. I don’t a thoughtful expression—maybe he’s were freed to exploit their imaginations wondering how far does this dagnabbit and their instruments. knob move, anyway? Reminds me of the Saving organs throughout Three Stooges pulling electrical conduits Step right up . . . out of the wall. Since the beginning of civilization, During his lifetime, Cavaillé-Coll people have been fl ocking to share the America....affordably! introduced dozens of state-of-the-art latest in entertainment. In the fi fth cen- gizmos. You can bet lunch on the fact tury B.C., a stadium was built at Delphi, that the drawknobs on the famous high in the Greek mountains. It could organ console at St. Sulpice (built in seat 6,500 spectators, had a running 1862) don’t move that far. For images of track that was 177 meters long. There’s that spectacular console, take a look at a 5,000-seat amphitheater on the same www.stsulpice.com. site, built in the fourth century, B.C. Let’s skip forward 50 or 60 years. I doubt they would have gone to the Ernest Skinner installed a new organ trouble if people weren’t going to come. with four manuals and 77 voices at St. Today we crowd into IMAX theaters, Thomas Church Fifth Avenue in New elaborate cruise ships, and huge arenas. York City, the same year that T. Tertius We’ve been celebrating the “latest thing” Noble was appointed organist. New for hundreds of generations. York’s Grand Central Station was opened In 1920, a monumental antiphonal 1-800-621-2624 that year ten blocks from St. Thomas (the pipe organ was the latest thing. Today we centennial has just been celebrated), as joke about “cockpit syndrome”—teasing foleybaker.com was the Oyster Bar Restaurant, which each other that our consoles look like is still located in the station. I imagine the cockpits of airplanes. But there was

18 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM By John Bishop

tempered scale of the organs’ keyboards. infl ections and accents that are instantly Good choirs sing in pure intervals. recognizable to us. You may never have J. S. Bach transcribed his own orches- heard the piece, but the instant you tral music for the organ, along with con- hear that Grand Jeu you smell soft ripe certos by colleague/rival composers such cheese and the taste of rich red wine as Vivaldi, Ernst, and Walther. I refl ect wafts through your imagination. But that while I was ready to dismiss playing that doesn’t have to keep us from play- transcriptions of orchestral music on the ing any music on the organ. Any music organ, I surely was learning the sprightly that sounds good is fair game. stuff that Bach himself transcribed. It Transcribing orchestral and choral was good enough for Bach, but appar- scores to organ keyboards is as old as ently not good enough for me. Point the instrument itself. Technological taken. I hang my head. advances in organ building between The terraced dynamics of Bach’s organs 1875 and 1925 allowed the art of tran- were perfect for the terraced dynamics scription to reach new heights. Later, of the Baroque concerto grosso. A couple we spent some fi fty years refl ecting centuries later, the marvelous expressive on the past—that which came before capabilities of the symphonic pipe organ all that innovation, and went to great Notes were equal to the expressive demands lengths to resurrect old ideas of instru- 1. Fibonacci gave us the system of numer- Skinner console, Harvard University of complex Romantic orchestral scores, ment building and playing. Sicut erat in als we use today (0,1), fi nding them easier to chock full of contrasting simultaneous principio. And a century after the art of use and more fl exible for complex computa- tion than the older Roman System (I, V, X, no airplane to compare to the cockpit solos (which are not synonymous with the pipe organ advanced to include all etc.). The Fibonacci series applies to many as- of a 1915 Skinner organ with four duets), and crescendos and diminuendos that electricity brought to organbuild- pects of nature, from the breeding of rabbits keyboards, a hundred stopknobs, and of all speeds and scopes. ing, it advances again to include solid- to the structure of the Nautilus shell. A quick dozens of buttons, switches, and lights. We as organists are blessed with state controls—an additional wealth of Google search will give the interested reader a lot to think about. Think of the impression it must have the wealth of literature written espe- gizmos allowing the organist to express 2. Ventil comes from the same root made to a parishioner, alighting from a cially for our instrument. It comes the music ever more effectively. Sicut as vent—the French and Latin words horse-drawn carriage onto a cobblestone in all shapes and sizes. It has national erat in principio. Cue trumpets. Q for “wind.” street, and encountering that gleaming organ console in the chancel. It could have been the most complicated and bewildering thing he had ever seen. The organist must have been revered as a conjurer, a certifi ed operator of one of the most complex devices in existence. They were the technical equivalents of today’s air traffi c controllers, nuclear power engineers, and voodoo software Get Real writers, but they were musicians fi rst. It’s no wonder that we read about thousands of people cramming huge municipal auditoriums to hear organ recitals. Attending concerts of a symphony orchestra was expensive, reserved for the elite. At City Hall, or in the church, one wizard could play an overture by Beethoven with grand effect, and no one Are you purchasing real sounds, was sent away empty. And play them they did. With the electric blower grinding away for endless or recorded sounds? hours and an ever-increasing array of ...real pipes last for centuries. clever console controls, those organists could experiment with fi ngerings, and learn to access complicated registrations that were changing continuously, bring- ing complex orchestral scores alive sin- gle-handedly. And as a twenty-year-old I had the nerve to dismiss it as decadent. I hang my head. Last Monday, the New York City Chapter of the American Guild of Organists presented their annual Presi- dent’s Day Conference. The subject was Transcriptions Alive! (Many thanks to my friends and colleagues who were involved in the planning.) On Sunday evening, theatre organist Jelani Edding- ton played a recital on a large Wurlitzer in Brooklyn. And on Monday, Michael Barone, Peter Conte, and Jonathan Ambrosino presented talks about various aspects of the art, hosted by the River- side Church. The day concluded with a recital by Thomas Trotter played on the great Aeolian-Skinner organ of the Riv- erside Church, the home bench to Virgil Fox, Frederick Swann, John Walker, and so many others. Michael Barone must be the best dee- jay the serious organ world has ever had. Using a nicely chosen string of recorded examples, he made the point that organ- NORTH ists have been playing transcriptions of AMERICA’S other types of music for some 450 years. Michael Praetorius (1571–1621) and PREMIER Heinrich Scheidemann (1595–1663) ORGAN BUILDING played choral music on the keyboard, and Barone’s demonstration fl icked clev- & SERVICE FIRMS erly back and forth between the sung and APOBA.COM 800-473-5270 played versions. Tempo and pitch were consistent, the differing factor being the

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2013 Q 19 Karg-Elert Studies

Beyond the Nun Danket of Sigfrid Karg-Elert On the 80th anniversary of the composer’s death

By John A. Stallsmith Sigfrid Karg-Elert

ome composers’ reputations, such actively promotes the composer’s music the Conservatorium at Leipzig. This The piece is delicate and attractive, S as those of Bach and Mozart, are and published a Werkverzeichnis in 1984. prestigious position, however, did little requires no registration changes, and is secured by their masterpieces Harold Fabrikant has edited three collec- to further his professional career. not diffi cult to prepare (see Example 1). in various genres. Some composers are tions of letters to and from the composer, “Freu dich sehr, o meine Seele,” opus remembered for their contributions to and translated his massive theoretical I have the pleasure of being held in the 65, no. 5, is an easy, succinct piece in specifi c genres, such as Verdi in opera, comprehensive into English. All six vol- highest esteem everywhere, it is true, but a lilting 3/4 meter marked “Alla Sara- Chopin in piano miniatures, and many umes of Chorale Improvisations, opus 65, my complete, goal-winning entrance is banda.” The piece uses simple registra- lacking, because our leading German organ favorite organ composers. Still other are now available as free downloads, and virtuosi: Straube, Paul Gerhardt, Walter tion changes of soft sounds and a clarinet composers are remembered for a single many other works are available in new Fischer, Irrgant, Sittard and so on, do not solo at the end. Easily prepared, this composition that becomes their signa- and/or reprint editions. It may be time study new works now.2 piece demonstrates the delicate sounds ture piece. Such is the case with Sigfrid now to consider some other pieces by of the instrument. Karg-Elert and his organ improvisation Karg-Elert that should fi nd their way into Karg-Elert believed that Straube “O Gott, du Frommer Gott,” opus 65, on “Nun danket alle Gott.” (It should be the repertoire. undermined his efforts to secure church no. 50, is similar to “Freu dich” in sev- noted that many fl utists are familiar with positions and have his music performed. eral respects. The texture is consistently Karg-Elert’s Flute Etudes.) Biography “But does one not need great resigna- four- and fi ve-voice including the pedal. “Nun danket” is found in the collec- Born November 21, 1877, in Obern- tion if one fi nds one’s own creations The registrations call for two manuals tion Sixty-Six Chorale Improvisations, dorf, Germany, Sigfrid Karg was the son are not at all appreciated in one’s own with a double echo; that is, a softer ver- opus 65, number 59, and is cast in da of a Catholic father and a Protestant country. . .?”3 Karg-Elert found more sion of the soft sound. The tempo is slow capo form. The popularity of this piece mother. According to biographer God- receptive performers and audiences in and the chromaticism is colorful but not is entirely understandable. It uses a frey Sceats, Karg-Elert combined his England, America, and Australia while overwhelming (see Example 2). chorale tune that is familiar to European surname along with his mother’s maiden he was trapped in the social and eco- Slightly more diffi cult is “Schmücke and American listeners; it is concise and name at the request of an academy where nomic degradation of Germany in the dich, O liebe Seele,” opus 65, no. 51. avoids the rambling found in some of he taught for a short time. In 1883, the years after World War I. According to Three manuals are indicated, although the composer’s other works; its sound family moved to Leipzig, where Karg- Sceats, during the 1920s Karg-Elert’s the piece can be registered on two, and is full and impressive and it lies well for Elert’s father died in 1889. In his 1968 reputation in Germany was further the texture is more chromatic than the the player’s hands and feet. This is an dissertation, Stephen Edward Young damaged by rumors that he was of Jew- pieces discussed above. There are some effective piece for the organ that is well notes that because the family was poor, ish descent.4 more diffi cult reaches for the hands, but written and has been well received. the determined young man began edu- Although Karg-Elert was not known the pedal part is quite easy. This piece Karg-Elert’s output is so large and cating himself. As a promising pianist he as a great organist, in 1932 the Wurlitzer displays the composer’s harmonic and varied that many musicians have not earned the respect of many, including Organ Company sponsored him to play melodic style in a concise and direct way taken the time to explore his other Edvard Grieg, and was able to secure his own organ works in a North Ameri- that should appeal to most players of compositions. His list of works includes a scholarship at the Conservatorium can tour. Three months of travel and Romantic music. 158 with opus numbers, and more than at Leipzig. Sigfrid Karg-Elert not only performance overwhelmed the aging Moderately easy pieces include 90 without. Instrumental pieces include played the piano and several wind instru- professor, and, upon return to Leipzig, “Allein Gott in der Höh” from the opus solos, duos, trios, and various combina- ments but also demonstrated a growing his health began a rapid deterioration. 78 collection, no. 1. This festive setting tions of string, woodwind, and keyboard talent for composition. This ability to Following a short period of activity, in is built of phrase fragments, which are instruments. Vocal and piano pieces are compose later led him to his career, that February of 1933 he suffered a stroke often sequenced. Only general dynamics prominent, with a smattering of choral of teaching composition. that resulted in his death on April 9 of are given. Quarter and eighth notes are and orchestral compositions. Many Karg-Elert composed for and per- the same year. most prevalent, with only a few beats works comprise multiple movements or formed on the harmonium throughout As we enter the eightieth anniversary of sixteenths and thirty-seconds. The are collections of individual pieces, mak- most of his life. The attraction to this of Karg-Elert’s death, many more of his majestic ending includes a short passage ing the total output quite large. instrument led to a professional and works should fi nd their way into the of double pedal. The setting is concise Organ and harmonium dominate Karg- personal relationship with the publisher organ repertoire as both concert and at just two pages and is an effective Elert’s output. More than 73 numbered Carl Simon, who offered Karg-Elert a service music. As a long-time admirer of full organ sound that players will enjoy. works and about two dozen unnumbered lifetime publishing contract in 1906. Karg-Elert’s work, I would like to offer There are several other pieces of varying are spread throughout Karg-Elert’s career. Perhaps the harmonium afforded the a few suggestions for players to pursue. diffi culties in the opus 78 collection that These include several collections of stud- young composer a colorful means of I have compiled a short list of works of would be valuable service music. ies and didactic works for the harmonium. expression that greatly infl uenced his differing lengths and diffi culty for read- Given this large body of work, it is diffi cult treatment of the organ. ers to consider. More difficult works to know where one might begin. There The fi rst organ work by Karg-Elert, Many of Karg-Elert’s organ composi- Moderately diffi cult pieces include has been recent interest in his works, Choral-Improvisationen, opus 65, tions are large, heavy works much in the Trois Impressions, opus 72. “Clair de including pieces appearing on recital was published in 1910. This collection the tradition of his predecessor Max lune” is the second of the three pieces programs and recordings. The Karg-Elert employs common Lutheran chorales in Reger. Most of these pieces are original and is a fi ne example of Karg-Elert’s Archive (www.Karg-elert-archive.org.uk) traditional organ settings. Trios, fugues, in nature and contrapuntal in develop- Impressionist style. The opus 72 pieces chaconnes, and chorale fantasies consti- ment. While some of these pieces may refl ect a French infl uence and style tute most of the set. This work enjoyed be attractive to highly skilled players through the use of whole-tone scales great success in England and the United and theorists, they are probably not the and the French titles. “Clair de lune,” States but had only a short-lived popu- best place for most players to begin their a delicate monothematic movement, larity in Germany.1 experience with this composer. employs Karg-Elert’s favorite French In 1916 Karg-Elert succeeded Max registrations, celeste and solo 8′ fl ute. Reger as professor of composition at Easier repertoire The phrase-oriented theme is developed I have three suggestions that are easy consistently. A brief contrasting sec- to play and require minimal preparation. tion, measures 13 through 15, increases “Jesus, meine Zuversicht,” from the col- rhythmic interest by dividing six eighth- lection Zwanzig Prae- und Postludien, note groups into simultaneous groups of opus 78, no. 10, has a texture reminis- two and three. A concise 27 measures, cent of Bach’s famous “Air.” The right this piece blends lush harmonies, subtle hand plays a decorated version of the registrations, and careful use of rhythm melody over the two-part harmony of the and texture together beautifully to cre- left hand and a walking bass in the pedal. ate an effective and provocative piece.

20 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM Largo, con gran espressione ( =44) Tranquillo e sempre delicato ( =80) B 3 3 ,2 2 .3 ,2 ) 3 3 3 3 3 ,3 3 ,3 3 )  ,22 2 23 -3 3 ,2 " Solo 8' 3 3 ,3 3 3 3 3 -3 .3 3 3 3 ,3 3 3 ,3 3 -3 3 ,3 7 ,3 ,3 3 3 3 ,3 3 3 3 3 .2 -3 ,3 ,3 3 * *  ; ; II 8' 4' piano ; ; 3 ,3 -3 3 -2 ,2 * 3 8 8 8 ,3 8 -3 8 8 8 3 8 *  -1 quasi pixxicato 10 2 -2 3 3 3C 2 -2-2 2 3 3 .3 -2 .1 2 -3 3B ) ,2 2 2 .3 ,2 -2 3 .3 3 -3 3 3 3 3 3 3 -3 3 3 36 3B 3 3 .3 3 3 3 ) ,3 3 3 3 3 misterioso -3 3 3 3C 3 3 3 E D 3 3 3 C C 3 C 7 ,3 ; ; ; .21 2 .2 -33 ,3 3 3 3 3 3 3 3 3 3 3 3 3 33 ,3 -3,3 -3 ,3 .3 3 .3-3 3 .33 3 3 3 * ) -3 3 3 3 3 3 3 3 .2 -3 -3 ,3 3 3 .3 3 32B 3 * 3 G G G G ; 3 G -2 .3 * 1 .2 8 .3 8 3 8 8 8 3 8 3 8 8 8 3 8 .3 8 8 8 3 8,38 8 .3 2 1 * .3 3 3 3 3 .3 3 ,3 12 C C C B 3 3 3 ) -32 .23B -32B .3B3B 4  6 ) 8 3 3,33 3 -33 3 3 3 3 ,3 3 3 3 3 -3 3 3 3 3 3 3B 3 3 ) .3 3 3 3 3 3 C3 C C 3 3 3 D D D 3D3 .3 .3 3 3 .3 .3 3 .33 -3 3 .3 3 3 -3 3 3 3 -33 3 3 3 .33 3 .3 3 3 ,33 ,33 3 3 3 * 3 G  3 ,3-3 G G H H G * 1 2 3B 8 3 838 8 8 3 8 ,3 8 8  38 83D 8 7 * 3 3 3 3 3 Example 3. Clair de lune, op. 72, no. 2 Example 1. Jesus, meine Zuversicht, op. 78, no. 10 2 (fixed),2 Semplice e divoto ( =48) II ) Sw. . . C Ch. Flute 8' . . .  3 3 3 3 2B 3 3 3 3 3 3 , 3 3C 3C 3 3 3C C C 3C 3 3 3 3 )  3 3 3 33 3 3 3 3 3 -3 3 3 3 3 .3 3 3 3 -3 3 .3 ,, 4 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 ) G G G G G 3 3 3 G G sempre ligato Sw. closed G G G soave 3 3 .3 , Voix. Cel 3B 3 3 3 3 3 3 3 3 3 3 3 3 3 303 ,, 4 3 3C C 3C 3 3C 3 7 C C 3B 3 ....  3 3 3 3 ) 3 3 3 3 3 3 3 3 3 3C 3C 3 3 3 * .  3 3 3 3 (sempre Sw.) manual: (Aeoline 8' oder Violine 8' + Flautino 4') G . .  * . . .  3 1 3 3 3 3 2 3 3 ,2 Pedal: Gedacktbass 16' und Dolce 8' + C. II ) 5 B 3B 3B 3 B B 3 3 3 3B 3 . . , B33 3 3 3 3 3 3 3 3 3 3B 3 ,3 3 . . . 3 3 3 3 3 3 3 3 3 3 3 3 ,, 3 3 G ) 3 33 3 33 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 -33 3 ) G G G G rit. G G , , 3B ,3 C C C C C .3 3 III  3 3 -3 , 3B 3 3 3 3C 3 C 3C 3 3B ,3 3 ,33 3 . . .3 3 6 3 3 3 6 3 3 3 3 3 3 3 3 3 ) 3 -3B 3 3 ,33BB 3 ,33 3 3 3B 3 3 3 3 * . . . 3 2 3 3 2 3 3 . 4 3 Example 4. Resonet in Laudibus, op. 106, no. 3 * . ... -33-3 3 6 563 3 3 3 3 3

Example 2. O Gott, du Frommer Gott, op. 65, no. 50 THE SIXTEENTH ANNUAL

The registrations call for a three-manual melodies and Impressionist techniques. organ; however, with judicious use of pis- This piece uses two fi xed pitches and Albert Schweitzer tons, a well-equipped two-manual organ several registration changes, which would serve equally well. This piece require a three-manual instrument. Organ Festival is only moderately diffi cult but highly The rhythm reinforces a convincing 5/8 effective (see Example 3). meter for much of the piece. Motives A Weekend in Celebration of Excellence in Organ Music: “Lobet den Herrn mit Pauken und are built upon each phrase of the can- Zimbeln Schoen” (Praise the Lord with tus fi rmus, often repeated, leading to a A Gala Concert, ORGAN COMPETITION, Services, and Masterclass the Drums and Cymbals), opus 101, is clear pedal solo of the cantus fi rmus in marked “Alla Handel.” This neo-baroque the middle section. There are numerous High School Division First Prize: $2,000 style piece is grand and celebratory and changes of sound and manual. This is a Other prizes also awarded more substantial at fi ve pages. Dynamic unique and most interesting use of the indications point to the manual changes, instrument and a challenge to play well First Prize: $3,500 and the middle section provides more (see Example 4). College/Young Professional Through age 26 Other prizes also awarded detailed tonal directions. The harmony is “Ein feste Burg ist unser Gott,” opus conservative and predictable. Sixteenth- 65, no. 47, is a concise chorale-fantasy This includes an appearance on our note motion dominates the texture and to rival any. Sweeping scales (often 2013 – 2014 Concert Series 2013 JUDGES parallel thirds are prevalent. If you are chromatic), crushing chords, cascading looking for a triumphant setting for a fes- arpeggios, complex harmonies, and sec- tive occasion, give this piece a try. tional statements of each phrase present AUDITION CDS: Diane Karg-Elert was so inspired by the this familiar tune in its entirety only once. Meredith Due on June 10, 2013 Belcher story of passengers singing “Nearer, My The style of no. 47 is characteristic of the God to Thee” (Näher, mein Gott, zu later symphonic chorales of opus 87. The Dir) as they prepared to go down with melody is often found in the pedal below THE COMPETITION: the Titanic that he composed a Choral thick harmonic textures. Registrations September 6 – 8, 2013 Improvisation on the ‘English Choral,’ range from full organ to pianissimo and which is now available from Cathedral make good use of the crescendo pedal Music. The piece is more substantial at (rollschweller). This piece is impressive For Information & David Hurd eight pages and uses the familiar tune but not excessively long. Technically Application: faithfully. The fi rst variation shifts the demanding, this work is for serious play- melody into triple meter. The theme ers only (see Example 5). is heard through diverse textures, key Finally, for advanced performers, First Church changes, and a myriad of organ sounds, consider “In dulci jubilo,” opus 75, no. building to a dramatic declamation in 2. This chorale-fantasy is a complete of Christ F major before ending peacefully. This development of the tune in the hands 250 Main Street piece is playable on two manuals, moder- of a mature and confi dent composer. Wethersfield, CT 06109 Cherry ately diffi cult, and highly recommended. Complex textures include double pedal, Rhodes A more daring piece of moderate an accompanied canon, chromatic scales firstchurch.org/asof diffi culty is “Resonet in Laudibus,” and runs, and thick harmonic clusters. 860.529.1575 from Cathedral Windows, opus 106, The piece includes three complete state- Ext. 209 no. 3. This collection contains six pieces ments of the melody and a middle sec- that blend together the cantus fi rmus tion that develops fragments, building to music@firstchurch.org traditions of Germany with Gregorian a dramatic conclusion. Playable on two

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2013 Q 21  =58 Karg-Elert Studies A A  =44 C C C ,,  3 3 BB ,3 3 7 C 3 3 3 ,33 )  33 33BB 3 ,3 33 3 3 ,3 33 3 3 ,3 ,3 -3 3 G G G G G  -3C 3 C , -3 3 ,3 -33 3 ,3 7 3 -33 ,3 3 ,33 3 * ,  3 -3 3 -3 3 G , * ,  666 66 5

22 , C , 3 3 3 ,3 3 C C ) ,3 -3 33 ,3 ,33 -3 3 ,3 -3 -3 3 3 3 -33 G G H H 3 , 3 -3,3 3 ,3 3 3 -3 3 * , 3 3 3 -3 3 -3 ,3 3 rall , 4 * ,

23 A rapido , 3 3 3 3 3 -3 -3 ) , 3 6 8 3 ,3 3 -3 -3 3 .3 ,3 ,3 3 .3 3 3 .3 33 ,3 3 ,3 3 3 ,3 3 3  # , Rollschweller * , 3 ,3 3 3 65 G ,, 4 Sigfrid Karg-Elert at Möller organ in Waldorf-Astoria (THE DIAPASON, February 1932, p. 1) * manuals, the piece benefi ts from larger Grace, Harvey. “Modern Organ Composer: 1. 24 E DB C E 3DB 3C E 3DB 3C E 3DB 3C , ,3 3 3 -3 3 3B 33 ,3 3 -33 3B 33 3 -3 -33 3B 33 ,3 3 ,33 3B instruments with multiple plenums. Like Sigfrid Karg-Elert.” Musical Opinion and ) , 3B 3B 3B 3B the “Ein feste Burg” setting above, the Music Trade Review, 35 (1912): 330–31. D Hutchings, Arthur. “Karg-Elert.” Musical D E DB E -3B3D 3E 3B 3E3 piece is not excessively long at just eight 3B3 3 3 3 -3 -3 3 3 3 33 3 ,3 3 pages. The treatments are thoughtful Times, 64 (1928): 939–40. ,, 7 -3 3 7 3 7 7 Palmer, Christopher. “The Music of Karg- * and comprehensive. This is a masterful Elert.” Musical Times, 115 (1974): 247-52. composition that should be considered  3 3 Sceats, Godfrey. The Organ Works of Karg- , 3 3 by advanced players. Elert. London: Hinrichsen, 1950. * , —————. “The Organ Works of Karg- Conclusion Elert.” Musical Times, 68 (1027): 832-33. Sigfrid Karg-Elert was a prominent Young, Stephen Edward. “The Organ Works 25 E 3DB 3C  =116 of Sigfrid Karg-Elert.” PhD diss., Univer- ,, 33 3 -3 -33 3B ,3 3,33 -3 -3 3 3 and prolifi c composer at a time when ) 3B 3 -3 3 3 3 3 ,3 3 3 3,33 -3 3 German composers were overshadowed sity of North Carolina at Chapel Hill, 1968. 3 ,3 D by their more popular French contem- Notes 3B3 3E ,3 3 3 , 7 3 -3 3 3 33 -33 ,333 3 -3,33 poraries. Karg-Elert’s music is vast in 1. Young, Organ Works of Karg-Elert, 6. * , 3 quantity and diverse in style. He offers 2. Fabrikant, Harmony of the Soul, 19. players of varying skill levels a wealth 3. Ibid., 31. 3 4. Sceats, Musical Times, 832. , of quality works to draw upon. Much * ,8 ,3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 of his music is now readily available Organ Works in Print through publishers and Internet sites Breitkopf & Härtel 66 Chorale-Improvisations, op. 65 D C as described below. I hope that more 26 , 3 ,3 3 3 -3 ,3 -3 3 ,3E3B3 3 3 of his music will fi nd its way into the 14 Chorale-Improvisations from op. 65 , 3 ,3 3 3 ,3 3,3 3 3 -3 -3 3 -3 3 ,3 3 ,3 ,3 3B3B performer’s repertoire and lead to a new Trois Impressions, op. 72 ) 20 Preludes and Postludes, op. 78 examination of this composer’s place in % 3 Symphonic Chorales, op. 87 3 3 the organ world and music in general. Q , ,33 3 -3,33 -33 3 -337 D Cathedral Windows, op. 106 * , 3 ) ,3B,3 ,3 3 Triptych, op. 141 -3 33 John A. Stallsmith is a teacher, performer, 3 Pieces, op. 142 , conductor, composer, and author who lives Sempre Semplice, op. 142 (I) * , 3 3 3 3 3 3 3 3 3 3 3 3 -3 and works in Alabama. He earned the BM Symphony for solo organ in F-sharp Minor, -3 degree from Youngstown State University, op. 143 the MM from the University of Kansas, and D C D the DMA from the University of Alabama. Cathedral Music (organ and harmonium 27 ,3E3B3 3 E -3DB 3C ,3E3B3 -3 E D D E ,, 3 3 3 3BB ,3 ,3 3 -33 3B ,3 3 3B 33 -3-3B 3B -3 33 His teachers have included Ronald L. Gould, works) ) 3 3B 33 ,3 3 3 .3 James Higdon, and Warren Hutton. His doc- Sonnenaufgang, op. 7/1 G toral dissertation was “Impressionist Organ Fünf Miniaturen, op. 9 Works of Sigfrid Karg-Elert,” the University Morgensegen, op. 10/1 ,,7 D D7 D D7 D D ) 3B3 3 3B3 3 3 3B3 3 -33 3 of Alabama, 1993. Drei Sonatinen, op. 14 3 3 3 3 3 3 33 3 .3 Elegy in A minor, op. 18/2 Selected Bibliography Passacaglia in E-fl at Minor, op. 25B , * , ,3 3 ,3 -3 -3 Fabrikant, Harold. The Harmony of the Soul. Acht Kompositionen, op. 26 ,3 3 ,3 -3 -3 Lenswood: Hyde Park Press, 1996. Aquarellen, op. 27   Gerlach, Sonja. Sigfrid Karg-Elert Werkver- Angelus, op. 27/5B Example 5. Ein feste Burg ist unser Gott, op. 65, no. 47 zeichnis. Frankfurt: Zimmerman, 1984. Scènes pittoresques, op. 31 Monologe, op. 33 Sechs Romantische Stücke, op. 103 Benediction, op. 33/4B Sieben Idyllen, op. 104 Improvisation in E, op. 34B Three Impressions, op. 108 Sonata 1 in B Minor, op. 36 Triptych, op. 141 Follow us on Sarabande, Bourree & Musette, op. 37B Sempre Semplice, op. 142 Phantasie und Fuge in D, op. 39B Three New Impressions, op. 142 (ii) Photo: Michael Timms Facebook Sonata 2 in B-fl at Minor, op. 46 Kaleidoscope, op. 144 Canzone in G-fl at, op. 46/2B Music for Organ, op. 145 Trostungen, op. 47 Partita Retrospettiva, op. 151 ORGUES LÉTOURNEAU LTÉE Renaissance, op. 57 Eight Short Pieces, op. 154 Praeambulum Festivum, op. 64 (ii)4B Sursum corda, op. 155/2 Tondichtungen, op. 70 Sequence 1 in A Minor, W 8 CANADA UNITED STATES Trois Impressions, op. 72 Sicilienne in A, W 10 16 355 avenue Savoie 1220 L St NW, Ste 100, Box 200 Chaconne and Fugue-Trilogy, op. 73 Sequence 2 in C Minor, W 12 St-Hyacinthe (Québec) J2T 3N1 Washington, DC 20005 Chorale Preludes, op. 75 Näher, mein Gott, zu Dir (Nearer, My God, Tel: 450-774-2698 Tel: 800-625-PIPE Funerale, op. 75 (i) to Thee), W 17 [email protected] [email protected] Homage to Handel, op. 75 (ii) Intarsien, op. 76 Internet sources for Karg-Elert’s music

Photo: David Morrison Pedal Studies, op. 83 Free-Scores.com Fugue, Canzona & Epilogue, op. 85/3 IMSLP/Petrucci Music Library: imslp.org Three Pastels, op. 92 letourneauorgans.com Seven Pastels from Lake Constance, op. 96 Numerous scores of Karg-Elert’s piano Partita in E, op. 100 and other instrumental music are available Portraits, op. 101 from Cathedral Music as well as the above Impressionen, op. 102 Internet sources.

22 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM In Memoriam Marie-Claire Alain August 10, 1926–February 26, 2013

By James David Christie

he world’s most distinguished con- donated the family house organ, built by Tcert organist, Marie-Claire Alain, her father between 1910 and 1971, to the died at the age of 86 on Tuesday, Jehan Alain Association in Romainmôtier. February 26, 2013, in Le Pecq, a small Madame Alain’s last teaching in North French commune located next to her America took place at the McGill Sum- home city of Saint-Germain-en-Laye. mer Organ Academy, Montreal, Quebec, She had been in failing health for several Canada, in July 2007, and her very last months and the cause of her death was trip to North America was as a juror for reported as a cardiac arrest. Madame the First Canadian International Organ Alain performed around the entire Competition in Montreal in the fall of world, but always held her many Ameri- 2008. She served on that jury with fi ve of can friends and audiences in her heart her former students: John Grew (Artistic as her favorite public. She performed Director of the CIOC), Dame Gillian over 2,500 concerts and made over 280 Weir, James David Christie, Ludger recordings during her lifetime. Lohmann, and James Higdon. Marie-Claire Alain was born in The list of awards and honors given Saint-Germain-en-Laye on August to Marie-Claire Alain is immense. She 10, 1926. Her father was the organist- received honorary doctorates from Colo- composer Albert Alain (1880–1971) and rado State University, Southern Meth- her mother was Magdeleine Alberty odist University, the Sibelius Academy (1890–1971). She had three siblings, all (Helsinki), the Boston Conservatory, excellent musicians, who preceded her McGill University, and Johns Hopkins in death: her older sister, Marie-Odile University. She was awarded the Prize Alain (1914–1937), and two brothers— of Les Amis de l’Orgue, the Edison Prize the renowned organist-composer Jehan (Holland), the Golden Disque Award Alain (1911–1940) and Olivier Alain (Japan), the Prize of the President of the Marie-Claire Alain at the Gérald Guillemin organ at the Church of St. Vincent in (1918–1994). Her father, Albert, was Republic (Académie Charles-Cros), and Mérignac, France (reprinted with kind permission of Aurélie Decourt) the organiste titulaire of the Church of the Buxtehude Prize (Lübeck). In addi- Saint-Germain-en-Laye from 1924 until tion, she was awarded the Grand Prix du www.france-orgue.fr/ (to access the list- Bach and Jehan Alain for the service, his death in 1971. Marie-Claire began Disque (Académie Charles-Cros) sixteen ing, type in “Marie-Claire” in the box including former Marie-Claire Alain assisting her father at the church in 1937 times, the Léonie Sonnig Foundation marked “Recherche rapide organist” on students Vincent Warnier, Daniel Roth, at the age of 11. She was appointed her Prize (Copenhagen), the Franz Liszt the right side in the middle of the page). Bruno Morin, Jean-Baptiste Robin, and father’s successor upon his death in 1971 Prize (Budapest), the Golden Laser Marie-Claire Alain married Jacques Jean Ferrard. A small Gregorian choir and faithfully served as organiste titulaire Prize of the Académie du Disque Fran- Gommier, a musician and choral conduc- sang parts of the Requiem Mass. Her for the following 40 years. She resigned çais, and 1984 International Performer tor, in 1950; he died in 1992. Monsieur daughter, Aurélie, gave a touching eulogy in 2011 because of her declining health. of the Year (New York City chapter of Gommier was a wonderful husband and and spoke lovingly of her mother’s last She studied at the Conservatoire the American Guild of Organists). She often handled her correspondence and diffi cult weeks and how optimistic she national supérieur de Paris, where she has received numerous “Diapasons d’or” did musicological research for Madame was about life. When she would ask her was an organ student of Marcel Dupré; for her outstanding recordings. Marie- Alain. He never complained or corrected mother how she was feeling, she would there she also studied harmony with Claire Alain was a member of the Royal anyone when he was addressed as ‘Mon- respond that she was getting ‘better and Maurice Durufl é and fugue with Simone Academy of Music, Stockholm and the sieur Alain’ when he accompanied his better each day.’ As Madame Alain held Plé-Caussade. At the Paris Conservatory, Royal Academy of Music, London. wife on her many North American tours! the rank of Grand Offi cier in the Légion she won fi rst prizes in organ, improvisa- She was made a Chevalier in the Royal They had two children: a son, Benoît, d’honneur, an honor guard carried the tion, fugue, harmony, and counterpoint. Order of Danneborg (Denmark). She who died in 2009 at the age of 57, and a French fl ag into the church and gave She studied organ privately with Gaston held the rank of Commandeur in the daughter living in Paris, Aurélie Decourt, a military homage when her coffi n was Litaize and André Marchal; both of Légion d’honneur, the Ordre national du musicologist and author of several taken outside the church at the end of these famous teachers were important Mérite and the Ordre des Arts et Lettres. books on the Alain family. Dr. Decourt the service. Marie-Claire Alain was bur- mentors in her career and played a great French President François Hollande organized a national French celebration ied next to her husband in the Gommier role in her artistic development. promoted Madame Alain to the rank of and festival held in Saint-Germain- family plot in the “New Cemetery” of Marie-Claire Alain was an extraordi- Grand Offi cier in the Ordre national du en-Laye for the 2011 centenary of the Saint-Germain-en-Laye. nary teacher and her students have won Légion d’honneur on July 14, 2012. birth of Jehan Alain; she also appeared The world has lost a great artist—we a staggering number of international Marie-Claire Alain’s impressive list of at Alain centenary events in the United have lost a great inspiration, an excep- competitions. Today her students hold recordings includes three versions each States. [See articles in The Diapason: tional human being, and a great friend. some of the most important and pres- of the complete organ works of J.S. Bach, “Marie-Claire Alain—80th birthday Thank you, Madame Alain, for making tigious teaching and church positions François Couperin, Nicolas de Grigny, tribute” (July 2006), “National French our lives so rich and so full of beauty—we around the world. Marie-Claire Alain was and Jehan Alain, two versions each of the Centenary Celebration of the Birth of will never forget you. May your soul rest professor of organ at the Conservatoires organ concerti (with orchestra) of G.F. Jehan Alain” (November 2011), “Jehan in peace, now and forever—Amen. Q nationaux de région in Rueil-Malmaison Handel and the organ works of César Alain—The American Festival: Wichita (1978–1994) and Paris (1994–2000). Prior Franck, and complete recordings of the State University” (January 2012), and James David Christie holds positions as to and even after 1978, she always had a organ works of Buxtehude, D’Aquin, “Jehan Alain: His Life and Works” (July the Distinguished Artist in Residence at the very large private studio and taught many Bruhns, Böhm, and Mendelssohn. She 2012).] She took extraordinary care of College of the Holy Cross, Worcester, Mas- of the most famous organists of today recorded organ concerti by Poulenc, her mother in her last years, and this was sachusetts, Chair and Professor of Organ at on her Haerpfer-Erman house organ Charles Chaynes, Haydn, C.P.E. Bach, greatly appreciated by Madame Alain’s the Oberlin College Conservatory of Music, Oberlin, Ohio, and serves as College Organist at her homes in L’Étang-la-Ville and Vivaldi, Mozart (Church Sonatas), and family and friends. In addition to her at Wellesley College, Wellesley, Massachusetts. Maule, as well as at the Church of Saint- two recordings of Symphonie III of Saint- daughter, Marie-Claire Alain’s survivors He has previously held positions at Boston Germain-en-Laye. Madame Alain taught Saëns. Madame Alain appeared as a con- include six grandchildren, one nephew, Conservatory, Harvard University, M.I.T., and every summer in the Netherlands at the tinuo artist on dozens of recordings, many and two nieces (the three children of Boston University. He has served as organist of Haarlem Summer Organ Academy with with the Jean-François Paillard Chamber Jehan Alain: Lise, Agnès, and Denis). the Boston Symphony Orchestra since 1978. her close friends and colleagues Anton Orchestra. She also has recorded many Madame Alain’s funeral took place at James David Christie has made over fi fty Heiller and Luigi Ferdinando Tagliavini works by Liszt, Pachelbel, Vierne, Widor, the Church of Saint-Germain-en-Laye tours of Europe and performs regularly in from 1956–1972; after 1972, she returned Messiaen, and others. Madame Alain on Friday, March 1 at 10:00 am. Her cof- Canada, Asia, Australia, and Iceland. He to teach at Haarlem on three occasions in performed and recorded with the leg- fi n was placed under the Grand Orgue in has recorded for Decca, Philips, Nonesuch, 1974, 1982 and 1994. She also founded endary fl utist Jean-Pierre Rampal and the church before and after the service. JAV, Northeastern, Arabesque, Denon, RCA, Dorian, Naxos, Bridge, and GM and has and taught at the Académie Jean-Sébas- the acclaimed trumpet virtuoso Maurice The church was full and the congrega- received several awards for his solo recordings, tien Bach de Saint-Donat from 1971– André. For a complete discography, tion was fi lled with her many friends including the Preis der Deutschen Schallplat- 1991. From 1991 to 2009, she was a per- please consult Alain Cartayrade’s thor- from Saint-Germain-en-Laye and Paris, ten Kritik and the Magazine d’Orgue: Coup de manent member of the organ faculty for ough listing in the French publication as well as musicians and many organists Coeur. In the fall of 2010, he was on sabbatical the Académie d’orgue de Romainmôtier, L’Orgue, Cahiers et Mémoires No. 56, from Paris, France, and western Europe. in Paris, France, where he served as visiting Switzerland. In 1985, Marie-Claire Alain 1996; the listing may also be read online: Several organists played works of J. S. Professor of Organ at the Paris Conservatory.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2013 Q 23 In Memoriam Heinz Wunderlich A Remembrance One Year Later

By Jay Zoller

einz Wunderlich died March 10, David Burton Brown, The Diapason, proceeded: Buxtehude, Prelude and H2012 (see “Nunc Dimittis,” The April 1994, pp. 12–13. Fugue in E Minor; Bach, Trio Sonata III Diapason, May 2012, pp. 10, in D Minor and Toccata and Fugue in F 12). He served for many years as music Beginnings Major. After intermission he played his Heinz Wunderlich at 85th birthday cel- director at St. Jacobi in Hamburg and as As a sophomore in high school, after own Sonata on a Single Theme, a piece ebration after his Bach concert professor of organ and improvisation at seven years of piano lessons, I began my which, little could I imagine at the time, the Hamburg College of Music. He con- study of the organ with the organist at I would know intimately later in my life. expect. I wrote to him and told him what certized throughout the world, including my family’s church. My teacher, David Wunderlich ended his program with the I was working on, asking questions about several tours with his choir, the Kantorei Whitehouse, was also a student—at the Reger Fantasie and Fugue on B-A-C-H. the music and the way he wanted it per- St. Jacobi. In the United States alone he University of New Hampshire—and he For whatever reasons, the image I had of formed. Occasionally, I even discovered made twenty-six tours. Students came did his best to impart to me the correct him there would remain with me. a wrong note in the score. I would send from all over the world to study with methods of playing the organ. In addi- him my recital programs when I had him—many to study the works of Max tion, he stimulated my interest by taking 1989 included a piece of his and he always Reger, as Wunderlich was one of the few me, even before I had my own driver’s My story now jumps ahead nearly answered; and at the same time he musicians in a direct line of succession license, to hear concerts on the large thirty years. I was working for the answered my questions and thanked me with Reger. organ at the Methuen Memorial Music Andover Organ Company in Methuen, for my interpretation of his music. Wunderlich left an extensive body of Hall, which was about an hour’s drive Massachusetts, designing pipe organs. Over the years I played quite a few of organ works, as well as choral music. He away from my home in Durham. We had just fi nished a small two-manual his pieces, even playing one lunchtime remained active as a recitalist until his My recollection of many of those organ of my design for St. Paul’s Epis- all-Wunderlich concert. As 1999 grew 91st year, when he decided not to play recitals is hazy at best, often sitting in copal Church in North Andover, Mas- near, Wunderlich asked me if I would any more. See “Heinz Wunderlich at the front row so I would have a ringside sachusetts. Unknown to me, Heinz write an article about him in honor of 90,” by Jay Zoller, The Diapason, April seat—watching was as important to me Wunderlich had been engaged for the his approaching 80th birthday. I did so 2009, pp. 19–21; “80th Birthday Trib- as listening. However, one Friday night dedication recital through his friendship and my article “Heinz Wunderlich at ute—Heinz Wunderlich,” by David Bur- stayed in my memory like no other: Octo- with Arthur Howells. In addition to the 80” appeared in the April 1999 issue of ton Brown, The Diapason, April 1999, ber 20, 1961 at 8:30 pm—the program, recital, a masterclass was to be held the The American Organist. I had also made p. 18; “Heinz Wunderlich at 74,” by which I saved, reads: Heinz Wunderlich, day before. I was one of fi ve or six people the decision to travel to Hamburg, Ger- David Burton Brown, The Diapason, Organist, Jacobikirche, Hamburg. From who offered to play. I did not realize this many for his birthday celebrations and April 1994, p. 6; and “The Published my front-row seat on the right-hand was the man that I had heard play so so bought my ticket expecting to have a Organ Works of Heinz Wunderlich,” by side, I was transfi xed as his program many years before. Nor did I think about relaxed trip. the fact that he was a recognized author- ity on the music of Bach! So, imagine Birthday celebrations National Association of Pastoral Musicians my embarrassment when I played the I had played the Fuga Variata in a 36th Annual Convention C Major Prelude and Fugue of Johann recital two months before my scheduled Ludwig Krebs rather than Bach. trip, but had no inkling of the phone Washington, DC | July 29–August 2, 2013 Despite being unfamiliar with the call I was about to receive, literally the music, Professor Wunderlich was most day before I was to leave. Heinz Wun- gracious and offered helpful advice on derlich called from Germany to say many aspects of the piece. I still have his that the organist who was scheduled markings in my score. I was fortunate to to play the Fuga Variata was unable to see a program of the next day’s recital and do so, had backed out, and would I be noticed that it included one of his own willing to play? I was soon to discover pieces, the Sonata on a Single Theme. I that Wunderlich’s birthday celebrations asked him about his music and if it was consisted of many concerts over the published. Alas, nothing was published period of nearly two weeks. In 1999 at that time, but he was very kind and Heinz Wunderlich played an all-Bach brought me a cassette recording of some recital on the Arp Schnitger organ at St. of his organ works. When I listened to it Jacobi; fi ve days later he played another later, I was hooked! It became one of the all-Bach program of harpsichord and most listened-to recordings in my collec- violin with his violinist wife, Nelly, at the tion. The music had a clear crispness to it; Museum of Art. One day later was an all- Come to Washington. it was a fresh sound—a controlled wild- Wunderlich program played by former ness made it come alive for me. I couldn’t students at the Domkirche St. Marien stop listening. It sounded the way con- on the four-manual Beckerath organ. Take Part . . . temporary organ writing ought to be. And fi nally, on May 8 Heinz Wunderlich in the premier event of the year for clergy, liturgists, and liturgical musicians I waited, hoping that it was being played an ambitious program of Reger of all types and levels of skill. published, and fi nally wrote to Profes- and Wunderlich at St. Michaelis. sor Wunderlich roughly two years later. Without promising anything, and with Choose from more than 120 learning opportunities led by respected clinicians, I identifi ed myself as the person who my heart in my throat, I said I would including workshops, institutes, master classes, and clinics. Enjoy outstand- had played Krebs for him that day. Yes, bring my music and organ shoes and ing musical events featuring a wide variety of genres—choral, contemporary, he remembered me. And, yes some of we would see what happened. When I the organ works were now published. I arrived, I practiced for a couple of days on organ, brass, handbell, African American, and Latino/Hispanic. immediately ordered every one. The fi rst Wunderlich’s own three-manual organ, piece that I learned was the very one I which was in the lower level of his home. Celebrate the fiftieth anniversary of the Second Vatican Council’s landmark had heard him play, the Sonata on a I was still feeling insecure about the Constitution on the Sacred Liturgy and hear thought-provoking addresses on Single Theme. I quickly discovered how music when Wunderlich came down and the continuing significance of that document. Presenters includeRita Fer- diffi cult the music actually was. wanted to hear the piece. In my nervous- rone, John Baldovin, SJ, Paul Turner, and Bernadette Farrell. I should say that my correspondence ness, I must have played very badly, but he with Professor Wunderlich began late in was always kind and offered suggestions. Take advantage of generous discounts for clergy-musicians duos, parish his career. He had retired in 1982 and Finally, he took me to St. Mariens for a groups, and youth. Register by the advance registration deadline of June 28 was devoting his time to concertizing lesson on the large Beckerath organ. The and preparing his many compositions for organ was located in a rear gallery, which and save $60 off the regular registration fee. publication. There was no reason that he must have been 30 feet off the main fl oor. needed to be kind to an unknown Ameri- He would help me set up registrations can who had somehow converted to his and then take the long walk down to the Web: www.npm.org Toll-free: 1 (855) 207-0293 music so late in life. But, sometimes main fl oor to listen. Returning to the gal- things work out differently than you lery, we made changes, and moved to the

24 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM At the Kemper console at St. Jacobi Albert Schweitzer (around 90) and in 1970 Heinz Wunderlich at St. Jacobi

In the early 1960s at the Schnitger console

Participants at the all-Wunderlich recital, May 8, 2004, St. Petri, Hamburg: Jay Zoller, Izumi Ikeda, Dörte Maria Packeiser, Heinz Wunderlich, Andreas Rondthaler, Akemi Tonomura, and Thomas Dahl Wunderlich gravestone next section, always checking on what it ambitious recital on the Kemper Organ sounded like downstairs. I learned a lot at St. Jacobi. Unfortunately, it was the last about his ideas of registration and play- time I would hear him play. ing in an acoustically live building. Heinz Wunderlich was very precise. He wanted Epilogue American Guild of Organists all of my old markings erased. Changes For me, knowing Heinz Wunderlich, and balances were carefully worked out one of the 20th century’s greatest virtuo- Region IX 2013 Convention as well as precise fi ngerings, paying atten- sos, became a transforming event in my tion to every marking in the score. life. To know the man, the gentle teacher, I was thankful for the time and atten- the consummate musician, the loving tion he was willing to give me, all this at husband and father, gracious host, and the age of 80 and having several concerts the appreciation he had for my perfor- Bakersfi eld,eld, CACA of his own to prepare. At the same time it mances and articles, was reward in itself. June 24–26, 2013 was terrifying to be performing with the But the real transformative aspect was the June 24–26, 2013 composer himself sitting in the audience. music. My interest in contemporary music Bakersfi eldAGO2013.org For me it was the experience of a lifetime. expanded tenfold. His organ works alone Later that year, I arranged an have occupied me for over 20 years and American tour for him. It included fi ve constantly present me with ever-new chal- concerts at churches where former stu- lenges. In addition, I have been able to dents were playing and a concert at the listen to performances of works that I will Pre-convention concert: June 23rd at 7pm Methuen Memorial Music Hall where never play—works for organ and orches- I had heard him play 38 years before. tra, for chorus, and his masterful improvi- Post-convention concert: June 27th at 10am Among other things, he played his sations. His interest has also given me the newly composed Sonata über Jona; his chance to travel to Germany and perform wife Nelly joined him for his Variationa on organs that I had only dreamed of, as World-class Artists and Special Guests: Twelvetonata for Violin and Organ, well as make many new friends. Thank • Robert Ampt • Amy Johansen also newly composed, and some Rhein- you, dear man. I miss you. Q berger sonatas for violin and organ, • Christoph Bull • S. Wayne Foster which brought tears to my eyes. For his Jay Zoller is organist at South Parish Con- • Hyunju Hwang • Carey Coker-Robertson 85th birthday in 2004 I wrote another gregational Church in Augusta, Maine, where • Hector Olivera • Dorothy Young Riess article about him, this time published he plays the church’s historic 1866 E. & G. G. in Choir & Organ magazine, and once Hook organ. He holds degrees from the Uni- • Fred Swann versity of New Hampshire and the School of again traveled to Hamburg to play his Theology at Boston University. newly written Emotion and Fugue in A retired designer for the Andover Organ Featuring organs by: the all-Wunderlich program. This pro- Company, he currently designs for the Organ gram was again on a large four-manual Clearing House and for David E. Wallace & • Aeolian-Skinner • Austin-Rodgers Beckerath, but this time in St. Petri, Co. Pipe Organ Builders of Gorham, Maine. where former student Thomas Dahl Zoller resides in Newcastle, Maine, with his • Bosch • Schantz is the director of music. Again, Heinz wife Rachel. • Schantz-Rodgers Wunderlich was of great assistance with In addition to writing several articles interpretation and registration. about Heinz Wunderlich for The American Organist, Choir & Organ, and THE DIAPA- In 2009, for Wunderlich’s 90th birthday, Th e DoubleTree-Hilton Hotel SON, he has played in all-Wunderlich recit- I again played the Fuga Variata on the als in Hamburg, Germany in 1999, 2004, Convenient access to all venues. St. Petri organ along with other former and 2009. His article, “An Organ Adventure students. Although Professor Wunderlich in South Korea,” appeared in the December All venues air-conditioned. was noticeably frail, he still played an 2011 issue of THE DIAPASON.

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

A. E. Schlueter Pipe Organ into the room. These openings were fi n- Company, Lithonia, Georgia ished with open, ornamental, oak grilles. Advent Lutheran Church, In the chamber interior we placed the Melbourne, Florida Great and Positiv windchests off-axis Advent Lutheran Church in Mel- from the direct center, so they would be bourne, Florida is a relatively young able to speak from the sides as well as church, founded in 1982; services were the front exposure. The Swell division fi rst held in a realtor’s offi ce. From these of the organ is laid out in a side-by-side simple beginnings, this vibrant ministry confi guration across the rear of the organ has continued to grow in an unbounded chamber. This minimizes the depth of manner. When the present sanctuary the enclosed division and allows it to be was built in 2003, they could not fund a spatially projected forward in an unim- pipe organ, but importantly made future peded manner to acoustically sit beside provision for an instrument in their new the pipework of the Great and Positiv. sanctuary; the space provided for the pipe The result of the additional chamber organ and the chamber was sealed closed openings and divisional placement is that in the front rock wall of the church. the full resources of the organ are evenly In 2010, a pipe organ committee was heard throughout the room without any formed. Their study included not only signifi cant divisional bias. engineering and cost factors, but also A constant challenge in organ building the ability to pay for the organ without is having enough space in width, depth, impacting the operating budget. In and height. In this instance the internal 2011, a special congregational meeting chamber had “too much of a good thing” was held to approve the purchase of a in terms of height. The loft inside the pipe organ from the A.E. Schlueter Pipe organ chamber went well over 25 feet Organ Company, with installation to above the top of the frontal opening, coincide with the 30th anniversary of the creating a signifi cant tone trap that had church’s founding. to be addressed. The solution was to When I fi rst visited Advent Lutheran continue the Swell expression box roof with our Florida representative, Her- over the Great and Positiv. The roof bert M. Ridgely Jr., I found we were section was built with heavy timbers and blessed with a sanctuary where con- made exceedingly thick, which provided sideration had been given toward good an upper surface that was designed to be acoustics and favorable placement for a refractory angle of incidence across a the organ. The front wall of the chancel broad frequency spectrum to focus the is a solid concrete wall that lofts from organ resources out of the chamber. fl oor to ceiling and is faced with native The end result is an even, coalesced limestone. Beginning eleven feet off diffusion of sound both inter- and the fl oor was a 20′ x 20′ opening into intra-divisionally. the organ chamber. The fl oor for the The organ case is built from hand- organ was a solid poured-concrete slab selected rift-sawn red oak, with a capable of holding the tens of thousands light-colored natural fi nish to match the of pounds of weight required for even a church’s interior furnishings. The indi- modest-sized instrument. vidual vertical segments of the façade There are two choir lofts on the right and case are divided into multiple pipe View of sanctuary, new pipe organ, and console (photo credit: Judy Vaughn) and left sides of the sanctuary. The tra- fl ats that follow the radius of the front ditional choir is housed on the left side. wall curvature. In this manner, the it less dominant against the furnishings toward the performer, making the stops The opposing niche on the right side is façade “bows” rearward from the cross in the chancel. The console, including easy to see and draw because the stops a space occupied by the accouterments to emphasize it as the central theme in the built-in casters for mobility, is a on each terrace are within easy reach of needed for contemporary worship. the chancel. diminutive 47½ inches tall. The console the performer. With the side locations of the choir The pipe shades at the top of the is built of red oak with a mahogany inte- For the combination system and lofts, and a sanctuary with more width pedal towers are evocative of the con- rior. The interior stop controls are turned relays, we used the new 8400 system than depth, our concern was that some crete lace that holds the stained glass of hardwoods with engraved inserts that from the Syndyne fi rm. All of the fea- choristers or congregants would be within the windows of the church. The were custom fi nished to match the bone tures that one comes to expect on a “around the corner” from the straight-on polished surfaces of the organ façade and walnut keyboards. The keyboards modern console control system are pres- frontal exposure of the organ as it speaks pipes play on light in such a way that the are fi tted with tracker touch. ent—from multiple memories, to pro- into the sanctuary. We wanted to avoid façade takes on natural soft, even hues, Ever concerned with ease of registra- grammable crescendos, programmable an instrument that emphasized one melding with the church interior. The tion and ergonomics, we were very care- sforzandos, blind checks, transposers, division over another dependent upon pipework in the organ façade contains ful in our design of the console interior. etc. The system allows centralized where you were seated. the independent 16′ Principal, and bass The drawknob and coupler controls are control for the combination system, To provide more uniformity of speech, registers of the 8′ Principal and the 4′ placed in the traditional locations with playback/record, MIDI, and other func- we planned the removal of the sidewall Choral Bass. the Pedal and Swell stops on the left tions, in a single integrated touch screen. sections to the left and right of the organ We designed a terraced, drawknob jambs, and the Great and Positiv on the One can save or import combination chamber. Adjacent to the side openings console for this instrument. In addition right jambs. The stops are sequenced by memories from and to an external USB were angled wall surfaces that we knew to providing excellent sightlines for the pitch and family, with the primary divi- drive, which provides infi nite options would refl ect and refract the sound from organist to see both the choir and the sion choruses aligned to be even to the to the performer. The screen and USB the side alcoves behind the chancel wall congregation, its lowered profi le makes manual into which they draw. The draw- interface allows testing, confi guration, knobs feature oblique heads aligned on and upgrades for the builder without the straight terraces, and angled inwards need for an external computer.

A. E. Schlueter Pipe Organ Company

GREAT—Manual II (unenclosed) SWELL—Manual III (enclosed) 16′ Sub Principal 49 pipes 16′ Gedeckt (ext) 12 pipes (1–12 from Ped 16′) 8′ Rohr Gedeckt 61 pipes 8′ Principal 61 pipes 8′ Gamba 61 pipes 8′ Bourdon 61 pipes 8′ Voix Celeste TC 49 pipes 4′ Octave 61 pipes 4′ Principal 61 pipes 4′ Nachthorn 61 pipes 4′ Koppel Flöte 61 pipes 2 2′ Super Octave 61 pipes 2⁄3′ Nazard TC 49 pipes II Cornet TC (Pos) 2′ Flageolet (ext) 24 pipes 1 3 IV Mixture 1 ⁄3′ 244 pipes 1⁄5′ Tierce TC 49 pipes 16′ Oboe TC (Sw) IV Plein Jeu 2′ 244 pipes 8′ Trompette (Sw) 16′ Oboe TC 8′ Festival Trumpet (Pos) 8′ Trompette 61 pipes (non-coupling) 8′ Oboe 61 pipes Zimbelstern 9 bells Tremolo Chimes (prepared for)

The console has built-in casters for mobility (photo credit: Judy Vaughn)

26 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM vowel cavity at 16′ and 8′ pitch, which balance against the éclat and fundamen- tal of the large-scaled 8′ Trompette. The unenclosed manual reed on the organ is the 8′ Krummhorn in the Positiv division. It is built of brass with fl ared lift caps. By itself it is a very useful solo and/ or ensemble stop, with the nose tone of a regal class of reed. It also effectively couples with the 8′ Holzgedeckt to provide a stop eerily reminiscent of the woody voice of a fi ne clarinet. The Pedal division is grounded with three independent 16′ stops, including a large 16′ Posaune. It is a very complete pedal, with the gravitas to support the full forte of this instrument. The Pedal Terraced console with oblique, turned pau ferro draw- Looking up at the gentle arc of the façade pipes and casework stops were given a forward position to knobs (photo credit: Judy Vaughn) (photo credit: Judy Vaughn) eliminate shading and to allow gentler voicing. The result is a buoyant and The organ chests are a combination emphasize reliance on chorus massing to decomposé. These stops envelop one harmonically rich pedal, where the of Blackinton-style electro-pneumatic bring about larger stop dynamics which another and become almost svelte in inner voice is ever present. In addition slider chests and electro-pneumatic unit build upon one another. The goal was to their combined voice. The Swell Cornet to the independent registers, there are action chests for unit and duplex stops. design a specifi cation that would allow is countered with a secondary principal- a number of manual-to-pedal duplexes, The main manual chest winding sys- gentle, sculpted voicing. based Cornet in the Positiv division. In which broaden the available weight and tem makes use of traditional spring-and- Because of the German origins of the a departure from common practice, the color choices. weight, ribbed regulators, and fl oating Lutheran church, I knew there would individual Positiv mutations are placed The organ tonal fi nishing was accom- lid regulators that are fed from a large, have to be an inclusion of the “Werk- on unit actions, which allow use of these plished by a team consisting of Arthur central plenum. The enclosed reeds prinzip” in the specifi cation. However, I stops at a variety of pitches and combina- Schlueter III, Pete Duys, John Tanner, are provided with separate regulators also felt strongly that a single nationalistic tions. This becomes very useful for color Bud Taylor, and Marc Conley. The organ to allow a pressure differential from focus would have been too limiting for and ornamentation and also facilitates was fi rst used for worship in December the fl ue stops and permit independent this congregation. Ultimately the design the beginnings of building weightless 2012 and was dedicated on January 20, tremulant control. All of the windchests of the instrument included many tonal mixture texture in the organ divisional 2013 by organist Peter B. Beardsley. are individually fi tted with tunable con- facets that allow the organ to be a faithful ensembles by drawing these indepen- Every organ project has those individu- cussion bellows for fi ne regulation. This purveyor of music from many periods, dent fi fths. als without which the project could not allows stable winding that still maintains styles, and nationalities, in a cohesive, For this instrument, we chose to have been possible. In addition to thank- a presence of life. eclectic manner. Those who are familiar employ strings of opposing qualities in ing every single member of the congrega- Wind pressures on the organ are 3½′′ with our collective body of work will fi nd the Positiv and Swell divisions. The Posi- tion, the church council, and the organ Great, 4′′ Swell fl ues, 5′′ Swell reeds, present the balance of clarity and warmth tiv 8′ Erzahler has a gentle broadness committee, I personally want to single 2¾′′ Positiv, 3′′ Pedal and façade, and that we seek in all of our instruments. with a subdued edge-tone. It can sup- out senior pastor Reverend David Jahn, 8′′ for the Solo 8′ Festival Trumpet. As we designed the principals, fl utes, port the most quiet and contemplative organist Lori Jahn, executive assistant The tremolos are electro-mechanical to and strings in this instrument, we of moments in the service, and yet has to the pastor Carol Stanton, and organ provide a quiet, gentle, even undulation employed differing construction and enough body that, when coupled with committee co-chairs Pat Fuller and Jack when the tremulants are engaged. materials in conjunction with careful the 8′ Holzgedeckt, provides the founda- Clark, for their very direct, hands-on work Prior to designing a stoplist, I fi nd, as scaling. The varied use of wood, metal, tion for the Positiv principal chorus. In with our fi rm throughout this project. an organbuilder, it is incumbent to wor- open, semi-open, stoppered, cylindrical, the Swell division, the gambas with their Organ building is not the work of one ship with the congregation. This cannot conical, and other variations, allow each thinner scales, roller beards, and slotting person, but is a plurality or culmination be a one-time event, as a church’s liturgy fl ue stop its own unique voice and timbre. have a keen and incisive, harmonically of talents. We are very fortunate to have as it moves through the year is a rich pag- The organ is centered around the rich voice. These stops leave little doubt so many talented craftsmen and crafts- eant that cannot be conveyed, but has clean, robust principal chorus of the that they are strings and have a very women at our fi rm. Our staff includes to be personally experienced to put the Great division. The 16′ Sub Principal of distinctive edge-tone. The 8′ Gamba Arthur Schlueter Jr., Arthur Schlueter worship service in your own eyes, and this division transitions from the façade when drawn with the 8′ Rohr Gedeckt III, Shan Dalton, Marc Conley, Patty more importantly your own ears. Person- into the slotted pipes of a Geigen Prin- provides the foundational weight for Conley, Bud Taylor, Robert Black, Dal- ally, I fi nd it illuminating to look into the cipal, which allows a thinner, defi ned the Swell principal chorus, and a com- las Wood, Al Schroer, John Tanner, eyes of the congregants who have asked register to ground the Great chorus. pounded color that would be analogous Pete Duys, Barbara Sedlacek, Patrick me to build an organ for them. It instills This stop is duplexed to provide an 8′ to an independent 8′ Violin Diapason. Hodges, Jay Hodges, Kelvin Cheatham, me with the gravity of the task at hand foundation for the Positiv principal With their large dynamic, the major- Jim Sowell, Bob Weaver, Ruth Lopez, and becomes a constant that I draw on chorus, and allows doubling of the 8′ line ity of the reeds were placed in the Swell Michael DeSimone, Bill Zeiler, Chad throughout my working with the church. when coupled to the Great. The Great 8′ enclosure. The 8′ Festival Trumpet is Sartin, Steven Bowen, Jeff Moore, and As I designed the stoplist, I envi- Bourdon and 4′ Nachthorn, in addition moderately scaled on relatively high Herbert M. Ridgely Jr. sioned an instrument where all of the to being lovely solo voices, are valuable wind pressure. With its thinner scaling If you would like more information resources could be considered for use in as thickening agents to the Great prin- and placed under expressive control, it on this instrument and our fi rm, I invite every service. I wanted a large enough cipal chorus, without overshadowing it. can be registered into the full Great and you to visit the Schlueter Pipe Organ specifi cation to provide a rich palette The enclosed Swell reeds are duplexed Positiv choruses as a thinner ensemble Company website at www.pipe-organ. of color and weight. It was important to the Great, which provides dynamic reed when the expression box is closed. com, write to me at A. E. Schlueter Pipe to avoid any sounds that were strident control of these stops by their enclosure. With the box open, it is an incisive, tightly Organ Company, P.O. Box 838, Lithonia, or overwhelming, as they didn’t have a The mixed media of wood, metal, drawn color that can bring a blaze to a GA 30058, or feel free to reach me at place or use in this setting with this con- stoppered, and open construction con- solo line. The Swell reeds include a dou- [email protected]. gregation. The ideal stop design would tinues into the fl utes of the Swell Cornet ble tapered Oboe with lift lids and a large —Arthur E. Schlueter III

Advent Lutheran Church, Melbourne, Florida

POSITIV—Manual I (enclosed) PEDAL Inter-manual Couplers MIDI Controls 8′ Geigen (from Gt 16′) 32′ Harmonics (wired harmonic series) Great to Pedal 8′, 4′ Programmable as preset stops, with record/playback 8′ Holzgedeckt 61 pipes 32′ Acoustic Bass (resultant) Swell to Pedal 8′, 4′ MIDI on Pedal 8′ Erzahler 61 pipes 16′ Sub Principal 32 pipes Positiv to Pedal 8′, 4′ MIDI on Great 4′ Prinzipal 61 pipes 16′ Subbass 32 pipes MIDI on Swell 4′ Spitz Flöte 61 pipes 16′ Gedeckt (Sw) Swell to Great 16′, 8′, 4′ MIDI on Positiv 2 2⁄3′ Nasat TC 49 pipes 8′ Octave (ext) 12 pipes Positiv to Great 8′ 2′ Oktav 61 pipes 8′ Subbass (ext) 12 pipes Combination System 3 1⁄5′ Terz TC 49 pipes 8′ Gedeckt (Sw) Positiv to Positiv 16′ Touch screen interface, with over 500 levels of memory 1 1⁄3′ Quint (ext) 12 pipes 4′ Choral Bass 32 pipes Positiv Unison Off General thumb pistons 1–10 II Glockenspiel (wired from mutations) 4′ Rohr Gedeckt (Sw) Swell to Positiv 16′, 8′, 4′ General toe pistons 6–10 8′ Krummhorn 61 pipes III Mixture (wired) Great divisional pistons 1–5 16′ Festival Trumpet TC 16′ Posaune 32 pipes Swell to Swell 16′ Swell divisional pistons 1–5 (non-coupling) 8′ Trompette (Sw) Swell Unison Off Positiv divisional pistons 1–5 8′ Festival Trumpet 61 pipes 4′ Oboe (Sw) Swell to Swell 4′ Pedal divisional toe pistons 1–4 (in Sw enclosure) (non-coupling) Positiv to Swell 8′ Thumb and toe pistons: Gt-Ped, Sw-Ped, Pos-Ped Tremolo Three manuals, 36 ranks Programmable Sforzando and Crescendo Manual Transfer USB drive

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2013 Q 27 Summer Institutes, Workshops & Conferences Calendar

Gregorian Chant Workshops Instruction in chant and Catholic sacred Mississippi Conference on Church This calendar runs from the 15th of the month April 23–25, June 23–28, September 24–26, St. music tradition, participation in chant and Music and Liturgy of issue through the following month. The deadline Edmund’s Retreat, Mystic, CT. polyphonic choirs, lectures, performances; July 23–28, Canton, MS. is the fi rst of the preceding month (Jan. 1 for April: Style and interpretation of Gregorian Doug O’Neill, Ann Labounsky, Horst Buch- Study and preparation of church music Feb. issue). All events are assumed to be organ chant; June: Gregorian chant and its role in holz, Jonathan Ryan, others. for worship; Bruce Barber, Mark Schweizer, recitals unless otherwise indicated and are grouped liturgy; September: Gregorian Chant Express; Erika Takacs. Contact: MusicaSacra.com/colloquium. within each date north-south and east-west. •=AGO William Tortolano. Contact: www.mississippiconference.org. chapter event, • •=RCCO centre event, +=new organ Contact: 860/536-0565; www.enders National Catholic Youth Choir dedication, ++= OHS event. Handbell Musicians of America National island.com/sacred-art/gregorian-chant. June 17–July 2, Collegeville, MN. Information cannot be accepted unless it Seminar Camp (rehearsals, music theory, music specifi es artist name, date, location, and hour in July 24–27, Portland, OR. 6th Annual University of Florida Sacred history, CD recording), multi-state concert writing. Multiple listings should be in chronological Concerts, classes for directors and ringers; Music Workshop tour. Axel Theimer, Fr. Anthony Ruff, OSB. order; please do not send duplicate listings. John Behnke, Cathy Moklebust, many others. May 5–7, Gainesville, FL. 320/363-3154; www.CatholicYouthChoir.org. THE DIAPASON regrets that it cannot assume Contact: http://handbellmusicians.org/events/ Hymn festival, organ and carillon recital, responsibility for the accuracy of calendar entries. choral workshops; Michael Bedford, Brenda The Fellowship of United Methodists in national-seminar-2013. Smith, Ron Burrichter, more. Contact: Music & Worship Arts (FUMMWA) Music UNITED STATES Stage d’Orgue www.arts.ufl .edu/organ/SMW.shtml. & Arts Week East of the Mississippi June 23–28, Lake Junaluska, NC. July 24–31, Alsace, France. Summer Chant Intensive Handbells, organ and choral workshops, Classes, lessons, recitals; two-organ reper- June 3–6, Duquesne University, Pittsburgh, PA. toire, improvisation, pedal clavichord; Freddy 16 APRIL recitals; Andrew Henderson, James Wells, oth- Nigel Potts; First Presbyterian, Spartan- Immersion in traditional square-note ers. Contact: www.umfellowship.org. Eichelberger, Francis Jacob, Benjamin Gregorian notation: pronunciation, church Righetti, Claude Roser, Jan Willem Jansen. burg, SC 7:30 pm modes, Psalm tones, rhythm, more, led by Contact: www.asamos.org. Wesley Roberts; Campbellsville Univer- Organ Historical Society Convention sity, Campbellsville, KY 12:20 pm Wilko Brouwers. Contact: http://musicasacra. June 24–29, VT. Organ Congress Chris Dekker; Park Congregational, com/summer-chant-intensive-2013. James David Christie, Isabelle Demers, July 25–30, Nuremberg, Germany. Grand Rapids, MI 12:15 pm Joan Lippincott, John Weaver, many others. Berkshire Choral Festival Incorporated Association of Organists Contact: www.organsociety.org. 17 APRIL June 8–16, Sonoma, CA; June 15–23, Edin- annual congress; organs of Bamberg, Bayreuth, Wesley Roberts; Sisters of Loretto, Ner- burgh, Scotland; July 7–14, 14–21, 21–28, July and Nuremberg. Association of Lutheran Church Musi- Contact: www.iao.org.uk. inx, KY 7 pm 28–August 4, Sheffi eld, MA. cians Biennial Conference Rehearsals, classes, lectures, concerts; June 30–July 3, Valparaiso, IN. 18 APRIL Grant Gershon, Nicholas Cleobury, Philip 61. Internationale Orgeltagung Concerts, lectures, workshops, hymn festi- July 28–August 3, Cologne, Germany. Clive Driskill-Smith; Asbury United Brunelle, others. Contact: 413/229-8526; vals. Contact: www.alcm.org. Methodist, Delaware, OH 7:30 pm www.choralfest.org. Concerts, visits to organs; Winfried Bönig, Stefan Braun, Johannes Geffert, others. 19 APRIL Association of Anglican Musicians Contact: www.gdo.de. York Course for Organists Conference Jerome Faucheur; Trinity Church, Cop- June 10–13, York St. John University, York, UK. ley Square, Boston, MA 12:15 pm June 30–July 4, Denver, CO. Montréal Boys’ Choir Course Solo repertoire, hymnody, playing for Andrew Scanlon; Westminster Presby- Workshops, liturgies, performances; July 28–August 4, Princeton, NJ. psalms, anthems and improvisation; Rose- terian, Charlottesville, VA 8 pm Dongho Lee, Joseph Galema, others; Simon Lole, guest music director. mary Field, others. Master Chorale of South Florida; First www.anglicanmusicians.org. Contact: 516/746-2956 x18; www.mbcc.ca. Contact: www.rscm.com/courses. Presbyterian, Pompano Beach, FL 8 pm Dorothy Papadakos, silent fi lm accom- ATOS Annual Convention Sherborne Summer School of Music Ascension Organ Academy paniment; Holy Trinity Lutheran, Akron, OH July 1–6, Atlanta, GA. July 28–August 4, August 4–11, Sherborne, June 10–14, Church of the Ascension, New 8 pm Jelani Eddington, Mark Herman, Jonas Dorset, England. York, NY. Christopher Houlihan; Fairmount Pres- Nordwall, Walt Strony, others. Concerts, choral and conducting courses; Dennis Keene (Bach, French Baroque, byterian, Cleveland Heights, OH 7:30 pm Contact: www.atos.org. Nigel Perrin, Josephine McNally, many oth- Durufl é), Jon Gillock (French 19th and 20th Douglas Cleveland; Cathedral of the ers. Contact: +44 (0) 20 8660 4766; century composers). Assumption, Louisville, KY 7:30 pm Tour de France—Atlantic Coast www.canfordsummerschool.co.uk. Contact: www.voicesofascension.org/ David Baskeyfi eld; Shryock Auditorium, July 6–12, Nantes to Bordeaux, France. OrganAcademy.aspx. Carbondale, IL 7:30 pm Organ tour along Atlantic coast NPM National Convention of France; recitals, open console; July 29–August 2, Washington, DC. University of Michigan Summer Harpsi- 20 APRIL www.orgelmeisterkurse.de/en/organ-tours. Masterclasses, workshops, concerts; Marty chord Workshops David Higgs; St. Malachy’s–The Actors’ Haugen, Alan Hommerding, Lynn Trapp, June 10–14, 17–21, Ann Arbor, MI. Chapel, New York, NY 7:30 pm Choral Conducting Symposium others. Contact: www.npm.org. Harpsichord music of Sweelinck (June Master Chorale of South Florida; Pine July 8–12, University of Michigan. Crest School, Boca Raton, FL 8 pm 10–14), fundamentals of harpsichord per- Smarano International Organ, Clavi- formance and repertoire (June 17–21), with Masterclasses, Dalcroze Eurhythmics, Michael Hey; St. Norbert Abbey, De score study, reading sessions; Jerry Black- chord and Improvisation Academy Pere, WI 2 pm Edward Parmentier; performance classes, August 3–13, Smarano, Italy. lessons, lectures. stone, Eugene Rogers, Julie Skadsem. Contact: 734/764-05429; “From Meantone to Well-tempered Key- 21 APRIL Contact: [email protected]; www. board”: 16th–18th century Italian and German music.umich.edu/special_programs/adult. www.music.umich.edu/special_programs/ David Spicer, hymn festival; First adult/choral.conducting.htm. keyboard music; Edoardo Bellotti, Francesco Church, Wethersfi eld, CT 4 pm Cera, Hans Davidsson, Joel Speerstra, others. Christopher Houlihan; Rye Presbyte- Mo-Ranch/PAM Worship & Music Contact: www.eccher.it. Conference Hymn Society Conference rian, Rye, NY 4 pm June 16–20, Hunt, TX. July 14–18, Richmond, VA. Raymond Nagem; Cathedral of St. John Workshops, hymn festivals, masterclass; Summer organ academy “Orgue et the Divine, New York, NY 5 pm Lectures, workshops, concerts; Mary Lou- cimes” ise Bringle, David Cherwien, Karen Thomp- Michael Joncas, C. Michael Hawn, Delores Ulrike Wegele-Kefer; St. Thomas Church Dufner, others; www.thehymnsociety.org. August 4–11, Finhaut, Valais, Switzerland. Fifth Avenue, New York, NY 5:15 pm son, others. Contact: 800/460-4401; www. Lessons, recitals, visits to organs. Yves-G. presbymusic.org. Lauridsen, Lux Aeterna, Gjeilo, Sun- Préfontaine, Betty Maisonnat. rise Mass; Bryn Mawr Presbyterian, Bryn . Association Jehan Alain Cours Contact: www.orgues-et-cimes.org. Mawr, PA 4 pm Montreat Conferences on Worship & d’Interpretation d’Orgue Pavel Kohout; Washington National Ca- Music July 14–28, Romainmôtier, Switzerland. Baroque Instrumental Program thedral, Washington, DC 5:15 pm June 16–21, 23–28, Montreat Conference Courses in improvisation, interpretation, August 4–16, Vancouver, BC, Canada. Master Chorale of South Florida; First Center, Montreat, NC. harmonium, Spanish and Italian music, Alain, Bach; Michel Bouvard, Michel Jordan, Luigi Harpsichord, fortepiano, masterclasses, United Methodist, Coral Gables, FL 4 pm Rehearsals, seminars, workshops; choirs, ensembles, continuo class; Jacques Ogg, Ton Ferdinando Tagliavini, Guy Bovet, Tobias Benjamin Rollings; Peachtree Road handbells, organ, visual arts, liturgies; Michael Amir; www.earlymusic.bc.ca/W-BIP-0.html. United Methodist, Atlanta, GA 5 pm Burkhardt, Tom Trenney, Dave VanderMeer, Willi, Emmanuel Le Divellec. Contact: http:// www.jehanalain.ch/interpretation_E.htm. Easter Lessons & Carols; Christ Church many others. Corsi di Musica Antica a Magnano Grosse Pointe, Grosse Pointe Farms, MI Contact: Presbyterian Association of Musi- August 8–16, Magnano, Italy. The Fellowship of United Methodists 4:30 pm cians, 888/728-7228, ext. 5288; Clavichord, fortepiano, organ, harpsichord, Choral Evensong; Cathedral Church of [email protected], www.pam.pcusa.org. in Music & Worship Arts (FUMMWA) choral conducting, musicology; Bernard National Biennial Convocation the Advent, Birmingham, AL 4 pm Brauchli, Paola Erdas, Luca Scandali, others. Craig Cramer July 15–18, Pittsburgh, PA. ; St. Jude’s Catholic Par- Baroque Performance Institute Contact: www.musicaanticamagnano.com. ish, Wauwatosa, WI 3 pm Handbells, organ and choral workshops, June 16–30, Oberlin Conservatory, Oberlin, Choral concert; First Presbyterian, Ar- recitals; Don Saliers, Anton Armstrong, David OH. Royal Canadian College of Organists lington Heights, IL 4 pm Cherwien, Nathan Laube, others. Contact: Featuring Biber’s Mystery Sonatas; coach- Orgelfest Dennis Koletsos; St. Andrew Lutheran, ing, masterclasses, concerts; Oberlin Baroque www.umfellowship.org. August 11–15, Ottawa, ON, Canada. Mundelein, IL 3 pm Ensemble. Recitals, workshops, competitions; Angela Bruce Neswick, hymn festival; Glenview Contact: 440/775-8044; http://new. Oundle International Summer Schools Hewitt, Christian Lane, Rachel Laurin, oth- Community Church, Glenview, IL 5 pm oberlin.edu/offi ce/summer-programs/ for Young Organists ers. Contact: www.rcco-ottawa.ca/orgelfest2013/. +Lawrence Lawyer, with choir and baroque-performance-institute/. July 15–21, Oundle, England. brass; Cathedral of St. Paul, St. Paul, MN Programs for ages 14–22; lessons, concerts. Chorus of Westerly Summer Choral 7 pm AGO Regional Conventions Margaret Phillips, Robert Quinney, William Workshop June 17–20, Springfi eld, MO; June 23–26, Whitehead, others. August 11–17, Camp Ogontz, Lyman, NH. 22 APRIL Salem, OR; June 24–26, Bakersfi eld, CA; Contact: www.oundlefestival.org.uk. Repertoire and choral interpretation; David Oratorio Society of New York, Britten, June 30–July 3, Austin, TX; Hartford, CT; Hill, Paula Rockwell. Contact: 401/596-8663; War Requiem; Carnegie Hall, New York, Kalamazoo, MI; July 3–6, Columbia, SC; July Accademia d’Organo “Giuseppe Ghe- www.chorusofwesterly.org. NY 8 pm 7–10, Winchester, VA. rardeschi” Pistoia Simone Gheller; Elliott Chapel, Presby- Contact: www.agohq.org. July 17–24, Pistoia, Italy. Alsace-Seminar terian Homes, Evanston, IL 1:30 pm Performances, discussions, opportunities September 19–22, Walbach, Alsace, France. Sacred Music Colloquium XXIII for practice. Umberto Pineschi, Andrea Van- Pedal piano and organ, Bach, Franck; 23 APRIL June 17–23, Cathedral of the Madeleine, Salt nucchi, Masakata Kanazawa; Martin Schmeding. Contact: www.orgelmeis- Pavel Kohout; Peachtree Road United Lake City, UT. Contact: www.accademiagherardeschi.it. terkurse.de/en/organ-classes. Methodist, Atlanta, GA 7 pm

28 Q THE DIAPASON Q APRIL 2013 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 24 APRIL 3 MAY Park Ridge Presbyterian Church David Jonies; Cathedral of St. John, Mil- Birger Marmvik; Trinity Church, Copley Park Ridge, IL GRACE CHURCH waukee, WI 12:10 pm Square, Boston, MA 12:15 pm Pickle Piano & Church Organs NEW YORK Crista Miller; St. Paul Cathedral, Pitts- Bloomingdale, IL 25 APRIL burgh, PA 8 pm Choir of St. Luke in the Fields, Allegri, Peter Richard Conte, organ and Jer- Missa Christus resurgens; Church of St. emy Filsell, piano; Longwood Gardens, Luke in the Fields, New York, NY 8 pm Kennett Square, PA 8 pm Organized Rhythm (Clive Driskill- Christopher Houlihan; Christ and St. Christopher Babcock Smith, organ and Joseph Gramley, per- Luke’s Episcopal, Norfolk, VA 8 pm cussion); St. Paul’s Episcopal, Winston- Mary Preston; Edenton Street United St. Andrew’s by the Sea, Salem, NC 7:30 pm Methodist, Raleigh, NC 7:30 pm Bill Chouinard, with University of Min- Peter DuBois, with West Virginia Sym- Hyannis Port nesota Wind Ensemble; St. Andrew’s Lu- phony Orchestra; Capitol Conference Cen- theran, Mahtomedi, MN 7:30 pm ter, Charleston, WV 8 pm Michel Bouvard; St. Paul’s Episcopal, 26 APRIL Indianapolis, IN 7:30 pm Melanie Barney; Trinity Church, Copley Isabelle Demers; Cathedral of Christ the Dean W. Billmeyer AVIN LACK Square, Boston, MA 12:15 pm G B King, Lexington, KY 7:30 pm Gail Archer, Verdi, Requiem; Union Princeton Early Keyboard Center Michael Hey; First Lutheran, Rockford, University of Minnesota Theological Seminary, New York, NY 8 pm 732/599-0392 The Philadelphia Singers, Russian sacred IL 3 pm choral works; Cathedral Basilica of Saints Minneapolis 55455 • [email protected] www.pekc.org 4 MAY Peter and Paul, Philadelphia, PA 8 pm Peter DuBois, with West Virginia Sym- Daniel Brondel; First United Methodist, phony Orchestra; Capitol Conference Cen- Columbus, IN 8 pm Scott Elsholz; St. Mary’s Episcopal Ca- ter, Charleston, WV 8 pm Byron L. Blackmore THOMAS BROWN thedra, Memphis, TN 7 pm 5 MAY Christopher Houlihan; Cathedral of UNIVERSITY Dwight Thomas, with chorus; St. An- Crown of Life Lutheran Church St. Joseph the Workman, La Crosse, WI PRESBYTERIAN CHURCH thony of Padua Church, New Bedford, MA 7:30 pm Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA 3 pm 623/214-4903 ThomasBrownMusic.com 27 APRIL Victor Hill, harpsichord, Goldberg Varia- Choir of Christ & Saint Stephen’s, Coro- tions; Clark Art Institute, Williamstown, MA nation Music; Christ & St. Stephen’s Epis- 3 pm copal, New York, NY 5 pm Scott Lamlein, World Organ Day Con- JAMES DORROH, AAGO, PhD Todd Wilson, with string quartet; St. cert, First Congregational, Bristol, CT 3 pm ELBERT ISSELHORST Turibius Chapel, Pontifi cal College Jo- David Baskeyfi eld; St. Peter’s by-the- D D Saint Luke’s Episcopal Church Sea Episcopal, Bay Shore, NY 7 pm sephinum, Columbus, OH 5:30 pm Professor Emeritus Samford University John Gouwens, carillon; Memorial Cha- New York City Children’s Chorus; Madi- Birmingham, Alabama pel, Culver Academies, Culver, IN 4 pm son Avenue Presbyterian, New York, NY University of Iowa–Iowa City William Ferris Chorale; Madonna della 3 pm Organ Consultant Organ Recitals Strada Chapel, Loyola University, Chicago, Andrew Scanlon; Cathedral of St. John IL 7:30 pm the Divine, New York, NY 5 pm John Scott; St. Thomas Church Fifth Av- STEVEN EGLER 28 APRIL enue, New York, NY 5:15 pm Central Michigan University JOHN FENSTERMAKER Wesley Hall; Trinity Evangelical Luther- Solemn Evensong for the Feast of St. Mt. Pleasant, Michigan an, Worcester, MA 3 pm Florian; St. Mary’s Parish, Burlington, NJ Artist in Residence TRINITY-BY-THE-COVE Christopher King, with violin and voic- 4 pm First Congregational Church es; Emmanuel Episcopal, Killingworth, CT Gail Archer; St. Anthony of Padua, Lan- Saginaw, Michigan NAPLES, FLORIDA 4 pm caster, PA 4 pm [email protected] Paulette Fry, with choirs and visual art, David Hill, choral festival; East Liberty Psalm 139 interpretation; United Presbyte- Presbyterian, Pittsburgh, PA 4 pm rian, Cortland, NY 3 pm Four Choirs Festival; Shadyside Presby- Russian Chamber Chorus of New York; terian, Pittsburgh, PA 4 pm WILL HEADLEE Madison Avenue Presbyterian, New York, STEPHEN HAMILTON Ines Maidre; Washington National Ca- 1650 James Street NY 3 pm thedral, Washington, DC 5:15 pm recitalist–clinician–educator Kent Tritle, Scott Warren, Nancianne Aaron David Miller; Evangelical Luther- Syracuse, NY 13203-2816 Parrella, Andrew Henderson; Church of an Church, Frederick, MD 3 pm www.stephenjonhamilton.com (315) 471-8451 St. Ignatius Loyola, New York, NY 4 pm Notre-Dame Cathedral 850th Anniver- John Alexander; Cathedral of St. John sary Concert; St. John’s Episcopal, Hager- the Divine, New York, NY 5 pm stown, MD 5 pm Robert Knupp; St. Thomas Church Fifth Marion Civic Chorale; First United Meth- Gary L. Jenkins Avenue, New York, NY 5:15 pm odist, Ocala, FL 3 pm ANDREW HENDERSON, DMA Central Presbyterian Church The Philadelphia Singers, Russian sacred Bradley Hunter Welch; The Presbyte- Madison Avenue Presbyterian Church Director, Schmidt Concert Series choral works; Cathedral Basilica of Saints rian Church, Coshocton, OH 3 pm Peter and Paul, Philadelphia, PA 3 pm New York, NY Carmelite Monastery Scott H. Atchison, 30th anniversary Curator of Organs Heritage Choral of Lancaster; Holy Trinity concert; Peachtree Road United Method- Lutheran, Lancaster, PA 4 pm www.andrewhenderson.net Rose-Hulman Institute of Technology ist, Atlanta, GA 7 pm Christopher Dekker; Washington Na- Terre Haute, Indiana Choral Evensong; Christ Church Grosse tional Cathedral, Washington, DC 5:15 pm Pointe, Grosse Pointe Farms, MI 4:30 pm Central Florida Master Choir; First United Jeremy Filsell; Idlewild Presbyterian, Methodist, Ocala, FL 3 pm Memphis, TN 4 pm Choral Evensong; St. Paul’s Episcopal, Greenville, NC 5 pm Karen Beaumont; Kenwood Methodist, David Herman Milwaukee, WI 3:30 pm Peter Richard Conte; Stambaugh Audi- Trustees Distinguished Professor Emeritus of Music and University Organist torium, Youngstown, OH 4 pm Choral concert; Southminster Presbyte- rian, Arlington Heights, IL 4 pm Choral Evensong; Cathedral Church of The University of Delaware Q [email protected] St. Paul, Detroit, MI 4 pm Bill Chouinard, with Grand Symphonic Marcia Van Oyen; Cathedral Church of Winds; St. Andrew’s Lutheran, Mahtomedi, St. Paul, Detroit, MI 5 pm MN 4 pm Daniel Brondel; Trinity United Method- A Professional Card in ist, New Albany, IN 7 pm 6 MAY Choral concert; Independent Presbyte- Scott Dettra; Capitol Hill United Method- rian, Birmingham, AL 4 pm ist, Washington, DC 8 pm The Diapason Gail Archer; First Congregational, Crys- World Organ Day Concert; Our Lady, For rates and digital specifi cations, contact Jerome Butera Queen of the Most Holy Rosary Cathedral, tal Lake, IL 4 pm 847/391-1045; [email protected] Choral concert; First Presbyterian, Deer- Toledo, OH 7:30 pm fi eld, IL 4 pm Christopher Houlihan; First United William Ferris Chorale; Emmauel Epis- Methodist, Montgomery, AL 7 pm copal, La Grange, IL 3 pm Jeffrey Schleff; St. Andrew Lutheran, LORRAINE BRUGH, Ph.D. Kirsten Falc Uhlenberg, with marimba; Mundelein, IL House of Hope Presbyterian, St. Paul, MN Tom Trenney, recital and silent fi lm 4 pm accompaniment; Glenview Community Associate Professor Church, Glenview, IL 7 pm University Organist 30 APRIL Ian Sadler; Park Congregational, Grand 9 MAY Valparaiso University Evensong; Emmanuel Episcopal, Ches- Rapids, MI 12:15 pm Valparaiso, IN tertown, MD 6 pm 1 MAY Choral Vespers; St. Lorenz Lutheran, www.valpo.edu Cathedral Choir of St. John the Divine Frankenmuth, MI 7 pm & Rose of the Compass; Cathedral of St. 219-464-5084 John the Divine, New York, NY 7:30 pm 10 MAY Christopher Urban; First Presbyterian, Michael Stefanek; Trinity Church, Cop- [email protected] Arlington Heights, IL 12:10 pm ley Square, Boston, MA 12:15 pm

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2013 Q 29 CALIFORNIA LUTHERAN UNIVERSITY Calendar Visit The Diapason Kyle Johnson, DMA Matthias Jacob; Old West Church, Bos- 24 MAY website: University Organist ton, MA 8 pm Christopher Dekker; Trinity Church, Co- 

r
LFKPIOT!DBMMVUIFSBOFEV Christian Lane; Broad Street Presbyte- pley Square, Boston, MA 12:15 pm www.TheDiapason.com rian, Columbus, OH 7 pm Aaron David Miller; St. Matthias Episco- www.callutheran.edu Stephen Schnurr; St. Andrew Episco- pal, Minoqua, WI 7 pm pal, Louisville, KY 7:30 pm 26 MAY 11 MAY Paul Carr; Washington National Cathe- Brian Jones KIM R. KASLING Lynn Trapp, with piano; Phipps Center dral, Washington, DC 5:15 pm D.M.A. for the Arts, Hudson, WI 7:30 pm Director of Music Emeritus 28 MAY St. John’s University TRINITY CHURCH 12 MAY Ken Cowan, with Lisa Shihoten, violin; Collegeville, MN 56321 Klaus Becker; Cathedral of St. John the Grace Episcopal, Charleston, SC 7:30 pm BOSTON Divine, New York, NY 5 pm Karen Beaumont; St. John’s on the Mark McClellan; St. Thomas Church Lake, Milwaukee, WI 7:30 pm Fifth Avenue, New York, NY 5:15 pm Choral Evensong; Christ Church Grosse 29 MAY JAMES KIBBIE Pointe, Grosse Pointe Farms, MI 4:30 pm Karen Electra Christianson; Methuen Memorial Music Hall, Methuen, MA 8 pm The University of Michigan Jeremy David Tarrant, Choral Even- song and organ recital; St. John’s Episco- Ann Arbor, MI 48109-2085 31 MAY ORGAN CONSULTANT pal, Mt. Pleasant, MI 5 pm 734-764-1591 FAX: 734-763-5097 Mark McClellan; Trinity Church, Copley www.gabrielkney.com Christopher Houlihan; Rockefeller email: [email protected] Square, Boston, MA 12:15 pm Chapel, Chicago, IL 5 pm Jeremy David Tarrant; Cathedral Elizabeth Krouse, Clavierübung III se- Church of St. Paul, Detroit, MI 7:30 pm lections; Marmion Abbey, Aurora, IL 2:30 pm A Professional Card in David K. Lamb, D.Mus. 13 MAY UNITED STATES Director of Music/Organist The Diapason David Sims; St. John Presbyterian, New West of the Mississippi For rates and digital specifi cations, Albany, IN 7 pm First United Methodist Church contact Jerome Butera Columbus, Indiana 16 APRIL 847/391-1045 14 MAY Organized Rhythm (Clive Driskill- 812/372-2851 [email protected] James Metzler; Park Congregational, Smith, organ, Joseph Gramley, percus- Grand Rapids, MI 12:15 pm sion); Trinity Episcopal, Tulsa, OK 7:30 pm

15 MAY 17 APRIL Musica Sacra; Church of St. Paul the Michael Olson; First Lutheran, Fargo, Apostle, New York, NY 8 pm ND 12:45 pm

16 MAY 18 APRIL Works of Tallis & Vaughan Williams; St. Stephen Hamilton; Park Cities Baptist, Thomas Church Fifth Avenue, New York, Dallas, TX 7 pm NY 7:30 pm 19 APRIL 17 MAY John Scott; St. Mark’s Episcopal Cathe- Jacob Street; Trinity Church, Copley dral, Minneapolis, MN 7:30 pm ANDREW PAUL MOORE Square, Boston, MA 12:15 pm Dongho Lee; Christ Church Episcopal, A.S.C.A.P. Scott Lamlein; Sherwood-Bershad Res- Las Vegas, NV 7:30 pm FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH idence, Sterling, MA 7 pm Timothy Drewes, organ & piano; Christ Ken Cowan; Emmanuel Episcopal, Episcopal, Tacoma, WA 12:10 pm 345 SADDLE LAKE DRIVE Chestertown, MD 7:30 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 20 APRIL 18 MAY •John Scott, masterclass; Cathedral of Nigel Potts; Christ & St. Stephen’s Epis- St. Mark, Minneapolis, MN 9 am copal, New York, NY 5 pm Loralee Culbert; St. Olaf Catholic DOUGLAS O’NEILL Cathedral Choir; Cathedral Church of St. Church, Minneapolis, MN 1:30 pm LEON NELSON Paul, Detroit, MI 7 pm Margaret Burk; St. Olaf College, North- Director of Traditional Music Cathedral of the Madeleine John Gouwens, carillon; Memorial Cha- fi eld, MN 7 pm Tenebrae: Allegri, Miserere mei, Deus; St. Southminster Presbyterian Church Salt Lake City, Utah pel, Culver Academies, Culver, IN 4 pm [email protected] Jonathan Ryan; St. James’ Cathedral, John’s Cathedral, Denver, CO 7 pm Arlington Heights, IL 60005 Chicago, IL 7 pm 801/671-8657 21 APRIL 19 MAY Frederick Hohman; First Lutheran, Du- MARILYN MASON Gail Archer; St. Joseph of Arimathea, luth, MN 4 pm White Plains, NY 2 pm Gunnar Idenstam; Central Lutheran, CHAIRMAN, DEPARTMENT OF ORGAN Haydn, The Creation; Madison Avenue Minneapolis, MN 4 pm UNIVERSITY OF MICHIGAN Presbyterian, New York, NY 3 pm Andrew Peters, with brass, hymn festival; ANN ARBOR Raymond Nagem; Cathedral of St. John Second Presbyterian, St. Louis, MO 4 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it the Divine, New York, NY 5 pm Carole Terry; St. Cecelia Cathedral, with awesome technique and a thrilling command of its daring writing.” Ian Tomesch; St. Thomas Church Fifth Omaha, NE 3 pm The American Organist, 1980 Avenue, New York, NY 5:15 pm Frank Nowell; St. John’s Cathedral, Crescent Singers; Crescent Avenue Denver, CO 3 pm, followed by Evensong Presbyterian, Plainfi eld, NJ 3 pm at 3:30 pm Richard Spotts; Washington National Isabelle Demers; American Evangelical LARRY PALMER SYLVIE POIRIER Cathedral, Washington, DC 5:15 pm Lutheran Church, Prescott, AZ 2:30 pm Bruce Neswick, hymn festival; Episco- John Cannon; St. Mary’s Cathedral, San PHILIP CROZIER pal Church of the Good Shepherd, Jack- Francisco, CA 3:30 pm Professor of Cameron Carpenter; Walt Disney Con- ORGAN DUO sonville, FL 6 pm Sylvia Marcinko Chai; Sacred Heart cert Hall, Los Angeles, CA 7:30 pm Harpsichord and Organ Aaron David Miller; All Souls Episcopal, 3355 Queen Mary Road, Apt 424 Church, Tampa, FL 3 pm San Diego, CA 4 pm Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Brahms, A German Requiem; Peachtree Road United Methodist, Atlanta, GA 7 pm 23 APRIL SOUTHERN METHODIST UNIVERSITY Canada Christ Church Chorale and Schola, with Brent Nolte; Martin Luther College, New (514) 739-8696 orchestra, Handel works; Christ Church Ulm, MN 8 pm Dallas, Texas 75275 Grosse Pointe, Grosse Pointe Farms, MI Fax: (514) 739-4752 4:30 pm 24 APRIL Musical Heritage Society recordings [email protected] Jeffrey Schleff; St. Andrew Lutheran, Michael Olson; First Lutheran, Fargo, Mundelein, IL 3 pm ND 12:45 pm Steele Family Singers; Cathedral of St. Stephen Hamilton; Dupré: Le Chemin Paul, St. Paul, MN 7 pm de la Croix; Cathedral Church of St. Mark, Minneapolis, MN 5 pm 20 MAY Wolfgang Rübsam; Elliott Chapel, The 26 APRIL A four-inch Professional Card Presbyterian Homes, Evanston, IL 1:30 pm VocalEssence; Ted Mann Concert Hall, in THE DIAPASON Minneapolis, MN 8 pm 21 MAY Daryl Robinson; Cathedral of St. An- VocalEssence; St. Catherine University, drew the Apostle, Little Rock, AR 8 pm For rates and specifi cations St. Paul, MN 7 pm Wartburg College Choir; St. John’s Ca- thedral, Denver, CO 7:30 pm contact Jerome Butera 22 MAY Susan Ferré; Methuen Memorial Music 27 APRIL 847/391-1045 Hall, Methuen, MA 8 pm Sean Vogt, with Apollo Male Chorus; St. [email protected] Gail Archer, The Muses Voice: A Cel- Bartholomew’s Catholic Church, Wayzata, ebration of International Women Compos- MN 7 pm ers; St. Paul the Apostle Church, New York, VocalEssence; Ted Mann Concert Hall, NY 7:30 pm Minneapolis, MN 8 pm

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

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer Recitals – Consultations Daniel Roth; St. Paul’s Episcopal Cathe- 17 MAY dral, San Diego, CA masterclass 1:30 pm, Rose Whitmore; Christ Episcopal, Ta- Director of Music Emeritus recital 6 pm coma, WA 12:10 pm Cathedral Church of the Advent Birmingham, Alabama 28 APRIL 18 MAY Stephen Hamilton, with Masterworks Chelsea Chen, masterclass; Leawood Chorale; Shepherd of the Valley Lutheran, United Methodist, Kansas City, MO 10 am Minneapolis, MN 8 pm St. Louis Archdiocesan Choir & Orches- ROBERT L. Christopher Houlihan; First Presbyte- tra, Bruckner, Mass in f; Cathedral Basilica Nicholas E. Schmelter rian, Wichita, KS 3 pm of St. Louis, St. Louis, MO 8 pm Catherine Rodland; Lagerquist Hall, Pa- Director of Music and Organist SIMPSON Houston Chamber Choir, Mozart, Mass cifi c Lutheran University, Tacoma, WA 3 pm First Congregational Church Christ Church Cathedral Massimo Nosetti; St. Mary’s Cathedral, in c, K. 427; Church of St. John the Divine, Saginaw, Michigan 1117 Texas Avenue San Francisco, CA 3:30 pm Houston, TX 7:30 pm Houston, Texas 77002

1 MAY 19 MAY Stephen Hamilton; St. Stephen’s Epis- Michael Olson; First Lutheran, Fargo, ORGAN MUSIC OF THE SPANISH BAROQUE ND 12:45 pm copal, Edina, MN 2 pm Stephen Tappe Diana Lee Lucker, with orchestra; Way- Organist and Director of Music 3 MAY zata Community Church, Wayzata, MN 3 pm David Troiano Saint John's Cathedral DMA MAPM Ken Cowan; St. Martin’s Episcopal, Choral Evensong; Our Lady of the Denver, Colorado Houston, TX 7 pm Atonement Catholic Church, San Antonio, 586.778.8035 Christa Rakich; St. Mark’s Cathedral, TX 4 pm www.sjcathedral.org [email protected] Seattle, WA 7:30 pm Cathedral Choirs; Cathedral of St. John, Bruce Neswick; Trinity Episcopal Cathe- Albuquerque, NM 3 pm dral, Portland, OR 7:30 pm David Cherwien, hymn festival; Queen Anne Lutheran, Seattle, WA 4 pm 5 MAY Marcia Van Oyen Cathedral Choir of Boys and Girls and St. Joe Utterback Douglas Cleveland; Trinity Lutheran, First United Methodist Church Brigid School Honor Choir; St. Mary’s Ca- COMMISSIONS & CONCERTS Lynnwood, WA 7 pm Plymouth, Michigan Gary Desmond; St. Mary’s Cathedral, thedral, San Francisco, CA 3:30 pm San Francisco, CA 3:30 pm 732 . 747 . 5227 mvanoyen.com Olesya Kravchenko; Trinity Episcopal, 20 MAY Santa Barbara, CA 3:30 pm Chelsea Chen; Kauffman Center, Helz- Paul Cienniwa, harpsichord; Resurrec- berg Hall, Kansas City, MO 7:30 pm tion Parish, Santa Rosa, CA 3:30 pm James Welch; St. Cecilia Catholic Church, San Francisco, CA 7:30 pm David Wagner DMA Kevin Walters 6 MAY Jonathan Ryan; St. Francis Xavier Ca- 22 MAY Madonna University M.A., F.A.G.O. thedral, Alexandria, LA 7 pm Michael Olson; First Lutheran, Fargo, Livonia, Michigan ND 12:45 pm [email protected] Rye, New York 8 MAY Michael Olson; First Lutheran, Fargo, 23 MAY ND 12:45 pm Isabelle Demers; Christopher Cohan Tom Trenney; Kauffman Center, Helz- Center, Cal Poly State University, San Luis berg Hall, Kansas City, MO 7:30 pm Obispo, CA 7:30 pm KARL WATSON Davis Wortman 9 MAY 24 MAY St. James’ Church Lynn Trapp, with piano; Church of St. Scott Dettra; Christ Episcopal, Little SAINT LUKE’S John the Evangelist, Rochester, MN 7 pm Rock, AR 8 pm METUCHEN New York 12 MAY 26 MAY Dee Ann Crossley , with piano; Augus- Gerrit Lamain, Memorial Day tribute; St. tana Lutheran, West Saint Paul, MN 4 pm Stephen’s Lutheran, West Saint Paul, MN Young Artists Concert; Trinity Episcopal, Santa Barbara, CA 3:30 pm 4 pm RONALD WYATT RUDOLF ZUIDERVELD Marilyn Keiser; St. James Episcopal, Wyatt Smith; St. Mary’s Cathedral, San Illinois College, Jacksonville Los Angeles, CA 6 pm Francisco, CA 3:45 pm Trinity Church Galveston First Presbyterian Church, 13 MAY 29 MAY Springfi eld James Welch; The Mormon Tabernacle, Michael Olson; First Lutheran, Fargo, Salt Lake City, UT 12 noon ND 12:45 pm

15 MAY 31 MAY Charles Dodsley Walker, FAGO Michael Olson; First Lutheran, Fargo, Mark Brombaugh, pedal harpsichord; Artist-in-Residence Founder/Conductor ND 12:45 pm Christ Episcopal, Tacoma, WA 7:30 pm Saint Luke’s Parish Canterbury Choral Society 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 ±(DUQLQJWKH3UL]H«LQ0LDPL )/ 6\UDFXVH 1<  Contact Bill at ( DQG$SSOHWRQ :, \RXQJSHUIRUPHUVVKRZKRZWKHLU 7 VSHFLDOWDOHQWVZRQWKHPVSHFLDOQRWLFH ±6RXQGVIURP6ZHGHQ«FRPSRVHUVDQGSHUIRUPHUV A two-inch Professional Card 9 VKRZFDVHWKHWUDGLWLRQVRIRUJDQPXVLFLQ6WRFNKROPDQG EH\RQG in The Diapason 0 For information on rates and specifi cations, contact Jerome Butera: 3 ±$SULO/RYH«DVHQWLPHQWULFKFROOHFWLRQRIµVRQJVIURP [email protected] 847/391-1045 WKHKHDUW¶UHFRUGHGLQWKHDWHUVPXVHXPVSULYDWHPXVLF VWXGLRVDQGFKXUFKHV

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WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2013 Q 31 Calendar Organ Recitals

INTERNATIONAL Isabelle Demers; Westminster United 10 MAY F. ALLEN ARTZ, III, Crescent Avenue Church, Winnipeg, MB, Canada 7:30 pm Angus Sinclair; St. Jude’s Anglican, Presbyterian Church, Plainfi eld, NJ, Septem- 17 APRIL Brantford, ON, Canada 12:15 pm ber 30: Prelude and Fugue in c, BWV 546, Tobias Frankenreiter 1 MAY Bach; Partita on Freu dich sehr, Böhm; Elegy, ; Kreuzkirche, 11 MAY Dresden, Germany 8 pm Samuel Kummer; Frauenkirche, Dres- Biery; Prelude and Fugue in d, op. 37, no. 3, den, Germany 8 pm Stephen Tharp; Dom St. Gallen, St. Gal- Mendelssohn; Fanfare, Cook; Eclogue for Pi- Gary Desmond; St. Michael & All An- len, Switzerland 7:15 pm gels, West Croydon, London, UK 1:10 pm Richard Cook; St. Michael & All Angels, ano and Strings, Finzi, transcr. Gower; Choral West Croydon, London, UK 1:10 pm 12 MAY III in a, Franck. 20 APRIL 2 MAY Timothy Wakerell; St. Paul’s Cathedral, • •Stephanie Burgoyne; St. Paul’s Unit- London, UK 4:45 pm LORRAINE S. BRUGH, Valparaiso Uni- ed Church, Paris, ON, Canada 7:30 pm Robert Quinney; Reading Town Hall, versity, Valparaiso, IN, September 30: Prae- Reading, UK 7:30 pm 14 MAY ludium in g, BuxWV 163, Buxtehude; Prolog 21 APRIL Carolie Amedjkane; St. Lawrence Jew- (Mysterium Sacrum per Organ), Teml; Kyrie, 3 MAY Stephen Tharp; Prämonstratenser-Ab- ry, London, UK 1 pm Gloria (Soli Deo Gloria: Homage to Bach), tei, Duisburg-Hamborn, Germany 4:30 pm Stephanie Burgoyne; St. Jude’s Angli- can, Brantford, ON, Canada 12:15 pm Gehring; Fantasia and Fugue in g, BWV 542, Joonho Park; Westminster Cathedral, 15 MAY Bach; Intrada, Basse de Trompette, Fugue: London, UK 4:45 pm Ralf Stiewe; Kathedrale, Dresden, Ger- 4 MAY In Time of War, Chorale: In Time of Peace Roger Judd; Westminster Abbey, Lon- many 8 pm (Livre d’orgue), Ferko; Chorale prelude on Paul Goussot, with Caius Consort and Christopher Nickol; Reading Town Hall, don, UK 5:45 pm Werde munter, Manz; Chorale prelude on John Mitchell; Ryerson United Church, pipes; St. Albans Cathedral, St. Albans, UK Reading, UK 1 pm Eventide, Bolcom; Celui qui a des oreilles Vancouver, BC, Canada 8 pm 5:30 pm Thomas Corns; St. Michael & All An- Daniel Roth, lecture; Metropolitan Unit- gels, West Croydon, London, UK 1:10 pm qu’il écoute, Visions prophétiques (Cinq Med- 23 APRIL ed Church, London, ON, Canada 7:15 pm itations sur L’Apocalypse), Langlais. Ken Cowan; St. Francis Xavier Church, 17 MAY Brockville, ON, Canada 7 pm 5 MAY Joel Vanderzee; St. Jude’s Anglican, FRANCESCO CERA, Old West Church, Paul Dean; St. Paul’s Cathedral, London, Brantford, ON, Canada 12:15 pm Boston, MA, September 28: Toccata terza, 24 APRIL UK 4:45 pm Rossi; Bergamasca, Toccata quarta da sonarsi Stephen Tharp; Auferstehungskirche, Martin Baker; Westminster Cathedral, 19 MAY alla levatione, Capriccio sopra ut re mi fa Düsseldorf-Oberkassel, Germany 6:30 pm London, UK 4:45 pm Richard Moore; St. Paul’s Cathedral, sol la, Frescobaldi; Passacagli in g, Pasquini; Ruben Sturm; Kathedrale, Dresden, Daniel Roth; Metropolitan United London, UK 4:45 pm Allegro, Cantabile, Fuga (Toccata del primo Germany 8 pm Church, London, ON, Canada 3 pm Nicholas Prozzillo; Westminster Cathe- tono), A. Scarlatti; Nun komm der Heiden Henry Macey; St. Michael & All Angels, dral, London, UK 4:45 pm Heiland, BWV 599, Lob sei dem allmächtigen West Croydon, London, UK 1:10 pm 7 MAY Gott, BWV 602, Puer natus in Bethlehem, Jemima Stephenson; St. Lawrence 21 MAY Andrew Reid; Westminster Cathedral, Babett Hartmann BWV 603, In dir ist Freude, BWV 615, O Jewry, London, UK 1 pm ; St. Lawrence Jewry, London, UK 7:30 pm London, UK 1 pm Lamm Gottes, unschuldig, BWV 618, Christ lag in Todesbanden, BWV 625, Ich ruf zu dir, 8 MAY 27 APRIL 22 MAY Herr Jesu Christ, BWV 639 (Orgelbüchlein), Stephen Tharp; St. Andreas Kirche, Co- Martin Lucker; Kreuzkirche, Dresden, Stephan Leuthold; Frauenkirche, Dres- Toccata and Fugue in d, BWV 538, Bach. logne, Germany 8 pm Germany 8 pm den, Germany 8 pm Huw Morgan; St. Michael & All Angels, Earline Moulder; St. Michael & All An- CRAIG CRAMER, Grace Lutheran 28 APRIL West Croydon, London, UK 1:10 pm gels, West Croydon, London, UK 1:10 pm Church, River Forest, IL, September 9: Fan- Peter Holder; St. Paul’s Cathedral, Lon- Jane Parker-Smith; Metropolitan United Peter Stevens; Westminster Cathedral, tasia and Fugue in g, BWV 542, Bach; Prelude don, UK 4:45 pm Church, Toronto, ON, Canada 7:30 pm London, UK 7:30 pm Edward Symington; Westminster Ca- and Fugue on O Traurigkeit, O Herzeleid, Smyth; Sonata No. 1 in f, Mendelssohn; In- thedral, London, UK 4:45 pm 9 MAY 24 MAY troduction, Scherzo und Fuge on B-E-A-T-E, James O’Donnell; Westminster Abbey, Stephen Tharp; Barockkirche St. Peter, Colin Cousins; St. Jude’s Anglican, London, UK 5:45 pm Freiburg, Germany 5 pm Brantford, ON, Canada 12:15 pm Zahnbrecher; Le Mystère de Noël, Fauchard. Karen Electra Christianson; Metropoli- tan United Church, Toronto, ON, Canada PHILIP CROZIER, Brigidakerk, Geldrop, Holland, July 21: Cantilena Anglica Fortu- martin ott pipe 7:30 pm organ Ken Cowan; St. Paul’s Presbyterian, nae, SSWV 134, Scheidt; Trio Sonata No. 1 company inc. Hamilton, ON, Canada 8 pm in E-fl at, BWV 525, Bach; Sonata No. 4 in B-fl at, op. 65, no. 4, Mendelssohn; Andante 7408 Somerset Ave. 26 MAY (Trois Voluntaries), Bédard; Fantaisie et fugue St. Louis, MO 63105 314-504-0366 Phone David Cook; Westminster Cathedral, en si bémol, Boëly; Scherzo (Dix Pièces), 801-756-5777 Martin Ott [email protected] London, UK 4:45 pm www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com Gigout; Fantasia Chromatica, Sweelinck; Grand Choeur, Reed. 28 MAY Cathedrale Saint-Pierre, Geneva, Switzer- Philip Schmidt-Madsen; St. Lawrence land, July 28: Cantilena Anglica Fortunae, Member Firm: The Associated Pipe Organ Builders of America Jewry, London, UK 1 pm SSWV 134, Scheidt; Trio Sonata No. 1 in E-fl at, RANDALL DYER 29 MAY BWV 525, Bach; Fantaisie et fugue en si bémol, & ASSOCIATES, INC. Holger Gehring; Kreuzkirche, Dresden, Boëly; Scherzo, op. 2, Durufl é; Allegro No. 1 PIPE ORGANS OF QUALITY AND DISTINCTION Germany 8 pm (Trois Voluntaries), Bédard; Voluntary for Dou- BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 Gedymin Grubba; St. Michael & All An- ble Organ, Z 719, Purcell; Pastorale, Fricker; gels, West Croydon, London, UK 1:10 pm Moto ostinato, Finale (Sunday Music), Eben. [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

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

JOHN A. DEAVER, Campbellswville theran Church, Whitehouse, OH, October tions on ‘Ontwaak gij die slaapt,’ Bolt; Palm Wolf; Gott ist mein Heil, mein Hilf und Trost, University, Campbellsville, KY, October 27: Haunted Forest, Dubois; Prelude and Leaf Rag (A Slow Drag), Joplin, transcr. BWV 1106, Was Gott tut, das ist wohlgetan, 9: Hymne d’Action de grâces “Te Deum,” Fugue in a, BWV 543, Bach; Deck the Hall Biggs; Partita on ‘St. Anne,’ op. 6, Manz. BWV 1116, Bach; Pietà, Frahm; Silent Noon, Langlais; Grande Pièce Symphonique, op. with Web and Spider, Pavlechko; In the Hall Vaughan Williams. 17, Franck. of the Mountain King, Grieg; accompaniment CARL SCHWARTZ & KARL MOYER, to fi lms The New Car, and The Circus. First Congregational Church, Orwell, VT, WILLIAM TINKER, with Anita STEPHEN HAMILTON, Washington Na- October 7: Grand Choeur in G, Salomé; Smisek, OP, soprano, Sinsinawa Mound, tional Cathedral, Washington, DC, Septem- ANNA MYEONG, Cathedral Basilica Adagio (Symphony III in f#, op. 28), Vi- Sinsinawa, WI, September 5: Preludium, ber 16: Allegro (Symphony Six), Widor; Pas- of the Sacred Heart, Newark, NJ, October erne; Fugue in C, BuxWV 174, Buxtehude; Variations 1 and 2 (Chorale Variations on torale, Franck; Prelude and Fugue in B, op. 7, 17: Pièce d’orgue, BWV 572, Bach; Pièce Prelude and Fugue in e, BWV 533, Bach; To ‘Lord Christ, God’s Only Son’), Fantasia no. 1, Dupré; Transports de joie d’une âme héroïque, Franck; Andante Sostenuto, Widor; a Wild Rose, Will o’ the Wisp (Woodland Cromatica, Sweelinck; Chorale Prelude devant la glorie du Christ qui est la sienne Toccata, Boëllmann. Sketches, op. 51), MacDowell; Toccata in on ‘Our Father in Heaven Above’, Buxte- (L’Ascension), Messiaen; Choral in E, Franck. G, Dubois; Carol Prelude on GREENSLEEVES, hude; Prelude and Fugue in a, BWV 551, DANA ROBINSON, University of Notre Fantasia on TON-Y-BOTEL, Purvis; Alle- Bach; Ave Maria, Tucapsky; Gaude Flore JEANNINE JORDAN, Marienkirche, Dame, South Bend, IL, October 7: Præambu- gretto (Four Sketches for Pedal Pianoforte, Virginali, Ropek; Salve Regina, Tucapsky; Bad Belzig, Germany, August 18: Fugue in lum in G, Durch Adams Fall ist ganz verderbt, op. 58), Langsam (Six Fugues on the Name Sonata 2, Hindemith; Scherzo in E, Toc- D, W.F. Bach; Duettos in F, e, G and a, J.S. Es ist das Heil uns kommen her, Scheide- B-A-C-H, op. 60), Schumann; Andante can- cata in b (Seven Pieces), Gigout; Ave Maria, Bach; Fugue in F, W.F. Bach; Adagio, C.P.E. mann; Komm, heiliger Geist, Herre Gott, tabile (Symphony No. 4 in F, op. 13, no. 4), No. 1, Courtaux. Bach; Fuge on JCFBACH, J.C.F. Bach; Fuge Tunder; Sonata III in d, BWV 527, Fughetta Allegro Vivace (Symphony No. 5 in f, op. 42, on BACH, J.C. Bach; Sonate VI, C.P.E. Bach; super Allein Gott in der Höh’ sei Ehr, BWV no. 1), Widor. ARTIS WODEHOUSE, harmonium, Prelude in D, W.F. Bach. 677, Allein Gott in der Höh’ sei Ehr, BWV St. Peter’s Lutheran Church, New York, 662, Jesus Christus, unser Heiland, BWV 666, DAVID SIMS, Loyola University, Chica- NY, October 11: Preludio Religioso (Petite JEAN-PIERRE LECAUDEY, Cathedral, Prelude and Fugue in C, BWV 547, Bach. go, IL, September 16: Präludium (Holstein- Messe Solennelle), Rossini; Three Musi- Evreux, France, October 28: Prélude et fugue ische Orgelbüchlein), Micheelsen; Liebster cal Sketches, Bizet; Our Evenings (On an en Si majeur, op. 7, no. 1, Dupré; Etoile du soir, NAOMI ROWLEY, Shepherd of the Bay Jesu, wir sind hier, Walther; Ruhig bewegt Overgrown Path), Janacek; Four Pieces, op. Impromptu, Clair de Lune, Vierne; Première Lutheran Church, Ellison Bay, WI, October (Sonate II für Orgel), Hindemith; Prelude 21, Tournemire. fantaisie, Deuxième fantaisie, Litanies, Alain; 6: Festive Gloria, Miller; Largo (Xerxes), An- and Fugue in G, BV 541, Bach; Elms, The Prélude et fugue sur le nom d’ALAIN, op. 7, dante (Concerto, op. 4, no. 1), Handel; Sol- Nest in Old North Church (Views from the RUDOLF ZUIDERVELD, with Ann Durufl é; L’Ascension (parts 2 and 3), Messiaen. emn Melody, Davies; Gabriel’s Oboe (The Oldest House), Rorem; Psalm 37:11, Psalm Marie Stahel, flute and recorders, and Mission), Morricone, arr. McGurty and Jen- 23:4 (Psalm Preludes, Set 1, op. 32), Howells; John Hume, trumpet, First Presbyterian ROBERT McCONNELL, Presbyterian sen; Toccata and Fugue in d, BWV 565, Bach; Chant de paix (Neuf Pièces), Langlais; Toc- Church, Springfield, IL, September 14: Homes, Evanston, IL, October 22: Toccata Three Floral Preludes, Gawthrop; Prélude cata in D, Lanquetuit. Daphne, Van Eyck, Anonymous; Concerto and Fugue in F, BWV 540, Bach; Sonata IV (Three Pieces, op. 29), Pierné; Camptown Mo- in d, BWV 596, Sonata II in E-flat, BWV in B-fl at, Mendelssohn; Chant de paix, Chant zart, Mozart and Peterson; Swing Low, Sweet MAXINE THEVENOT, with Edmund 1031; Sonata V in C, BWV 529; Bach; de joie, De profundis, Rhapsodie grégorienne Chariot, Simpson; Stars and Stripes Forever, Connolly, baritone (“Air & Hammers”), First Introduction and Toccata in G, Walond, (Neuf Pièces), Langlais Sousa, arr. Biggs. Presbyterian Church, Santa Fe, NM, Septem- arr. Biggs; Concerto in F, Albinoni; Tres . ber 28: Easter, Love Bade Me Welcome, The glosas sobre el canto llano de la Immacu- AARON DAVID MILLER, with vocal DANIEL SCHWANDT, Lutheran School Call (Five Mystical Songs), Vaughan Williams; lada Concepcion, Correa de Arauxo; Bat- and bell choirs of Community of Christ, Lise of Theology, Chicago, IL, October 2; Prae- Nun Wandre, Maria, Ach, des Knaben Augen, alha de 6. Tom, Anonymous; Twelve Heroic Alleman, director; Community of Christ Lu- ludium in g, BuxWV 148, Buxtehude; Varia- Herr, was traegt (Spanisches Liederbuch), Marches, Telemann.

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POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Apprentice sought to train with and succeed Certifi ed appraisals—Collections of organ Newtown Requiem by Joe Utterback, dedicated Frederick Hohman as primary Producer/Engi- Harpsichord Technique: A Guide to Expres- books, recordings, and music, for divorce, to “the loved ones of Sandy Hook Elementary neer and/or Director of Artists & Repertoire for sivity—2nd edition with CDs, by Nancy estate, gift, and tax purposes. Stephen L. Pinel, School” consists of “Balm in Gilead” for bari- the American CD/DVD label PRO ORGANO. Metzger, now reduced 30% at author’s Appraiser. [email protected]; 609/448-8427. tone, SATB, fl ute, piano; “We Are Not Alone”, a Applicant must display strong aptitude for website: www.rcip.com/musicadulce. gospel setting for tenor, choir ensemble, piano, acquiring modern skills in audio and video and possible guitar; “Requiem Aeternam” for media production and must possess a base level Dom Bedos de Celles: The Organ-Builder. soprano, alto, SATB, fl ute, piano; and “Dona Eis of knowledge and some practical experience in Damaged, unbound, 2-volume sets of the beauti- Pacem” for young soprano and fl ute. Sample sacred music, with a focus on classical organ Pipe Organs of the Keweenaw by Anita fully printed English translation by Charles Fer- pages may be viewed on http://www.jazzmuze. and choral literature. Applicant must be willing to Campbell and Jan Dalquist, contains his- guson are available in very limited quantity. Origi- com/catalog_newtown.html. Price for two bound commit to a seven-year apprentice program, the tories, stoplists, and photos of some of nally published 1776–1778 in four installments, copies and fl at sheets for local duplication is $50 successful completion of which shall culminate the historic organs of the Keweenaw Pen- it includes information on geometry, mechanics, + $6 postage (+NJ sales tax if applicable) from with the eventual assumption of label operations insula, the northernmost tip of Michigan’s and tools; detailed instructions for making all Jazzmuze, Inc., 80 Rumson Place, Little Silver, in year 2020. Preference given to applicants Upper Peninsula. Organs include an 1899 the parts of an organ; voicing, tuning, enlarging, NJ 07739. Phone orders accepted: 732/747-5227 who are U.S. residents of 30 years of age and Barckhoff and an 1882 Felgemaker. The booklet and maintaining a fi nished instrument; models of Questions? [email protected]. younger as of July, 2013. Those interested are ($8.00 per copy, which includes postage) is stoplists and a specimen contract for having an invited to send an introductory cover letter by available from the Isle Royale and Keweenaw organ built; how to test an organ; registration sug- mail or FAX (574/271-9191)—no telephone or Parks Association, 49445 US Hwy 41, Hancock, gestions. The instructions for translating printed Historic Organs of Seattle: A Young Yet Internet inquiries, please—detailing reasons Michigan 49930. For information: 800/678-6925. music into mechanical organ form give insights Vibrant History, is a four-disc set recorded at and motivation for pursuing this vocation, along into mid-18th century French performance the 2008 OHS national convention, held in the with a brief c.v., including contact information, to: practices. With minor damage (minimal stains Seattle area. Nearly fi ve hours of music feature Zarex Corp, F. Hohman, P.O. Box 8338, South Early American Hymn Tunes (43 pages), on some pages, a few creased pages) $250 per historic organs by Aeolian-Skinner, Casavant, Bend IN 46660-8338 USA. from Fruhauf Music Publications, includes set. With moderate damage (more staining) $175 Hook & Hastings, and Hutchings-Votey, Kilgen, the following settings: Variations on Amazing per set. With severe damage (major ugly staining, Tallman, Woodberry, Hinners, Cole & Wood- Grace; Prelude and Fugue on Azmon; Quiet creases, perhaps a minor tear at a page edge) berry, plus instruments by Flentrop, C. B. Fisk, PUBLICATIONS / RECORDINGS Prelude on Land of Rest; Fantasy on Morning but still usable, especially the drawings and and Rosales, and Pacifi c Northwest organbuild- ers Paul Fritts, Martin Pasi, John Brombaugh, Song [available also as a single issue]; Grand scaling sheets from volume 2 to be used in the Richard Bond, and many more! Organists For fans of René Becker, we happily present Rondo on Simple Gifts and Bourbon; Rondo workshop, $95. Shipping costs are extra. Please Douglas Cleveland, Julia Brown, J. Melvin But- his Toccata in F, his sixth organ publication on Simple Gifts; Orison on Toplady (Rock of contact Bill Van Pelt 804/355-6386 or bill@ ler, Carole Terry, Bruce Stevens, and others are and an audience favorite. The fast notes lie Ages); Three Verses on Wondrous Love. Visit ravencd.com to order the damaged volumes, featured on 24 pipe organs built between 1871 mostly under the hand so it’s not too hard. www.frumuspub.net; phone 805/682-5727; which will be shipped by OHS. Undamaged and and 2000. Includes 36-page booklet with pho- michaelsmusicservice.com; 704/567-1066. or mail P.O. Box 22043, Santa Barbara, CA hardbound, the 2-volume set sells directly from tographs and stoplists. $34.95; OHS members: 93121-2043. OHS for $550 to OHS members and $650 to non- $31.95. For info or to order: http://OHSCatalog. members (makes sense to join OHS for $60 or Ed Nowak, Chicago-area composer, arranger, com/hiorofse.html. A Baroque Sampler for Organ: Composers less and buy the book for $550) + $30 shipping and church musician, announces his new web- in the U. S. (more outside U. S.) at 804/353-9226; site, featuring Nowak’s original choral works, from The Continent and The British Isles (38 pages) includes: Noel Suisse, D’Aquin; Clavier www.ohscatalog.org. The OHS Catalog is online at www.ohscatalog. hymn concertatos, chamber and orchestral org. More than 5,000 organ and theatre organ Suite, Fiocco; Praeludium & Chaconne, Fischer; works, organ hymn accompaniments, organ CDs, books, sheet music, DVDs and VHS vid- and piano pieces, electronic music, and psalm Toccata & Ricercare, Pasquini; Sanctus, Christe Request a free sample issue of The Diapason eos are listed for browsing and easy ordering. settings. The website offers scores and recorded en Passacaille, & Amen (Messe du 2e Ton), Rai- for a student, friend, or colleague. Write to the Use a link for adding your address to the OHS examples that are easy to sample and can be son. Visit www.frumuspub.net; phone 805/682- Editor, The Diapason, 3030 W. Salt Creek Lane, Catalog mailing list. Organ Historical Society, purchased in downloaded (PDF and MP3) or 5727; or mail P.O. Box 22043, Santa Barbara, Suite 201, Arlington Heights, IL 60005; or e-mail: Box 26811, Richmond, VA 23261. E-mail: printed form. Visit ednowakmusic.com. CA 93121-2043. [email protected]. [email protected].

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

Wayne Leupold Editions—New titles include Two-manual, 9-rank Reuter pipe organ, Opus Consoles, pipes and numerous miscellaneous Highest quality organ control systems since The Keyboard Manuscript of Francis Hopkinson, 1052, a fully operational pipe organ, is for sale. parts. Let us know what you are looking for. 1989. Whether just a pipe relay, combination Volume 2 (WL600270, $37.50), edited by H. For specifi cations and more details, visit www. E-mail [email protected] (not comcast), action or complete control system, all parts are Joseph Butler, an anthology of keyboard music in Levsenpipeorgan.com. phone 215/353-0286 or 215/788-3423. compatible. Intelligent design, competitive pric- various styles, popular in 18th-century America; ing, custom software to meet all of your require- Susanne van Soldt Klavierboek (WL600275, ments. For more information call Westacott Organ 1978 Reuter pipe organ, 15 stops in excellent $42.00), and The Netherlands, 1575–1700 SERVICES / SUPPLIES Systems, 215/353-0286, or e-mail orgnbldr@ condition tonally and great working condition. (WL500018, $59.00) both edited by Calvert comcat.com. For specifi cations or more information, visit Johnson; Gracia Grindal’s A Treasury of Faith: www.milnarorgan.com. Lectionary Hymn Texts, Old Testament, Series A, Need help with your re-leathering project? Aeolian/Robert Morton-style maroon B, and C (WL800043, $32.50). 800/765-3196; All pneumatics including Austin. Over 45 leather is now available from Columbia Organ www.wayneleupold.com. 1938 Kimball studio/practice organ, 4 ranks, years experience (on the job assistance Leathers! Highest quality. 800/423-7003, 21 stops, excellent condition, 91″ H, 85″ W, available). 615/274-6400. www.columbiaorgan.com. 56″ D (+pedalboard). Organ Clearing House, PIPE ORGANS FOR SALE 617/688-9290, [email protected]. ANNOUNCEMENTS Releathering all types of pipe organ actions 1869 E. & G.G. Hook organ—Measures 14 1964 M.P. Möller pipe organ. 36-rank and mechanisms. Highest quality materi- “Continuo, the Art of Creative Collaboration,” ft. wide, 10 ft. deep (with pedal), and 20 ft. tall. American Classic specifi cation including two als and workmanship. Reasonable rates. a conference of the Westfi eld Center for Historical Mechanical action; Great, Swell, Pedal divisions, célestes, two enclosed divisions and 32′ reed. Columbia Organ Leathers 800/423-7003. Keyboard Studies, in collaboration with Pacifi c two combination pedals, 15 ranks; available Three-manual electro-pneumatic console. No www.columbiaorgan.com/col. Lutheran University, Tacoma, WA, takes place immediately. $95,000, negotiable. Please contact casework or façades; instrument is in good April 4–6. For a detailed schedule and registra- Stephen Tappe at Saint John’s Cathedral in Den- condition but will need re-leathering. New price: tion/ticket info, visit westfi eld.org. ver for more information: [email protected]. Asking $35,000 “as is” or can be rebuilt. For more ATTENTION CHOIR DIRECTORS! We all information, contact Létourneau Pipe Organs at know the importance of fi tness. Here’s [email protected] or 888/774-5105. a way to get your singers in shape—and The 53rd Montreal Boys Choir Course will 1959 Moller Artiste #9458: 3 ranks, detached save them a separate trip to the gym! Our be held July 28—August 4 at the Lawrenceville rocker tab console, walnut case, electric switches, new ChoirChairMaster provides a new way School outside Princeton, New Jersey. The course Wicks organ, 2 manuals, 4 ranks, ca. 1990. good playable condition; $5,000 OBO. Steve Bed- ′ ′ for your choir members to exercise dur- will be directed by Simon Lole, former director of 16 Rohrfl ute 97 pipes, 8 Principal 85 pipes, music at Salisbury Cathedral and now a freelance dia 609/432-7876; [email protected]. 4′ Gemshorn 73 pipes, 8′ Trumpet 61 pipes. ing warmups, or during pauses while you composer and conductor for the BBC. For further Excellent condition. Oak casework and console. work with other sections. The ChoirChair- information, contact Larry Tremsky, executive Lauck Pipe Organ Co. 269/694/4500; e-mail: Master is a choir chair with an exercise 1910 Felgemaker pipe organ, Opus 1067. 11 director of the course, at [email protected]. [email protected]. bike that folds out from beneath the seat. ranks in excellent condition. Removed from St. It also includes resistance bands at the Agnes R.C. Cathedral, Springfi eld, MO. Call for sides, for strength training—promoting Visit TheDiapason.com—View news, artist spot- details. Price negotiable. 763/670-4771. MISCELLANEOUS FOR SALE the upper-body strength that your sing- lights, extensive calendar listings, new organs, ers need to properly hold up their folders. classifi ed ads, videos, blogs, issue archives and Wood pipes. Missing pipes made to match. With every chair we include a free exercise much more. You can also sign up for our free e-mail 2001 Rieger house organ—Located in Dallas; 8 booklet, detailing 20 different exercises. stops (GT Holzgedeckt 8, Principal 4, Doublette Damaged pipes in any condition repaired. Over newsletters. Need help? Contact Joyce Robinson: 25 years experience. Filip Cerny, 814/342-0975. Now your choir can come to rehearsal 847/391-1044, [email protected]. 2, POS Nachthorn 8, Blockfl öte 4, Flachfl öte 2, AND get a total body workout! What a Dulcian 8, PED Subbass 16). $80,000, which great choir recruiting tool—joining choir includes Rieger dismantling, shipping, and Atlantic City Pipe Organ Company—3-rank can mean hundreds of dollars saved on a Postal regulations require that mail to The Diapason include a suite number to assure reconstructing the instrument in a new space. exposed oak DE Chest with 4′ Principal, gym membership! Order yours today! Box delivery. Please send all correspondence Ideal for a home or chapel, or as a practice 4′ Gedeckt and 2′ Block Flute; very attrac- Chair-Con, THE DIAPASON, jrobinson@ to: The Diapason, 3030 W. Salt Creek Lane, organ. Phone 212/289-0615; e-mail s.hamilton@ tive—$2,200. 16′ Double Open, 16′ Metal Dulci- sgcmail.com. Suite 201, Arlington Heights, IL 60005. prodigy.net. ana. 609/641-9422, [email protected].

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

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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 APRIL 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