THE DIAPASON AUGUST, 2012
Cook Grand Hall Indiana Landmarks Center Indianapolis, Indiana Cover feature on pages 26–28
THE DIAPASON Here & There A Scranton Gillette Publication One Hundred Third Year: No. 8, Whole No. 1233 AUGUST, 2012 Methuen Memorial Music Hall St. Mary’s Cathedral, San Francisco, Established in 1909 ISSN 0012-2378 continues its 2012 organ recital series continues its recital series on Sundays An International Monthly Devoted to the Organ, on Wednesdays at 8 pm: August 1, Paul at 3:30 pm: August 5, Nahri Ahn; 8/12, the Harpsichord, Carillon, and Church Music Murray; 8/8, Peter Kranefoed; 8/15, Ethan Haman; 8/19, Norman Paskowsky; David Arcus; 8/22, Anne Horsch; 8/29, 8/26, piano and cello; special program, Frederick Teardo. For information: August 7 (7 pm), Marina Omelchenko. 978/685-0693;
THE DIAPASON accepts no responsibility or liability for the validity of information supplied by contributors, vendors, advertisers or advertising agencies.
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses or for the same course offered subsequently. The choir of St. Thomas Episcopal Church, Columbus, Georgia
The choir of St. Thomas Episcopal Distinguished Visiting Choir Series and Church, Columbus, Georgia, was the sang two Eucharists and an Evensong. choir-in-residence this Pentecost at the Rick McKnight is the organist-choirmas- Editor’s Notebook Cathedral Church of St. John the Divine ter and Ray Nagem was the organist. in New York. The choir was part of the In this issue enhanced with more features, includ- Among the offerings in this issue of ing interactive applications. The home The Diapason, Lee Lovallo reports on page features a “slider” of images with a memorial tribute in California to the links to the articles from which they are late Gustav Leonhardt; Jonathan Hall taken, a directory of news stories and reviews the fi rst of the Vierne marathon articles, artist spotlights and classifi ed recitals by Christopher Houlihan, which ads, audio and video fi les (“Diapason took place on the Quorin organ at the TV”), blogs and columnists, and the Church of the Ascension in New York; current issue. David Pickering reports on the dedica- The archive is now organized by year, tion recital by James David Christie on and each issue’s cover is displayed. Our the new Casavant organ at the Kauffman Resource Directory supplier listings are Center for the Performing Arts in Kan- now easily viewed by category as well sas City; Mike Foley documents the res- as by name. You can now submit organ cue of Skinner Opus 774; and Bill Halsey recital programs online, and the website describes organs in Vilnius, Lithuania. is the best way to submit calendar items. John Bishop devotes his column “In Please take time to visit the website and the wind . . .” to a discussion of electric- explore its features. I welcome com- ity and wind in pipe organs; Gavin Black ments as we continue to refi ne the site. discusses recital programming and offers Most of the website is accessible only some examples. All this is in addition to to Diapason subscribers. When log- our regular departments of news (people, ging in, you will be asked for your sub- instruments, and events), reviews, new scriber number: that is the seven digits organs, an international calendar, organ following DPP above your name on the Piano and organ students, Seton Hill University recital programs, and more. mailing label of your copy. Be sure to enter only the seven digits; do not in- Piano and organ students from Seton John Stanley, John Field, John Ireland, THE DIAPASON website clude “DPP.” If you have any questions Hill University in Greensburg, Penn- Gustav Holst, Ralph Vaughan Williams, The Diapason’s new website was about the website, call or send me an sylvania, presented their fourth annual Benjamin Britten, John Rutter, and Ni- launched in June, after months of plan- e-mail message. International Keyboard Marathon re- gel Ogden. The students were from the ning and design work by Scranton Gil- Jerome Butera cently at the First Presbyterian Church piano and organ studios of Edward Kuhn lette’s website team. The website has 847/391-1045; [email protected] of Greensburg. Entitled “Basically Brit- and Edgar Highberger. been totally redesigned, upgraded, and www.TheDiapason.com ish!” the program included works by
AUGUST, 2012 3 The University of Michigan presents conference materials. The conference the organ, adding an organ museum in its 52nd annual Conference on Organ hotel is the Cambria Suites, Pittsburgh at 2005, completing a major restoration Music September 30–October 3, with Consol Energy Center. For information: of our Aeolian organ in 2011, and now, the theme “The Art of Improvisation.”
Musical Instrument Museum, Phoenix
The Musical Instrument Museum original settings. Guests can explore and (www.themim.org) in Phoenix opened experience the diversity of the world’s April 24, 2010 and features an expansive music in the 190,000-square-foot build- collection of instruments from around ing, which includes two fl oors of galler- the world. With nearly 5,000 instru- ies, the Music Theater, the hands-on ments and objects on display, the MIM Experience Gallery, a garden courtyard, is organized into fi ve geographical gal- the MIM Café and Coffee Shop, and leries, each focusing on a distinct global the Museum Store. Among the MIM’s region. The galleries feature advanced instruments is the Visible Organ, built wireless technology and high-resolution by M.P. Rathke, Inc. Additional infor- video screens, enabling museum guests mation on the Visible Organ may be to see instruments, hear their sounds, found in the New Organs section of this and observe them being played in their issue (see page 28).
Aeolian drawings
The American Organ Archives of drawings, as well as those of the Skin- the Organ Historical Society has com- ner Organ Co. and the Aeolian-Skinner pleted digitizing its collection of layout Organ Co., are available for study and drawings produced by the Aeolian Organ purchase. Please contact the archivist for Company, 1911–1931. These scanned details at
John Sherer, David Jonies, Kevin McKelvie, Simone Gheller, and H. Ricardo Ramirez
Closing out the Chicago AGO chap- movements from the various sympho- ter’s 2011–12 season was the annual nies on the 1928 Austin organ at St. members’ recital in May, featuring the Mary of Perpetual Help in the Bridge- music of Louis Vierne and Charles- port area of Chicago. Hosts for the event Marie Widor, celebrating the 75th an- were Rev. Don Craig, pastor, and Geoff niversary of their deaths. Five chapter Pautsch, director of music and liturgy. A members—John Sherer, David Jonies, special reception in the narthex follow- Kevin McKelvie, Simone Gheller, and ing the recital was sponsored by Johan- H. Ricardo Ramirez—played several nus Organs Midwest.
4 THE DIAPASON Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Paul Cienniwa Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Concert Harpsichordist Indiana University Montevideo, Uruguay Battipaglia, Italy Paris, France Ann Arbor, Michigan Boston, Massachusetts
Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Milwaukee, Wisconsin Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Professor of Organ Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California Yonsei University, Korea
David K. Lamb Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Conductor Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana New York City SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois
Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Organist/Harpsichordist University of Kansas Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Spartanburg, South Carolina
Timothy Tikker Michael Unger Elke Voelker Eugeniusz Wawrzyniak Jeffrey Cohan Duo Majoya Organist/Composer/Improviser Organist/Harpsichordist Organist/Musicologist Organist Concert Flutist Organ/Piano/Harpsichord Kalamazoo College, Michigan Rochester, New York Mannheim, Germany Charleroi, Belgium Seattle, Washington U of Alberta, King's UC www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Assistant Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 25th year of operation late 20th-century composer. Mme. Lan- Karen Beaumont recently com- Hadley, Massachusetts; September 25, glais was appointed professor of organ at pleted a recording of eight preludes and masterclass, and September 26, recital, the Paris Conservatory of Music (CRR) fugues from Books I and II of the Well- Yale University, New Haven, Connecti- in 1988, and retired in spring 2011. In Tempered Clavier by J. S. Bach. The cut; September 28, Old West Church, addition to teaching private organ at recording was made on the organ in the Boston; and September 30, Holy Cross Oberlin Conservatory, she will offer an Chapel of St. John the Evangelist at St. College, Worcester, Massachusetts. In introductory course on improvisation in John’s on the Lake in Milwaukee, Wis- July and August Cera presented recitals the French tradition, as well as weekly, consin. Selections from the recording in Bologna and Genoa, Italy, and Evje studio-wide masterclasses. will soon be available on YouTube. This and Fjaere, Norway. For information: Gillian Weir is in demand as an adju- is Beaumont’s fourth recording. Copies
6 THE DIAPASON Allen RM 63 An Allen Designer Series Organ
T his 63-stop Randy Miller Design combines newly acquired organ voices with select favorites from the Allen tonal library. Employing Allen’s advanced Quantum™ technology, the organ is designed with the primary purpose of Randy Miller, Designer, RM 63 leading traditional worship. Th e stop list includes large scale chorus voicing, keen reeds, a variety of solo voices, an independent Cornet V, and sounds as delicate as the Flute Celeste. Th e organ incorporates a 24-channel Multi-Point™ audio system. Th e unique audio design employs smaller speaker cabinets for upper-range voices allowing this expansive audio system to produce sound with impressive clarity and spaciousness, yet fi t comfortably into chambers of moderate size.
Allen Organ Company, LLC, 150 Locust Street, Macungie, PA 18062 t (610) 966-2202 t [email protected] www.allenorgan.com/rm63 church, and other musicians including ald R. Tison, Vidrich performs works by a harmonica player, bagpiper, trombon- Torelli, Hovhaness, Manfredini, Schil- ist, and fl autist. Sts. Stephen and James ling, Pinkham, Langlais, Gervais, Va- Church houses a two-manual, 21-rank lente, Tomasi, and Plog. The CD was organ built in 1895 as Opus 2 by the made on the Reuter organ at the First Maryland Church Organ Company. Baptist Church of Detroit. Vidrich holds a bachelor’s degree from Duquesne Uni- Arthur Vidrich is featured on a new versity, a master’s degree from Indiana recording, Voices of Trumpets and Or- University, and a DMA from the Uni- gan, on the Crystal Records label. Joined versity of Michigan. For information: by trumpeters Byron Pearson and Don-
Eric Plutz at St. John’s Cathedral, Den- ver (courtesy of Pro Organo) engineered in multi-channel audio in the Direct Stream Digital (DSD) format, us- ing Zarex-modifi ed and updated equip- Marijim Thoene ment originally from Genex Audio, Inc. Joseph K. Rotella, president of Spencer Marijim Thoene was a guest organ- Organ Company of Waltham, Massachu- ist at the 50th anniversary celebration of setts, and the restorer of the four-manual the merger of Sts. Stephen and James instrument, was on hand. Plutz record- Lutheran Church in Baltimore, Mary- ed works by Leo Sowerby, Max Reger, land, and the celebration of the 50th Marcel Dupré, Percy Whitlock, Eugène anniversary of its pastor, Rev. Lowell Gigout, Felix Mendelssohn, Gerald S. Thompson, on May 6. She had been Near, and Henry Smart, as well as two the organist there while a student at transcriptions: a virtually unknown tran- Peabody Conservatory. Thoene played scription, circa 1903, of Bach’s Chaconne Domenico Zipoli’s Pastorale (complete from Violin Partita No. 2, and the Virgil with two bird whistles and drum) and Fox arrangement of Come, Sweet Death. the fi rst section of the Fantasy in G A fall 2012 release is planned, with a pre- Major, BWV 572 by J. S. Bach. Par- Lothar Bandermann; Patricia Eldred, former organist of St. Joseph Church; James assigned catalog item number 7254. For ticipating along with Thoene were Da- Welch details, visit
Identical twins Becky Ramsey, CAGO, AAGO (left), and Alice Walker, CAGO, AAGO, at the Cathedral-Basilica’s First Friday Art Walk Series concerts
Identical twins Becky Ramsey, and Fugue in B-fl at by J. S. Bach; Pre- CAGO, AAGO, and Alice Walker, lude in Classic Style by Gordon Young; CAGO, AAGO, appeared in concert at God of Grace and God of Glory by Paul Cathedral-Basilica of St. Augustine, St. Manz; Jesu, Joy of Man’s Desiring by Augustine, Florida, on June 1, as part of Bach; Rhapsody on English Hymntunes the First Friday Art Walk Concert Series. by Charles Callahan; and Toccata on The program featured the three-manual, Amazing Grace by Christopher Pardini. 55-rank Casavant organ, Opus 3821, built The attendance at the recital was the in 2003, and included Allegro and Fugue largest ever for one of the Art Walk Se- from Duet for Organ by Samuel Wesley; ries concerts, and the audience gave the Evensong by Charles Callahan; Prelude performers two standing ovations.
We are pleased to unveil the design for the new III-manual, 29-rank organ for Carol Williams, Operation Rebound Advent Lutheran Church in Melbourne, Carol Williams, San Diego Civic Or- a woman on a pipe organ. Florida which is scheduled for installation ganist, will perform a 12-hour concert Operation Rebound, under the aegis in the Fall of 2012. Our pipe organ Sunday, September 2, from 8 am until of the non-profi t Challenged Athletes 8 pm, on the Spreckels Organ in Bal- Foundation, is a sports and fi tness pro- builders are ready to consult with you boa Park, San Diego, to raise funds for gram for American military personnel, regarding your new organ, rebuilding, Operation Rebound. The 12-hour mara- veterans, and fi rst responders with per- thon will be the longest performance by manent physical disabilities. It provides restoration, voicing, additions, and service. opportunities to pursue active, athletic lifestyles by offering access to funding Back by popular demand, you can request Fruhauff Mussiic Publliicattiionss for equipment and training and compe- your 2012 Schlueter Pipe Organ Calendar Compositions, Historical Transcriptions, tition expenses, Military Medical Center Hymn Tune Settings & Liturgical Music Physical Training (MMCPT), and sports now at www.pipe-organ.com Scores for Organ, Voices, Carillon & Ensembles www.frumuspub.net clinics. For more information and to do- D P.O. Box 22043 E nate online, go to
8 THE DIAPASON
Judith Stevens died May 22 at her Zwicky was professor of music at East- Jazzmuze announces the release of Nunc Dimittis home in Albuquerque, New Mexico. ern Illinois University from 1966 to 1994 new music for organ by Joe Utterback: She was 81 years old. Born in Ysleta, and served as organist and choirmaster at What a Friend We Have in Jesus (jazz- Texas on December 7, 1930, she mar- more than ten churches in Illinois, Texas, infl uenced organ solo), and Deep River, Gregory S. Larsen died March 10 ried her husband Billy in 1956. They Maryland, and Massachusetts. For seven for fl ute and organ. For information: in Denver; he was 64. He grew up in lived in Shiprock, New Mexico, where years, Zwicky served as national director
From: ______
10 THE DIAPASON nologies with classic analog systems and stuff by hand. How about Cooper? They around an electrical outlet, and a pair tools. The book and DVD-ROM package made barrels. How about Sawyer, Taylor, of scissors on the fl oor. He looked at me uses detailed illustrations, screen shots, In the wind . . . Shoemaker, Brewer, or Cook? Come to and said, “hurtchoo.” and audio and video examples. For infor- by John Bishop think of it, my name is Bishop—but I What was it he did that caused the mation:
Send a free sample copy of THE DIAPASON to a student, colleague, or the highest standards of integrity, quality and craftmanship in pipe organ building minister. Contact Jerome Butera, 847/391-1045 1-800-473-5270Call for our free 64 page color prospectus www.apoba.com
AUGUST, 2012 11 make a big spark. He “shorted out” the circuit. We laugh now, but bad things could have happened. A couple more simple points. That circuit breaker I mentioned is designed to break the circuit (turn it off) when it’s overloaded by a short circuit, or by the attempt to run too much power through the circuit by plugging in a vacuum cleaner in addition to a space heater. Too much power and the wires heat up. If there’s no safety system, they start a fi re. The old-time fuses have a piece of wire in them engineered to carry only a certain amount of power. When that was exceeded, the wire burned safely inside the little glass enclosure. And many of the circuits in our hous- es are actually left open in the form of Water tower outlets. A ceiling lamp is a closed cir- cuit, but an outlet doesn’t become a valve that keeps it full as pressure is used. complete circuit until we plug some- The valve is typically a curtain valve that thing in—not a pair of scissors, but works something like a window shade, something that includes an appliance connected to the top of the regulator that consumes electricity. with string or chain that runs across a system of pulleys. In a water system, Keep the pressure on pressure and volume is used when we fi ll Water towers are architectural icons a teakettle. In a pipe organ, pressure and and infrastructure workhorses on Man- volume is used when we play a hymn. hattan Island. Every building more than eighty feet high needs one, and there are Electricity in pipe organs a lot of buildings more than eighty feet You walk into the chancel, change high in Manhattan. We can see thirteen your shoes, open your briefcase, put water towers from our apartment in low- something up on the music rack, slide er Manhattan. They are necessary here onto the bench, and turn on the organ. because there are simply too many fau- What’s happening? You have started a cets and toilets for the municipal water big electric motor, and if your organ has provider to be able to supply pressure electric action, you’ve also turned on a hundreds of feet in the air to thousands rectifi er. The motor turns a fan (the or- of buildings. So a building has a tank on gan blower), which blows air through the the roof and a pumping station in the organ’s windlines to the reservoirs, which basement. Filling the tanks works some- infl ate to a controlled height, and create thing like a toilet bowl. Water is pumped stored wind pressure. Until you play a into the tank. When it’s full, a ball-cock note, the organ is idling, sitting still at a valve operated by a fl oat turns off the constant pressure. pump. As water is used, the fl oat goes Did he say rectifi er? What’s a rectifi - down with the water level and turns on er? What needs to be rectifi ed? Is there the pump to maintain the proper level. something wrong? We use electricity in The water tower on an average apart- Water towers two basic forms, AC (alternating cur- ment building holds around 10,000 gal- rent) and DC (direct current). Elec- lons, and the pumps are capable of fi ll- by coopers) with wooden staves held in terial because it is hoisted to lofty roofs tricity is polarized—one side is positive ing a tank in two or three hours. Larger place by iron hoops. The hoops are clos- relatively easily—it would cost a fortune (+), the other is negative (–). In direct buildings have huge internal tanks er together at the bottom of a tank, and to lift a 10,000-gallon steel tank to the current, the polarization is constant— mounted high inside. The Empire State spaced increasingly further apart toward roof of a twenty-story building—and positive is always positive, negative is Building, which is 1,250 feet tall, has wa- the top. The graduated spacing is similar because it has terrifi c built-in insulation always negative. In alternating current, ter tanks every twenty fl oors. Buildings on all the tanks, which makes me think qualities. Imagine if your source of cold the sides alternate, swapping positive that size use as much as 40,000 gallons there’s a mathematical ratio involved, water was a metal tank on a sunny roof. and negative back and forth at a rapid per hour. something like Pythagoras’s overtone se- The wood is not treated with any paint or rate. We refer to 60-cycle current be- I imagined that the source of the wa- ries. That provides extra strength down preservatives so as not to taint the water. cause standard AC power swaps sides ter pressure from a rooftop tank would low to contain the great weight of water Rosenwach uses so much lumber that 60 times a second. Fluorescent light be the weight of the water as affected at the bottom of the tank. Water weighs they have a sawmill located in the heart tubes emit a 60-cycle hum. by gravity, and I read that in a couple about 8.35 pounds per gallon, and when of Brooklyn. Our household (and church-hold) news stories, but I read on a “science- you stack it up in a tank, the weight is electricity is AC power at 120 volts (volts fact” website that it actually comes from concentrated toward the bottom. A Wind regulators is a measure of power), but pipe organ hydrostatic pressure, which is a factor 10,000-gallon tank holds more than forty The principle I described of graduat- actions are designed to operate on DC of elevation. The higher in the air the tons of water! ing the spacing of the hoops around a power at around twelve volts. A rectifi er tank is located, the greater the pressure. There are two companies in New water tank appears in many other ordi- is an appliance that converts 120VAC Shameless and unscientifi c rounding off York City that still build water tanks: nary facets of our life. Long runs of pipes to 12VDC, rectifying the discrepancy. of numbers I found at
CLAYTON ACOUSTICS GROUP 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP
12 THE DIAPASON Intermission On Teaching Sonata in G Major, George Frideric Han- del (1685–1759) by Gavin Black Thirty-two variations on “La Capricciosa,” Dieterich Buxtehude (c.1637–1707) Double-manual harpsichord in the Ger- man style, Keith Hill, 1978
The fi rst thing to notice about this pro- gram is the last thing listed, that is, the instrument. In planning performances that season, I wanted to use this particu- lar harpsichord. It happens to be my own fi rst harpsichord, acquired in June 1978. I hadn’t used it for recitals since about the late 1990s, and I wanted to renew my own awareness of its possibilities. Also, it is a magnifi cent-sounding instrument, and I felt that audiences would get a lot out of hearing it—and that it had been too long. In this case, the instrument then de- termined at least some of the boundaries of the programming choices. Especially since I was in part showcasing the instru- Wind regulator ment, I wanted all the repertoire to fi t the Recitals—Examples style of the sound closely. It is probably of prisoners was built using DC power, I don’t need to say much about Clari- Last month I laid out some ideas true that any harpsichord piece from the Westinghouse and AC power gained nets, Oboes, Trumpets, or Flutes. But about recital planning, especially how earliest beginnings in the fi fteenth centu- traction in the public eye. If DC could a Harmonic Flute is special because teachers can help students think about ry through Haydn could be played on this kill people, we don’t want it in our hous- the pipes are twice as long as Principal recital planning. This month, in a col- harpsichord and sound good. However, es. It was political. Today, when we hear pipes, and the characteristic hole half- umn with a somewhat unusual and Germanic music from the mid-to-late- of a construction worker getting electro- way up the resonator breaks the internal more personal format, I will give two seventeenth century through roughly the cuted, it’s proven to us that AC power sound wave in half, so the double length examples of programs of my own from end of the time of Bach is the music that can kill, too. Michael was lucky. produces normal pitch, but with a much the last several years—one harpsichord fi ts it the very best. richer harmonic structure. and one organ—and discuss some of The pieces that I started with in plan- Pipe organ wind Diapason is a mysterious word, until the thinking behind the programming ning the specifi cs of the program were When I talk about pipe organ wind, I you look it up. I found two good applica- choices in each one. Along the way I those by Kuhnau and Buxtehude. These keep mentioning reservoirs and regula- ble defi nitions: “a rich, full outpouring of will add a few more general ideas to are both fairly long works, and each is of tors. Don’t I really mean bellows? Like sound,” and “a fi xed standard of pitch.” the discussion as well. Nothing that I great intensity: similar in artistic stature, the short circuit, and the circuit breaker, Go to To access all the areas of THE MUIQT"MPIZ\b(]UQKPML] DIAPASON website, you will need to enter your DIAPASON subscriber num- ber. That is the seven digits following DPP on the label of your copy. Do not enter DPP, just the seven digits. For information: 847/391-1045. AUGUST, 2012 13 particular Bach toccata was that I like a couple of other instances a Handel church in question had known of me as would necessarily fi nd it impossible to the very opening—the fi rst few mea- Allemande. However, I got feedback someone who specialized, as a recital- focus on something else after hearing sures of the piece, a one-voice cello or from several audience members that— ist, in Baroque music. They wanted it, but I think that it is more natural not gamba-like fl ourish—as the beginning of in keeping, in fact, with what I wrote me to exploit the Baroque side of the to do so. This work increases the overall a concert. It grabs the attention well and above—they actually did not want to instrument, and in doing so to show off level of variety in the program in part exposes the sound of the instrument in a hear anything after the Buxtehude. a reasonable amount of variety. They by not being sectional. Each of the two lucid and appealing way. Of course, this They wanted to remain in the mood of expected that most of the people com- long movements is quite unifi ed, with would not be enough if the rest of the that piece for as long as they could. I ing to the event would be enthusiastic the balance between unity and change piece were not also suitable. It is quite a decided to omit the encore after a cer- organ-music listeners, but not necessar- being addressed in part by rondo or charismatic piece, though not as tightly tain number of performances. ily themselves focused, as listeners, on da capo devices: something not seen constructed as some (later) Bach pieces. There is one point that I have not men- the Baroque. The program, even if its elsewhere on this program. I did not Its multi-sectional toccata form was old- tioned yet in regard to recital program- composers’ dates all fell within no more change sounds within each half (I did fashioned at the time when it was writ- ming: the role of key relationships in the than a century and a half, would have to between the prelude and the fugue), ten, and therefore it actually fi ts espe- process of choosing pieces. In fact, my seem not narrow. so, after three-quarters of a concert cially well with a program based mostly honest thought about this is that it does The imperative to achieve variety of in which the audience only heard any on older German music. This older not really make any difference. The main sound-color in a program tends to lead given registration for a minute or so, music is, of course, the music that Bach reason that it does not is the phenome- to playing pieces that have many sec- this piece provided them with a chance studied in his youth. non of applause. When a piece ends— tions or movements, or a fairly large to settle in to listening to each of the The Froberger E-minor suite is a usually, if we are talking about pieces number of short pieces. This is what two sounds for much longer: increased piece with a lot of out-and-out beauty that are in a key at all, with some sort of suggested the Frescobaldi set, the overall variety provided by an experi- to it, especially on a really beautiful- cadence—the dying out of the sound is Scheidt, and the Pachelbel to me. These ence of less variety. sounding harpsichord, and probably followed by unmusical, and specifi cally three parts of the program provided The two works that I have not men- most of all in the outer (slow) move- non-tonal, noise. (I don’t mean that to nearly thirty different segments, each tioned yet—the short Buxtehude fugue ments. Like a lot of Froberger it is har- be disparaging. I think that the role of of which could be (should be?) played and the Bach O Lamm Gottes—serve monically driven, and the lush harmo- applause is a positive one, defi ning the on a different sound. Furthermore, the in part a function similar to that of the nies of the outer movements are quite space between pieces, allowing audience Scheidt and to an extent the Pachelbel Handel in the harpsichord program. seductive on the harpsichord. Since members to express feelings and re- can be fl exibly played with more or less They are not bringing the audience back three of the other four pieces on the group between pieces, creating a bond pedal. Any fl exibility of this sort increas- from intermission, but by being shorter program (Bach, Kuhnau, Buxtehude) between audience and player.) I believe es the ability of the performer to exploit and less imposing—not less interesting are one-movement sectional works that there are very few listeners indeed, different sounds, and is particularly use- or beautiful—they provide a moment of (that is, works in which the sections even among experienced concert-goers ful in coming to a new instrument. As relaxation before the challenge to the clearly lead into one another and form or trained musicians, who can then viv- best I remember, I ended up using dou- focus and attention span represented one whole rather than separate move- idly experience the tonal opening of the ble-pedal in the last movement of the by the longer works that follow. Also, ments), I wanted to include a piece that next piece as being either particularly Scheidt, pedal for the chorale melody in in particular, I thought that it would be is in several separate movements. (The satisfying or particularly jarring. Some the bass in one or more movements, and good to have an additional piece specifi - difference is of course essentially one of people can tell what that relationship is, in the tenor voice in one, pedal for an cally by each of the composers who were emphasis. The separate movements of many people cannot. But I doubt that “ordinary” bass line in a movement or otherwise represented only by long im- the Froberger fi t one another well, and even those who can tell are spontane- two, and also played several movements posing works. the piece works as a bigger unit, but the ously affected by it, as they would be by a without pedal. In the Pachelbel, in one All of the pieces on this program are movements could be played individually key relationship between movements or movement in which the chorale in the “comfort food” for me: they are pieces without seeming like fragments. This is sections of an uninterrupted piece. tenor could in theory be soloed out on that I know inside and out, that I have not true, or less true, of the individual The second program of mine that I the pedal, I didn’t do so, fi nding instead played for years—decades, really—and variations or sections of the other three want to discuss is an organ recital from a manuals-only sound (one manual) that that I come as close as I do with any works.) This is not just for variety on the summer of 2004. I chose it because brought out the tenor range nicely and music to being able to play standing on paper. It is because the demands made the relationship between the program- separated all three voices from one an- my head. This is true even of the Bach on listeners by a work in several move- ming and the instrument was different other in such a way that a listener might E-minor. It is often listed as one of the ments are different—and less challeng- from the fi rst example, and because have thought that it was indeed a trio most diffi cult Bach organ pieces, but ing—than the demands made by a long there were also different considerations registration. (I should say that these are I happen to have learned it extremely work in indissoluble sections. So in ef- about the prospective audience. It went pieces that I know very well indeed, and thoroughly, and I fi nd it easier to ex- fect this piece is, while just as beautiful as follows: they are not, just at the “note learning” ecute than I do many simpler pieces and as moving as the rest, rather relax- level, extremely hard. In pieces above that I have practiced and learned but ing to experience in this context. Praeludium in F Major, BuxWV 156, a certain threshold of diffi culty I would not delved into as deeply as I have that The same goal—a bit of relaxation— Dietrich Buxtehude (1637–1707) not dare to show up at a recital venue one. (That is not to say, just for the re- Inno della Domenica, Girolamo Fresco- was present in the choice of the Han- baldi (1583–1643) uncertain of which notes I would play in cord, that I never lose focus for a sec- del piece to start the second half. More Canzona Quarta in F Major, Frescobaldi the pedal and which in the manuals.) ond or two and make a wrong note in specifi cally, it serves to bring the audi- Magnifi cat Primi Toni, Frescobaldi I wanted to fi nd fairly imposing piec- this piece, as I might in any piece. Also, ence out of the intermission in a friend- Fugue in C Major, Buxtehude es with which to open and close the I am by no means a specialist in block- ly way and let them settle down to the Psalmus: Warum betrubst du dich mein program, partly just for the excitement buster virtuoso pieces: I just happen to long and (one hopes) intense experi- Herz? (chorale with twelve variations), Sam- generated by great pieces that sustain have a very good relationship with that ence of the Buxtehude. The Handel uel Scheidt (1587–1654) their greatness over a long period of one.) I think that it is not a bad idea to is a through-composed one-movement time, and partly to counterbalance the emphasize music with which you have piece: fairly short, quite exuberant, very Intermission set of short or sectional pieces that this kind of relationship in going to a much harmonically driven in a more-or- Partita: Was Gott tut das ist wohlgetan, Jo- made up most of the rest of the pro- new instrument. It is also not a bad idea less Vivaldian manner. It is “offi cially” a hann Pachelbel (1653–1706) gram. The Buxtehude F-major is—like to get as much practice time on a new two-manual piece, in that it has man- O Lamm Gottes unschuldig, J. S. Bach the Bach harpsichord toccata discussed instrument as you can, but of course ual-change indications from the com- (1685–1750) above—a piece that begins with a fl our- schedules being what they are, this is poser himself. (This, by the way, gives Prelude and Fugue in E Minor, BWV 548, ish, and that makes an effective start to not always as much as it should be. Q a bit of an opening for discussion, in Bach a listening experience. It is also just a program notes or informally with audi- great piece: complex, sectional (but in Gavin Black is Director of the Prince- ence members after the concert, of the The organ was a late-twentieth-cen- a way that, through various motivic and ton Early Keyboard Center in Princeton, whole business of different manuals— tury American (electro-pneumatic) in- other compositional devices, adds up to New Jersey. He can be reached by e-mail why we do or don’t make changes with- strument, eclectic in design, but with a a coherent whole), dramatic. at Be sure to sign up for THE DIAPASON e-mail newsletters, free to subscrib- ers. Go to www.TheDiapason.com and near the top of the screen click on “Newsletters.” Visit THE DIAPASON website: 14 THE DIAPASON month to make the anthem a musical of- glissandi. This music is not diffi cult yet Music for Voices fering of the Psalm of that day. Hearing will sound complicated. Book Reviews it sung by the choir AND having it read and Organ during the service brings signifi cant co- Psalm 121, Deborah Govenor. SATB by James McCray hesion to the service. and keyboard, Beckenhorst Press, Organ Building: Journal of the In- The next few columns will be devoted BP1681, $1.50 (M). stitute of British Organ Building. to the Christmas season. Advent music The choral parts are on two staves with Volume Eleven. 100 pages, 92 color Another dollop of Psalm settings will be featured in the next issue. a mixture of homophonic and polyphonic photos, 24 drawings, £21.99, paper- lines above a fl owing keyboard accompa- back, ISBN 9780954536183. Avail- O come let us sing unto the Lord; let O Lord God of my salvation, John niment. The setting has straightforward able from bookstores or from us heartily rejoice in the strength of our Blow (1649–1708). SSAATTBB and harmonies until the last verse, which has AUGUST, 2012 15 incorporating pipework from the previ- just stops without opening into a nave. Flemish three-tower oak case was an It takes a great technique to play the ous organs by Norman & Beard (1914) This space at the west end is known as extremely fi ne one, although nobody organ works of Liszt; Gail Archer is cer- and Nicholson (1970). Not least among the antechapel, and the new Mander or- seems to know who designed it. The case tainly up to the task and does so bril- its attractions are the beautiful and very gan is located on a gallery in one of the has been retained and fi tted with new tin liantly on this new recording. The re- colorful new cases. These had been transepts. It is fortunate that there is façade pipes and an added star in front cording was made in commemoration of planned for by the cathedral architect, plenty of height, so that the organ could for the cymbelstern in the new Tickell the 200th anniversary of the composer’s the late Stephen Dykes Bower, in 1970, be fairly shallow, with the Swell above organ. Once again, along with several ex- birth in 1811. It was recorded on the but could not be implemented at that the Great and the Pedal behind. There is cellent color photographs, the pipe scales magnum opus of the Gress-Miles Com- time because of lack of funds. Under the an attractive carved three-tower case, of and plans and elevations of the casework pany, which resides in the chapel of Vas- supervision of his successor, Alan Rome, which there are plans and elevations as are included with the article. sar College. This large instrument of four and of Alan Howarth, Dykes Bower’s vi- well as photographs. The pipe scales are 2011 was the sesquicentennial year of manuals and 99 stops occupies the same sion has fi nally been brought to fruition. included, and the instrument as a whole the Durham organ-building fi rm of Har- space as the 1904 organ, which allowed The article includes plans and elevations seems a fairly typical example of the fi ne rison & Harrison, and in celebration of for the hand-carved façade by the origi- of the new casework, as well as several organs that the Mander fi rm produces. this Relf Clark has written an article on nal Boston architects of Shepley, Rutan color photographs. Next we have a short article on the the history of the fi rm from its founda- and Coolidge. Next, organ builder David Wood Goetze & Gwynn organ in St. Teilo’s tion by Thomas Harrison, through the Gail Archer holds a DMA in organ describes his search for a “previously Church, on the grounds of the Welsh Na- years of the Imperial Style of organ un- performance from the Manhattan School enjoyed” instrument for Truro School, tional Museum at St. Fagan’s near Cardiff. der Arthur and Harry Harrison, to the of Music, studying with McNeil Robin- Cornwall. This independent school en- This little organ is quite near to the new post-War period under Cuthbert Har- son; she also earned an artist diploma joys a fl ourishing music program in co- Nicholson organ at Llandaff, but it could rison, down through Mark Venning to from the Boston Conservatory, where operation with its neighbor Truro Cathe- hardly be further away tonally, since it is Chris Batchelor in the twenty-fi rst cen- she studied with James David Christie dral, and the old organ, which came from meant to be a replica of a typical British tury. Many of their most famous organs and Jon Gillock. Her active teaching ca- a redundant church and had been in- church organ of around 1540. It is con- are discussed, including Ely Cathedral, reer has her as Professor of Organ at the stalled by Osmond’s of Taunton in 1964, structed according to the old pre-English St. Mary Redcliffe, Bristol, King’s Col- Manhattan School of Music, Chair of the was woefully inadequate. The school was Civil War organ pitch, where low C is ap- lege, Cambridge, Westminster Abbey, Music Department at Barnard College fortunate in obtaining the three-manual proximately ten feet long and plays the the Royal Festival Hall, and Coventry of Columbia University, and Adjunct 1971 Noel Mander tracker organ from modern equivalent of F. The pipe scales Cathedral, and so on to the present day Artist in Music at Vassar College. Jesus College, Cambridge, made redun- are mostly based on the John Loosemore with the St. Edmundsbury Cathedral or- Probably no performer/composer has dant by the installation of a new organ organ from Nettlecombe Court, Som- gan discussed earlier in this issue. received as many “mixed reviews” of by Orgelbau Kuhn in 2007. The Mander erset, and are given in the article. With The fi nal organ treated in this year’s his artistry as has the 19th-century art- organ had modern casework, though it other small instruments of its kind, this Organ Building is the new Robin Jen- ist Franz Liszt. Renowned throughout incorporated part of an old case once organ will go a long way toward provid- nings organ at Our Lady of Lourdes Europe for his virtuoso skill at the key- attributed to Father Smith as a center- ing us with a much better perspective on Roman Catholic Church in Wanstead, board, it was reported that technically piece above the console. It never looked the authentic performance of early Eng- London, discussed in articles by David he was the most advanced pianist of his entirely happy in Jesus College in its bay lish organ music, although we still await a Frostick and Paul Hale. It is an 18-stop age. Certainly by the 1840s he was con- of the choir alongside the Sutton organ, two-manual instrument capable of playing two-manual tracker instrument housed sidered to be the greatest pianist of all and it has to be said that it looks much such works as the Voluntaries for “Double in a three-tower case and shows how a time. It was Liszt who gave us the solo more handsome in its new home. The en Organ” of such composers as Thomas very fi ne instrument can be built within piano recital, played always from mem- chamade Trumpet, formerly in the front Tomkins, Orlando and Christopher Gib- a relatively small budget. The 16′ and 8′ ory—which has now become standard of the case, has been moved to a more bons, Richard Portman and John Lugge. reeds are available on both the Swell and among pianists in both solo and in con- satisfactory location above the swellbox. The next feature represents something the Pedal divisions. certed performances—and who played a There seems to be a misprint in the stop of a new departure for Organ Building. It At the end as an appendix there is the major role in popularizing many orches- 1 list on page 30, which lists a 1 ⁄3′ Larigot is a discussion of organ console ergonom- usual listing of the membership of the tral works by transcribing them for the on the Great where I think there ought ics by four leading British organists: Da- Institute of British Organ Building, to- piano. At his recitals the majority of mu- to be a Fourniture IV. Truro School is to vid Briggs, Simon Williams, John Kitchen, gether with their areas of specialization. sic always centered on his own works— be congratulated for obtaining a very fi ne and Jonathan Scott. I quote one piece of This year’s Organ Building is, like pre- paraphrases, and transcriptions. organ for a very reasonable cost. advice given by David Briggs on page 56: vious years, an excellent periodical that There was a time when Liszt’s music Following this is an article by Noel “Organ builders should always make the deserves to be widely read. was considered superfi cial, and that its Gallo, entitled “Into the Third Dimen- divisional settings entirely separate from —John L. Speller main purpose was technical display over sion,” which discusses the contribution the Generals. It can be quite frustrating St. Louis, Missouri musical substance, but it is now gener- of CAD to the design of organ cases when you have to reset all the divisional ally accepted that many of his ideas— and their portrayal in three dimensions. pistons, each time you transfer to another from thematic transformation of mo- Gallo, who lives in Malta, is the propri- general level.” A very wise suggestion in tives across various movements to create etor of NG Organ Design, and the ar- my opinion and an idea I hope will soon New Recordings structural unity, his embrace of program ticle is illustrated with a number of his become universal practice. music, his development of the symphon- designs, some of them very striking and In an article entitled “At the Sound ic poem, and his compositional “innova- all in full color. of Bow Bells,” John Norman and Ken- Franz Liszt—A Hungarian Rhapso- tions” (whole-tone scales, parallel dimin- The new mechanical-action Mander neth Tickell discuss the new Tickell or- dy: Organ Works and Transcriptions. ished and augmented triads, unresolved organ in Cranleigh College Chapel is gan at St. Mary-le-Bow in London. The Gail Archer, organist. Available from dissonances)—had a great positive infl u- dealt with in articles by John Mander church had to be extensively rebuilt after 16 THE DIAPASON Ad nos ad salutarem undam is based also made a separate transcription for 1627 as organist at the court in Stuttgart, ing doubled an octave above by a singer. on an original melody taken from the harpsichord, BWV 592a) and of the where he died in 1635 from the plague. There is only one variation in triple time, fi rst act of Meyerbeer’s grand opera, Le only surviving movement of Ernst’s lost He is to be regarded as a southern con- no. 39 in 3/2, although the last six bars of Prophète, which premiered in Paris in Concerto in C Major, BWV 595, which temporary of Scheidt, Schildt, Prae- no. 19 utilize triplet rhythms. Variations 1849. The opera was greatly popular, occupy the fi rst and fi fth tracks. After torius, and Scheidemann in the north. 26 and 27 are based on long written-out hailed by both critics and audiences alike, this comes a transcription of a transcrip- This volume was clearly intended as a trills in 32nd notes in bass and treble re- and Liszt capitalized on its popularity by tion. J. S. Bach arranged Vivaldi’s Con- compendium showing the many ways in spectively, such notation appearing oc- responding with an original work based certo in B Minor for four violins, strings, which a chorale melody could be treated, casionally in other variations. The player on Meyerbeer’s thematic material. One and continuo for four harpsichords and the organist making a selection from it to should not feel inhibited in adding further year later Liszt wrote this original organ strings, BWV 1065, and Joan Lippincott suit his needs at the time; it would have ornaments. A comparison with the nine- work. “Ad nos,” as it is called among or- has here made her own transcription of been understood that they were never in- verse setting included by Samuel Scheidt ganists, is an extended fantasia, followed Bach’s transcription for the organ. The tended to be played one after the other. in the fi rst part of his Tabulatura Nova of by an adagio section, and concluding fi nal piece on the compact disc is the Al- Each movement is fully described by the 1624 will be well worthwhile; Steigleder with a complex fugue. In this monumen- labreve in D Major, BWV 589. composer in a heading, and numbered. also does not specifi cally prescribe ped- tal work, Archer exploits the resources of The organ chosen for the recording is The opening movement is a lengthy als, but they can indeed be employed in the Vassar organ well and presents this the 39-stop, two-manual-and-pedal Joe Fantasia or Fugue in the manner of a the variations by Steigleder at the ap- multi-sectioned work as a coherent and R. Engle Organ in the Miller Chapel of grand chorale motet, which only rarely propriate pitch to give out the melody. satisfying musical statement, which is no Princeton Theological Seminary, built ventures into 16th notes, followed by two Only the outer variations by Steigleder small task indeed. by Paul Fritts & Co. of Tacoma, Wash- much shorter Fantasias or Fugues “for approach the taxing technical demands Concluding this musical trinity of major ington, Opus 20 of 2000. The chapel has those who are not well served by lengthy of the North German composer. works is the set of variations on a theme good acoustics and the organ is placed fugues.” The closing Toccata combines Steigleder writes at the head of several from the fi rst chorus in Bach’s Cantata in a free-standing position in the apse, free elements with imitative fi gures de- variations that the melody can also be BWV 12, Weinen, Klagen, Sorgen, Zagen speaking down the central axis of the rived from the melody before closing sung, or played on an instrument, at the (Weeping, lamenting, worrying, fearing). room. While it does not slavishly copy with an explosion of 16th-note fi guration. appropriate pitch, which would make a Bach himself later transcribed this music the work of any particular organ builder, A very much shorter and simpler version most interesting option for performance and used a good portion of this fi rst cho- both the tonal design and the design of from a manuscript in Vienna is given as today. This new edition is clearly printed, rus as the Crucifi xus of the Mass in B Mi- the casework owe much to eighteenth- an appendix. The chorale is treated most with the great majority of variations cov- nor. This is a later work of Liszt, which he century German precedents, and this frequently as an unornamented cantus ering one or two pages without requiring composed in 1882 after the death of his coupled with the unequal (“well-tem- fi rmus, appearing in the treble (11 varia- page turns; it is only in the lengthy open- daughter. Having these three major works pered”) 1/5-comma Kellner tempera- tions), tenor (7 variations) and bass (7 ing and closing movements that a page- of Liszt so clearly and dramatically played ment make it an ideal instrument for variations)—appearance in the alto is turner will be required. In several varia- on this recording is a real treasure. performing Bach. conspicuously lacking. The chorale is pre- tions the player must not forget to hold Rounding out this disc are two works I especially liked Joan Lippincott’s sented in an ornamented manner in the the fi nal double whole note in one voice inspired by Liszt’s son-in-law, Rich- transcription of BWV 1065, which seems treble (nos. 10 and 28), tenor (34) and right until the end of the passagework in ard Wagner. It is nice to have included ideally suited to the organ. Indeed, I had bass (38). Three variations are written the other voices, otherwise the result will here the seldom-played and poignant always thought Bach’s transcription for in two parts only, with crossed voices in sound most strange! The introduction Am Grabe Richard Wagners, one of the four harpsichords was in some ways an no. 12, while no. 13 is a bicinium in the and critical commentary are, as is usual shortest original organ works that Liszt attempt to achieve the grandeur of the Sweelinck-Scheidt manner. In no. 29, for this publisher, given only in German, wrote, in May of 1883, four months after organ within a chamber music context. headed Fuga, in 3 voices, the chorale ap- the extensive preface and headings in the Wagner’s death in Venice. Also included The standard of playing and recording pears phrase by phrase, opening in the original print are given in old German is the famous Pilgrim’s Chorus from is impeccable throughout, and from the bass, being followed at a distance of two only—a translation for those who do not Tannhäuser. This work exists in a num- joyous opening with the Ernst Concerto bars in the bass, and in no. 35 the chorale read German would have made this edi- ber of versions—for organ solo, string in G Major to the Allabreve in D Major, melody alternates between treble and tion so much more useful. Also included quartet and harp, and for solo piano. I recommend this recording as an excel- tenor on a phrase-by-phrase basis. No. 24 are two Latin elegies in praise of the And as mentioned earlier, some of lent compact disc throughout. is primarily in two parts, the chorale pre- work and composer—again, a translation Liszt’s most important contributions to —John L. Speller sented in whole notes in the treble over a would have been helpful. This volume the keyboard literature for both piano St. Louis, Missouri running eighth-note bass, but in each bar will be very much appreciated by organ- and organ are the transcriptions of oper- there is a half note a fourth below in the ists of today who need short settings of atic and symphonic literature. In an age alto, giving a most archaic effect. the Lord’s Prayer, and the challenging long before digital communication, the All in all there are three variations in outer movements will be suitable as vol- Beethoven symphonies were transmit- New Organ Music two parts, 18 in three parts and 18 in four untaries or recital pieces. ted in great part by the piano transcrip- parts, with one in either three or four —John Collins tions that Liszt made of these seminal parts, the chorale melody in the bass be- Sussex, England works. Notably, Liszt transcribed just Sing Alleluia! Three Hymn Preludes one excerpt for organ from Wagner, the for Organ, by Kenneth T. Kosche. Pilgrim’s Chorus from Tannhäuser. MorningStar Music Publishers, This is a highly recommended record- MSM-10-743, $10.00. INCE 1979, we have ing for the serious lover of the organ Church organists will enjoy this collec- works of Franz Liszt. The only complaint tion of three well-known hymn tunes. O designed and built over here is the lack of program notes, and no Morning Star (Wie schön Leuchtet) 120 new pipe organs for information whatsoever about the organ, is set in a Baroque style, with a duet in S which many purchasers of these record- the manuals (the right hand mostly in clients in Australia, Austria, ings look forward to reading. However, gently moving sixteenths and the left in New Zealand, England, enjoy this recording with many repeated eighths) and the pedal containing the listenings for the ultimate effect of em- melody on a 4-foot stop. The tune Allelu- Canada and the United States. bracing this music. ia! Sing to Jesus (Hyfrydol) has a nice Our instruments, whether —David Wagner trio ritornello that separates segments of Madonna University the hymn tune. The fi nal tune, Praise, tracker or electric action, have Livonia, Michigan My Soul, the King of Heaven (Lauda been praised for their rugged Anima), features a simple fanfare prior construction, comfortable to and between the hymn harmoniza- Opus 116 J. S. Bach, Concerto Transcriptions. tion. The piece concludes with the fan- consoles, responsive key Joan Lippincott, organ. Paul Fritts fare as well. The Table of Contents lists actions and tonal integrity. organ, Princeton Theological Semi- alternate texts for each tune, so a fi rst nary. Gothic Records compact disc, quick glance is confusing, as the volume New cases, keyboards, G-49275; AUGUST, 2012 17 Pavana Lachrimae: A California Tribute to Gustav Leonhardt Lee T. Lovallo he stately leaded glass Venetian TBallroom of the late Gothic revival Berkeley City Club, not far from the uni- versity, was the site of a respectful and altogether moving program in honor of a great musician and friend, Gustav Leon- hardt. On a beautiful afternoon in June 2012, more than a hundred musicians, scholars, instrument builders, music lov- ers, and friends from all over the United States gathered to hear tributes spoken and performed by students of Leon- hardt, whose inspired teaching, sensitive playing, and boundless enthusiasm over a 60-year career touched many and in- fl uenced not only his students but also the direction of early music performance throughout the world. The well-orga- nized and very well-attended tribute as part of the Early Music America Berke- ley Festival and Exhibition was inspired and presented by former Leonhardt student Elaine Thornburgh and others of the Western Early Keyboard Associa- tion (WEKA), and by Gilbert Martinez of MusicSources, a Bay Area center for historically informed performance. The program began with an eloquent appreciation by Lisa Goode Crawford, who spoke for many of Leonhardt’s students in praising the qualities of his instruction: his emphasis on expressive playing—how to make dynamic shapes, how to vary the degree of legato, and how to think about Baroque music and its af- fects. The infl uence of Leonhardt on the early music scene in the United States was documented in a program booklet Performers at the Gustav Leonhardt tribute program in Berkeley, left to right: Linda Burman-Hall, Margaret Irwin-Brandon, that gave the names of 55 students—a Tamara Loring, JungHae Kim, Elaine Funaro, Webb Wiggins, Lisa Goode Crawford, Jillon Stoppels Dupree, Elaine Thornburgh, partial listing of many more—who had Lenora McCroskey, Elisabeth Wright, Charlotte Mattax Moersch, Anthony Martin, Stephen Schultz, Joshua Lee studied with him in the Netherlands. Many of his pupils, now well known in as “some of the most soulful, mournful, and performed together the fi nal cho- In a lengthy remembrance written their own right, have carried his ideas in and joyous” music he had ever heard, rale from Bach’s The Passion According for the program booklet, Alan Curtis, turn to countless music students and au- the effect of which was no doubt height- to St. John, “Lord, may thy dear angel at another student of Leonhardt and now diences in America and beyond. ened by the sensitive request to withhold mine end bear my soul unto the lap of a renowned scholar, teacher, and per- As is most fi tting for such a program, applause until the end of the program. Abraham,” an apposite refl ection of Le- former himself, spoke not only of the the tone of which was marked by deeply Keyboardists performing were Elaine onhardt’s own faith. Dutch master’s strongly held but not im- felt respect and affection, the centerpiece Funaro, Webb Wiggins, Lenora McCros- Following the performance, many of mutable opinions on music but also of was an hour of works by late Renais- key, Tamara Loring, Linda Burman-Hall, the performers and audience gathered Leonhardt’s other passions—collecting sance and Baroque masters—Sweelinck, Elaine Thornburgh, Elisabeth Wright, close by at Musical Offering, a cafe furniture, porcelain, Delftware, and Froberger, Louis Couperin, Frescobaldi, JungHae Kim, Lisa Goode Crawford, and CD store, for a reception to share silver, reading Thomas Mann and Som- Forqueray, and Bach, to name a few— Charlotte Mattax Moersch, Jillon Stop- memories and stories before continu- erset Maugham, appreciating the art of performed on harpsichord and spinet, pels Drupree, and Margaret Irwin- ing with the rest of this penultimate Cezanne—a devotion that is refl ected in but also including the Trio Sonata from Brandon. The Trio Sonata included su- day of the Berkeley Festival and Exhi- many of his students’ interests in the hu- Bach’s Musical Offering for fl ute, violin, perb contributions by Stephen Schultz, bition, a day that ended fi ttingly with manities and the visual arts. Alan Curtis harpsichord, and viola da gamba. In all, Anthony Martin, Joshua Lee, and Lisa a memorable performance of Bach’s also wrote of Leonhardt’s sense of hu- a dozen of Leonhardt’s harpsichord stu- Goode Crawford. In conclusion, the Trauerode by the American Bach Solo- mor: an improvised sonata that he de- dents played what one listener described gathered musicians and listeners sang ists under Jeffrey Thomas. scribed as possibly one of Scarlatti’s only because he “didn’t know all of them,” and, following a masterclass he gave in Texas, his asking a waitress in a restau- rant there for a “Fro-burger.” Among the many other recollections Thousands of titles, top-tier publishers... shared in the program were Elaine Fun- aro’s listening to a “very personal and moving rendition of the Gibbons pavan” played by Leonhardt at his home, which experience she returned by playing the pavan for the audience in Berkeley. No doubt Elisabeth Wright’s praise for Le- onhardt’s teaching is shared by all his stu- dents: “It was an extraordinary education by an extraordinary man who left an in- delible mark on us all.” For myself, who OneLicense.net came to appreciate Leonhardt through his recordings of organ music, particu- forSUNDAY larly the works of Sweelinck, there could ANNUAL and ONE-TIME be no more eloquent testimony to Le- BULLETINS, onhardt’s art than that provided on June CHURCH COPYRIGHT 8, 2012 by Webb Wiggins’s immensely WEDDINGandFUNERAL sensitive playing of Sweelinck’s heartfelt PROGRAMS, Pavana Lachrimae, a tearful and noble PERMISSIONS pavan indeed. Q PROJECTION, Lee T. Lovallo is assistant professor of mu- sic at National University, Sacramento, and SPECIALSERVICE is also active in building and restoring pipe organs and in maintaining harpsichords. Dr. BOOKLETS, Lovallo serves as the secretary for the West- ern Early Keyboard Association and is the PRACTICE TRACKS, Log on and take the tour today! organist at St. Andrew’s Episcopal Church, Antelope, California, where he plays a histor- and PODCASTS ical-style meantone organ. Most recently he was heard in a program of organ ricercari at 800.663.1501 a symposium devoted to the music of Jacques Buus (ca. 1500–1565). 18 THE DIAPASON Christopher Houlihan Vierne Marathon A review of the New York recital Jonathan B. Hall The second movement—one of the Vierne 2012 most extraordinary and affi rmative things June 2, Church of the Ascension, Vierne ever composed—contained some New York City wonderful registrational and interpretive June 15–16, St. John’s Cathedral, moments. The second largo section is Denver represented in my notes as “bell-like . . . July 6–7, Rockefeller Chapel, Chi- luscious . . . dreamy.” The agitato sections cago presented almost too great a contrast July 19–20, Cathedral of Our Lady to these; a study in emotional struggle, of the Angels, Los Angeles though on the fast side. The scherzo August 3–4, Church of the Gesù, showed great insight into the pathos hid- Montreal den inside Vierne’s merriment. The can- August 18, Church of the Incarna- tabile gave us altogether new sounds, not tion, Dallas heard before in this recital; the use of supercouplers and tremulant was fasci- nating. The left-hand melody, on a reed, n Saturday, June 2, Christopher was exquisitely musical. Finally, the fi nale OHoulihan kicked off his six-city tour took off very convincingly and thrillingly of the six Vierne symphonies with two after a strikingly rubato opening. There recitals at the Church of the Ascension was no doubt that, again, Houlihan can on Fifth Avenue in New York City. This cut to the emotional heart of a piece and church has been since 2010 the home to communicate it to an audience; witness a large and very successful Pascal Quoi- the tremendous applause this piece met rin organ. There is no doubt that the pro- at its conclusion. gram performed on it that day will stand Christopher Houlihan (photo credit: Ali Winberry) as one of the greatest of its career. Fourth Symphony There were two recitals with three tour logo as on the booklet. Others in were always accurate, never fear: Houli- The brooding Fourth Symphony, so symphonies apiece. First, we heard the the audience were wearing another pin, han has formidable pedal technique, as unlike anything heard previously, came odd-numbered symphonies. After a lei- with the words HOULI FAN in large he would often demonstrate. But they off very well indeed from start to fi n- surely dinner break, the even-numbered letters. I was struck at the forthrightness didn’t always take on the full rhythmic ish. The fi rst movement brought out the were offered. In addition, a shorter in- and cleverness of the marketing side of shape, and structural import, that they crepuscular mood perfectly, as did the termission was inserted before the fi nal the tour, which extends to a very savvy might have. subsequent “allegro to nowhere” (my symphony on each program. The pro- Internet presence as well. Many friends I suspect that all of these issues, what- nickname for it). The menuet was played gramming design is astute, as it balances and well-wishers of Mr. Houlihan were ever their cause, will settle out during fl awlessly if a little quickly; my notes read early, middle, and late works; the recitals in attendance. the remainder of the tour. Taken all to- “a diamond, but Vierne is an opal.” But were well matched in terms of sheer mu- It was just a minute or two after three gether, they are light in the balance next overall, the emotional content of this sical heft. o’clock—on the very day when, seven- to the positives. symphony came across in all its complex A native of Somers, Connecticut, ty-fi ve years before, Louis Vierne had darkness. Houlihan’s vision led him to a Houlihan earned a bachelor’s degree at died at the console—that Dr. Keene Third Symphony strong, almost rough, reading of the fi nal Trinity College in Hartford, where he announced the artist, and Christopher In the Third Symphony, after a some- movement—technically perfect, and an studied with John Rose, and a master’s Houlihan emerged to warm applause. what more aggressive take on the fi rst honest and believable interpretation of degree at the Juilliard School, studying He began without spoken preliminaries, movement than I would personally the psychology of the work. with Paul Jacobs. He is Artist-in-Resi- and launched into the First Symphony. choose, there was a beautiful and con- dence at St. Ignatius of Antioch Epis- vincing cantilène. Here, Houlihan’s real Sixth Symphony copal Church in New York. During con- First Symphony affi nity for this music shone, with elegant Finally, after the briefest of technical cert season 2010–2011 he performed at From the fi rst notes, on the Swell, I shapings of the phrases, a loving and problems in the organ, the Sixth Sym- two AGO regional conventions, made was impressed. The opening movement lingering touch on the solo voices, and phony crowned the day. Here, rhythmic a European tour, and inaugurated the was played with the dignity and restraint other signs of great art. The penultimate precision and control were the order of new pipe organ at the Sondheim Per- called for. The registrations were expert: movement in this symphony was simply the day, without any detriment to the forming Arts Center in Iowa. His fi rst silky-smooth crescendi and decrescendi, gorgeously done, on all levels, and the emotional element. The second move- recording, made after his sophomore complete mastery of the swell-boxes. familiar fi nale was just right. ment was shaped beautifully; and the year in college, was reviewed by David The mutual chemistry of organist, com- scherzo was masterfully controlled, and Wagner (The Diapason, January 2009, poser, and instrument was apparent from Fifth Symphony came out in all its Halloween glory. The pp. 19–20). An interview with Houlihan the start. After a brief intermission, we heard penultimate movement ended with sim- was published in the November 2011 is- It must be acknowledged that not the Fifth Symphony. I’d taken advantage ply gorgeous registrations: shimmery and sue of The Diapason (“A Conversation everything was perfect in subsequent of the break to re-seat myself in a more ghostly, fear yielding to a moonrise. with Christopher Houlihan,” by Joyce movements. In particular, I think we secluded spot. I was rather closer to the As for the fi nal movement, I wonder Johnson Robinson). Christopher Houli- may envision Vierne’s characteristic Swell and farther from the rest of the if a new tradition is in the wings? Sev- han is represented by Phillip Trucken- chromaticism as carrying the emotional organ, but found I could compensate eral of us who were seated near the brod Concert Artists. content of the music; but the form of without much trouble. In addition, I was back found ourselves standing during To play all six Vierne symphonies is the movements, and in particular the by now convinced of how deeply Houli- the fi nal pages, watching the entire ge- a formidable undertaking, as anyone rhythmic aspect of the music, provide han “got” this organ. The fi rst movement stalt of the performance, especially the who has learned even one of them will a vital intellectual balance. One of the was masterful—in terms of its spacious pedal passages. These were pulled off as understand. The sheer audacity of the most important functions of Vierne’s breadth and harmonic language, clearly well as they ever have been before, ever. project—all the greater, as it comes characteristic ornamented ostinati, for later and reminiscent (to me) of Sow- The fact that we were standing helped from a man not yet twenty-fi ve years example, is precisely to provide relief erby. By this point in the recital, Houli- us to see, and also saved us the trouble old—is enough to elicit several bravos. and emotional distance, while building han seemed to be “in the zone.” Gone of jumping up as the music concluded. The recitals themselves elicited quite a up positive energy. Absent these, we are were the minor uncertainties, the feints Needless to say, the whole house was on few more. apt to fi nd ourselves in a sea of existen- at too much aggression or too much re- its feet in a second. I arrived at Ascension about fi fteen tial chromatic anxiety. serve. The scarifying last movement, in This ambitious program of all six Vi- minutes early. It was a warm day, and At certain moments, this rhythmic particular, he handled with both musi- erne symphonies is a musical event that I soon shed my blazer. I’d chosen a seat element was not yet as completely well- cal depth and technical insouciance— should be experienced if at all possible. discreetly removed from the bulk of the controlled as it might have been. Even making one of Vierne’s most devilish It will long be remembered, I am sure, audience, in order to write uninhibit- in a lighter and lyrical movement, such moments look easy. as one of New York’s all-time great or- edly without raising curiosity or causing as the pastorale—where the singing line After a well-earned standing ovation, gan recitals. I daresay the same will be distraction. Dennis Keene, the gracious was exquisite, and the registrations both there was a substantial dinner break; said, or has already been said, in the re- music director of Ascension, politely authentic and really beautiful—I missed perhaps even longer than necessary. I maining cities on the itinerary. Bravo to remanded me to an acoustically ideal the rhythmic shaping that would have walked with a colleague to a favorite Christopher Houlihan for taking on such seat in the center of the nave. Before strengthened what is otherwise, hon- nearby diner, and then a post-prandial a massive project, and for carrying it off the recital began, Keene was visible in estly, a rather light movement. Some- coffee. The evening recital began right with so much intelligence, artistry, and the narthex and aisles, warmly greeting thing similar came up in the scherzo- on time, and again I seated myself in a communicative power. Houlihan has a audience members. He was clearly rel- like fourth movement, marked allegro new location, this time on the left side, bright future indeed, and it was a joy to ishing his role as host, and was a most vivace. Here, the common performance nearer the Great. Here, the combination witness this milestone in his career. Q gracious and friendly presence. issue (at least for organists) of cramp- action was surprisingly noisy at times, There was an attractive Vierne 2012 ing smaller note values caused some but it was a nice vantage point overall. Jonathan B. Hall is music director of Cen- booklet, listing the entire tour itiner- problems in the upward arpeggios. (I tral Presbyterian Church in Montclair, New ary, the ordering of the recitals, and have always found the scherzo in the Second Symphony Jersey. His fi rst book, Calvin Hampton: A biographical information on both Vierne Twenty-Four Pieces to have more musi- The recital opened with the Second Musician Without Borders, is available from Wayne Leupold Editions. He is past dean of and Houlihan. Also, a smaller printed cal depth than this movement. There is Symphony, which Houlihan played from the Brooklyn AGO Chapter. program gave the history and specifi ca- scant room here for even the smallest memory. He made a good, strong start of tions of the Manton Memorial Organ, drop in fl uency.) it, which he carried through to the end; as the Quoirin at Ascension is offi cially Also, Vierne is very fond of what I like despite, again, a little rhythmic “crowd- called. (See The Diapason, November to call his “cello solos”: brief transitional ing” in a few spots. In this movement, Visit The Diapason website: 2011, pp. 1, 30–32.) Finally, I was also bridges in the pedal. There were times the transitional passages and contrasting www.TheDiapason.com given a button to wear, with the same when I missed the point of these. They materials were handled perfectly. AUGUST, 2012 19 Dedication of Casavant Opus 3875 Kauffman Center, Kansas City, Missouri David C. Pickering he opening of Kansas City’s Kauff- Bourdons, the faint but quaint Positif 16′ Tman Center for the Performing Arts Quintaton and that same division’s de- in September 2011 ended a sixteen-year lightful 1′ Piccolo, a stop not often found search for a new location to house three on organs even of this size. The Positif 16′ of the region’s leading performing arts Clarinette, a delicate string and celeste, organizations—the Kansas City Ballet, and the Clochettes accompanied by the Kansas City Symphony, and Lyric Opera Positif 4′ Flûte douce each made brief of Kansas City. Civic leader and philan- appearances. Christie imbued this work thropist Muriel McBrien Kauffman fi rst with a mesmerizing dance-like spirit that articulated the vision of the Kauffman demonstrated his informed musicianship Center in the mid-1990s. After her death, and technical fi nesse. daughter Julia Irene Kauffman worked to The program’s fi rst half concluded bring this vision to reality. Designed by with Johann Sebastian Bach’s Toccata world-renowned architect Moshe Safdie, and Fugue in D Minor, BWV 565. Chris- whose work encompasses a wide variety tie dialogued the toccata’s opening state- of structures including airports, govern- ments on the Grand Orgue and Positif ment buildings, libraries, museums, divisions, whose notes were immediately and residences, the Kauffman Center humbled into silence by the thundering boasts two major performance spaces— pedal point that followed. He effectively the 1,800-seat proscenium-style Muriel dialogued the fugue’s middle section epi- Kauffman Theatre, home to the ballet sodic material by ascending all four man- and opera, and the 1,600-seat Helzberg uals in stair-step fashion, creating both Hall, which hosts a variety of local, re- an aural soundscape and visual interest gional, national, and international artists James David Christie at the the Julia Irene Kauffman Casavant Organ, Opus 3875 for the audience. Christie unleashed the and performance groups, in addition to (photo by Mary S. Watkins, courtesy of Kauffman Center for the Performing Arts) organ’s full resources for the fi nal few serving as the home of the Kansas City measures of the fugue, creating a drama Symphony. Ground-breaking ceremo- and excitement that could have engaged nies for the Kauffman Center were held even the most casual listener. October 6, 2006, and the grand opening Christie conveyed his love of Baroque- weekend of the Kauffman Center was era music superbly by combining a thor- held about fi ve years later on September ough understanding of the performance 16–17, 2011, capped off by a free public practice traditions of different countries open house September 18, which drew within this era, a freedom and spontane- an astonishing 55,000 people during a ity uninhibited by technical showman- six-hour period. ship, and a warmth and sensitivity that is As discussions for the Kauffman Cen- often missing in performance of this era’s ter were initiated in the 1990s, John music. His use of the organ combined in- Obetz, Principal Organist at the Reor- formed scholarship, which those in the ganized Church of Jesus Christ of Latter profession appreciated, with the ability Day Saints (now Community of Christ) to show a wide range of the organ’s dif- in Independence, Missouri, and other ferent sounds that were obviously ap- area organists approached Julia Kauff- preciated by the enthusiastic audience. man about the idea of including a pipe The character and voicing of the plena organ in the plans for a new concert hall. and stops demonstrated in this half of Obetz invited the people involved with the program was some of the fi nest this the Kauffman Center’s planning to the reviewer has heard from Casavant—so Community of Christ Temple in nearby much so that this reviewer wishes that Independence, home to what was then the organ were more present in the hall. a new organ by Casavant Frères Opus Whether the need of greater presence is 3700 (1993), where he played sections Christie addresses audience (photo by Mary S. Watkins, courtesy of Kauffman Center for the due to the full house that yielded a drier from the Symphony No. 3 in C Minor, Performing Arts) acoustic than that in which the organ was op. 78, by Camille Saint-Saëns. A tour of voiced, the need for more manual cou- the organ for committee members fol- ing. The Julia Irene Kauffman Organ is Grand Choeur’s Cornet decomposeé and pling, the organ’s dependence on higher- lowed, and the seeds for the new concert prominently featured at the front of the the Positif Cromorne. Those in the au- pressure stops to effectively convey forte hall organ were sown. Helzberg Hall, a beautiful facility awash dience who were anxiously anticipating and fortissimo dynamic levels, or the As an organ committee was formed with wood and soothing blue colors. The the entrance of the Pédale division’s 32′ general need for increased wind pres- and various organ builders considered, organ’s façade features both wooden and Contre-Bombarde did not have to wait sures are issues that will no doubt be an- the committee traveled once again to metal reed, principal, and string pipes long—Christie engaged this stop for the alyzed and hopefully rectifi ed with more the Community of Christ Temple to angled forward and sideways. A mesh fi nal two measures, revealing a sound study and the passage of time. Likewise, hear Casavant Opus 3700, demonstrated screen separates the visible façade from that was surprisingly smooth and refi ned. there is much anticipation over how the by Obetz’s successor Jan Kraybill. This the other organ pipes. Christie’s beautifully nuanced, yet dra- instrument will perform with a full or- eventually led the committee to select The recital opened with remarks of matic playing showed a thorough mas- chestra in the hall. the Casavant fi rm to design and construct welcome from Jane Chu, President and tery of the French Classical style, which The program’s second half comprised the organ for the Kauffman Center—it Chief Executive Offi cer of the Kauffman lent a magisterial air to the opening of forty additional minutes of music featur- would be the Kansas City metropolitan Center, Julia Irene Kauffman, James the program that was extremely fi tting. ing primarily works of French composers area’s second large Casavant organ. James David Christie, and Casavant owner Dieterich Buxtehude’s Passacaglia in from the late nineteenth and early twen- David Christie, Professor of Music at the Bertin Nadeau, who presented a token D Minor, BuxWV 161, followed, dem- tieth centuries, and a work by Christie Oberlin Conservatory of Music in Ober- organ pipe to Ms. Kauffman on behalf onstrating the Grand Orgue’s refi ned himself, composed in the French idiom lin, Ohio, Distinguished Artist-in-Resi- of the company. Since the organ em- 8′ Montre and the uncoupled plena of in the early years of the twenty-fi rst cen- dence at Holy Cross College in Worces- ploys mechanical action and the console the Positif and Grand Orgue divisions, tury. I believe that the Julia Irene Kauff- ter, Massachusetts, and organist for the is connected directly to the instrument, the latter accompanied by the Pédale’s man Organ fi nally found its voice with the Boston Symphony Orchestra, was hired to closed-circuit cameras were employed so principal plenum colored by the divi- opening chords of Guy Ropartz’s Sortie serve as the organ consultant for this new that the audience could view Christie’s sion’s smooth 16′ Basson. Christie built (from his Six pièces), and it was imme- instrument, which has since been named pedal and manual movements on two the organ’s registration to climax with diately obvious that while the organ can the Julia Irene Kauffman Organ. huge screens that were posted on the the Pédale division’s 32′ Montre, which play earlier literature competently, it is The inaugural recital weekend March stage fl oor. Whenever he played a pedal provided a fi rm underpinning to the music of the French symphonic style in 10–11, 2012 featured James David part that was particularly interesting for composition’s conclusion. The next two which this instrument feels truly at home. Christie performing an eighty-minute the audience to see, a small additional works, Rondò in G Major by Giuseppe The organ sounded more present in this recital containing a varied selection of screen linked to a camera that was fo- Gherardeschi and Ballo della Battaglia work due to the presence of the Grand music, which included several composi- cused on Christie’s feet was displayed at by Bernardo Storace, were unfamiliar to Choeur division’s hooded reeds, which in tions that are largely unknown to organ- the corner of each screen, thus providing almost everyone. Christie charmed the this reviewer’s opinion must be engaged ists. Tickets for the inaugural recital sold further enjoyment and interest to every- audience by adding the Rossignol in the for the organ’s presence to adequately fi ll out quickly, to the surprise and delight one. The quality of the projected image Rondò while the Storace dialogued the the hall. The organ chamber’s lights were of many. In response to the demand for was positively superb. organ’s principal and reed choruses. turned on for this piece’s entirety to clev- tickets, the Kauffman Center staff and The fi rst half of Christie’s program, One of the program’s most sublime er effect, so that the audience could have Mr. Christie generously offered to pro- which consisted of forty minutes of mu- moments was Christie’s performance of an excellent view of its pipes and expres- vide a second recital scheduled for the sic, was devoted almost solely to music Johann Bernhard Bach’s Ciaconna in B- sive division shutter movements that are following evening—which also sold out. of France, Germany, and Italy written fl at Major, an attractive work of about located behind the mesh screen. The Christie’s decision to perform two nights during the Baroque period. Christie ten minutes’ duration that allows the or- dynamic volume of the organ’s expres- in a row was particularly dramatic, given opened the program with Louis Mar- ganist to explore an instrument’s varied sive divisions increased the most when the scope and diffi culty of the program chand’s well-known Dialogue from his stops and choruses. Christie both opened the shutters were opened the fi rst third he presented. I attended the second per- Troisième Livre, showcasing the organ’s and closed this composition with the ar- to half way. Unfortunately, the remain- formance (March 11) and was situated in fi ery Grand jeu, the mellow 16′, 8′ and resting 8′ Cor de Nuit from the Récit ing two-thirds to half of the distance that the Mezzanine Left section of the hall, 4′ fonds d’orgue, a breathy Flûte har- division. Other solo fl ute stops featured the shutters moved produced no further one level up from the main fl oor seat- monique from the Récit division, the included the Grand Orgue and Positif 8′ dynamic contrast and the movement of 20 THE DIAPASON 1 ′ the audience having been fed a varied 5⁄3 Grand Nazard 50% tin 4′ Flûte 50% tin feast of music from several countries and 1 3⁄5′ Grande Tierce 50% tin historical eras. 2 2⁄3′ Nazard 50% tin Although the organ sounded more 2′ Quarte de Nazard 50% tin 3 present in the hall during the second 1⁄5′ Tierce 50% tin half, I still wished for more presence in 8′ Cor anglais 50% tin the room. From where I was sitting in 16′ Trombone 70% tin full length, hooded the hall, the sound of completely full or- ′ gan adequately fi lled the hall, but even 8 Trompette harmonique 70% tin hooded more sound would not have been an 4′ Clairon harmonique 70% tin unwelcome guest. While the designated hooded, breaking to 8′ at #45 star of the evening’s performance was the Julia Irene Kauffman Organ, organ- RÉCIT (III) Expressive ist James David Christie deserves equal 16′ Bourdon doux, 1–24 wood 22% tin recognition for the knuckle-busting pro- 8′ Diapason, slotted 70% tin 8′ Cor de Nuit, 1–12 wood 22% tin gram he dispatched with such élan, es- ′ pecially considering that he played this 8 Flûte traversière, slotted 70% tin 8′ Viole de Gambe, slotted 70% tin recital two times in two days for sold-out 8′ Voix céleste, slotted 70% tin audiences. Christie’s performances on 4′ Octave, slotted 70% tin the Julia Irene Kauffman Organ repre- 4′ Flûte octaviante 70% tin 2 sent only one facet of the organ’s mis- 2⁄3′ Nazard harmonique 70% tin sion. The public will experience how 2′ Octavin 70% tin 3 this organ functions as both an orchestra 1⁄5′ Tierce harmonique 70% tin 2′ Plein Jeu harmonique III–VI 70% tin member and a solo instrument with or- ′ chestra in its future performances with 16 Bombarde, full-length 50% tin from C2 the Kansas City Symphony. 8′ Trompette harmonique 50% tin The benefi ts that the classical music 8′ Hautbois 50% tin scene in Kansas City has received from 8′ Voix humaine 50% tin The Julia Irene Kauffman Casavant Organ, Opus 3875, Kauffman Center, Kansas the construction of the Kauffman Center 4′ Clairon harmonique 50% tin City, Missouri (photo credit: Tim Hursley) have been immediate and tangible. Ku- no breaking back dos are especially in order to Julia Irene Tremblant à vent perdu Kauffman for her generosity and to John Obetz and the organ committee who POSITIF (II) Expressive 16′ Quintaton, 1–12 stopped wood 50% tin lobbied for the organ’s inclusion in Helz- 8′ Principal 70% tin berg Hall. The building of any new or- 8′ Salicional, slotted 70% tin gan gives organists everywhere cause for 8′ Unda Maris (TC), slotted 70% tin celebration; the appearance of the Julia 8′ Bourdon 50% tin Irene Kauffman Organ is no exception. 8′ Flûte harmonique 70% tin I have high hopes that Christie’s recital 4′ Prestant 70% tin represents the dawning of a new chap- 4′ Flûte douce 50% tin 2 ′ ter for the pipe organ in the Kansas City 2⁄3 Nazard 50% tin 2′ Quarte de Nazard 50% tin music scene that will inspire performers 3 1⁄5′ Tierce 50% tin and audiences for years to come. 1 Q 1⁄3′ Larigot 50% tin 1′ Piccolo 50% tin David C. Pickering is Assistant Professor of 1′ Plein Jeu V 70% tin Music at Kansas State University and organ- 16′ Clarinette 50% tin ist at First Presbyterian Church in Manhat- 8′ Trompette 70% tin tan, Kansas. He is an active recitalist, having 8′ Cromorne 70% tin performed throughout the United States and 4′ Clairon (no breaking back) 70% tin Canada. Pickering’s three recordings feature Tremblant à vent perdu the organ music of American composers Dan- iel Gawthrop, Alice Jordan, and Leroy Rob- PÉDALE ertson. He has also authored articles on these 32′ Montre, wood, ext composers that have appeared in The Ameri- 32′ Soubasse, wood, ext The Kauffman Center for the Performing Arts, Kansas City (photo credit: Tim Hursley) can Organist and THE DIAPASON. His degrees 16′ Contrebasse, open wood, slotted in organ performance (DMA, MM, BM) are 16′ Montre 70% tin from C2 some shutters was slightly spasmodic and ally died into oblivion. The effect was from the University of Kansas and Brigham 16′ Violonbasse, open wood, slotted not completely smooth. Surely, this small magical. Christie concluded the program Young University. 70% tin from C2 16′ Soubasse, stopped wood post-installation issue will be attended to with the Final of Alexandre Guilmant’s 2 10 ⁄3′ Grande Quinte, open wood, slotted in the coming months. Sonata No. 1 in D Minor—a piece he 8′ Flûte 22% tin Ermend Bonnal’s La vallée du Béhor- frequently performs. However, as was Casavant Opus 3875 ′ The Kauffman Center for the Performing 8 Violoncelle, slotted 70% tin léguy, au matin from his Paysages eu- evident in this performance, he never 8′ Bourdon 22% tin Arts, Kansas City, Missouri 2 skariens evoked a fl ood of soft and medi- seems to tire of it—his technical prow- 6⁄5′ Grande Tierce 22% tin 4 tative fl ute and string sounds; the Pédale ess was impressive and he yielded an 4⁄7′ Grande Septième 22% tin GRAND ORGUE (I) ′ 32′ Soubasse provided just the right overall exhilarating effect. The audience 16′ Montre 70% tin 4 Flûte 22% tin ′ 32′ Contre-Bombarde, wood, ext touch as the work drew to an introspec- gave Christie a well-deserved stand- 8 Montre 70% tin ′ 8′ Bourdon 22% tin 16 Bombarde, wood, full length tive close. Christie gave an impassioned ing ovation, and he responded with an 16′ Basson, full length, 50% tin from C2 performance of Jehan Alain’s most fa- encore—the second movement from the 4′ Prestant 70% tin 2 ′ 8′ Trompette 50% tin mous composition, Litanies, creating Guilmant Sonata (Pastorale). This piece 2⁄3 Quinte 70% tin ′ 2′ Doublette 70% tin 4 Clairon 50% tin truly visceral excitement as he played allowed Christie to demonstrate stops he 8′ Cornet V (MC) 50% tin 2 Couplers the work’s fi nal two pages—some of the had not yet featured—the Récit Voix hu- 2⁄3′ Grande Fourniture II–IV 70% tin 1 Grand Orgue/Pédale most diffi cult in the organ literature. The maine, which beautifully conveyed the 1⁄3′ Fourniture IV–V 70% tin 2 Grand Choeur/Pédale fervent outpouring of the soul described French mystical sentiment often associ- ⁄3′ Cymbale IV 70% tin by Alain on the work’s opening page was ated with this stop. This aura was further 16′ Bombarde 70% tin Récit aigu/Pédale tangibly felt. Christie, in turn, delivered heightened by the softly rumbling pedal 8′ Trompette 70% tin Récit/Pédale ′ 4′ Clairon 70% tin Positif/Pédale the most heartfelt playing of the evening accompaniment provided by the 32 Grand Choeur/Grand Orgue in his own Elégie, a work composed in Soubasse and other soft pedal stops. The GRAND CHOEUR (IV) Récit/Grand Orgue 2006 and dedicated to his former teach- Grand Choeur Cor Anglais, which had Expressive Positif/Grand Orgue ers: Sister Dolorette Recla, FSPA, and not yet been featured in the program, 16′ Bourdon, 1–24 wood 22% tin Octaves graves Jean Langlais. A plaintive solo fl ute per- dialogued nicely with the Récit division’s 8′ Bourdon, 1–12 wood 22% tin Récit/Positif meates the work’s opening, and Christie Hautbois with the return of the main 8′ Violoncelle, slotted 70% tin Grand Choeur/Positif created a truly ethereal effervescence by theme in the composition’s fi nal section. 8′ Flûte harmonique 70% tin All expressions to Récit pedal 8′ Voix angélique, slotted 70% tin coupling many of the organ’s string and When all was said and done, the whole 79 stops, 102 ranks, 5,548 pipes celeste stops together; the work eventu- program clocked in right at two hours, 8′ Voix céleste (TC), slotted 70% tin AUGUST, 2012 21 Skinner Opus 774 Is Saved Mike Foley t was July of 2004. The voice on the Iphone was Douglass Hunt, premier organ technician for some of New York City’s highest profi le churches and their giant organs. He had been in contact with Christ Church in the posh Bronx village of Riverdale. They were very in- terested in acquiring Skinner Opus 774, an original 1929 organ still installed at St. Paul’s Memorial Reformed Church in Reading, Pennsylvania. The building was closed and the organ needed to fi nd a home as soon as possible. Doug asked if we would survey both the organ and Christ Church for a possible match. We did, but alas, the organ couldn’t be made to fi t. Christ Church went back to their drawing board and the Skinner settled in for what was becoming a long and nervous wait for a new home. St. Paul’s building sale was under contract. The new owner wasn’t interested in the or- gan. It had to go, and soon. Others came to see this dirty but St. Mark’s Episcopal Church, Glendale, California otherwise untouched Skinner. In each case, a match wasn’t possible. Closing FBI tonal director Milovan Popovic in- day was fast approaching but a new spects Concert Flute. owner was not . . . until a chance meet- ing with Jack Bethards of Schoenstein in San Francisco. At lunch, we got talk- ing about Skinners and all the activity in resurrecting these somewhat forgotten masterpieces. Jack relayed a story about the Episcopal Church of St. Mark in Glendale, California, that was seriously looking for a vintage Skinner of about 30 ranks. Bingo! Many phone calls and one plane trip later, James Wallace, then music director of St. Mark’s, visited and heard the organ. To confi rm his fi ndings he brought none other than concert or- ganist Peter Richard Conte and the Wa- namaker organ’s curator, Curt Mangel. All quickly agreed: Opus 774 had found its new home. Back in Glendale, Rector Mark Weit- zel met with assistants and key church members to determine if there was hope for making the dream happen. Besides the organ, the project required a second organ chamber to be constructed above the transept—no small job and with no small cost. An important initial donation by longtime parishioner Isabel Soule The Choir/Great/Pedal chamber during erection at FBI’s Tolland, Connecticut facil- FBI techs guide the blower into the new launched the project, and our fi rm was ity. Special elevated chamber houses the harp. blower room. asked to remove the organ to our shop, where it would sleep until adequate funding could be raised for recondition- ing and installation. We were overfl owing with work and were forced to seek warehouse storage. As luck would have it, two weeks after the organ was freshly packed away, the warehouse representative called to an- nounce they were closing—but that we could simply move the organ to their second and new warehouse in a neigh- boring town for just a slightly higher monthly rental rate. With no alterna- tive, we did, and then a year after that, the second warehouse called to say we had to remove the organ, as they were converting to a specialty form of storage that certainly didn’t include pipe organs. Even the organ was getting tired of the moves. So much for “professional” stor- age warehouses. Thank goodness, Phil Carpenter, our head of fi eld operations, FBI tech Adam Lagocki shop tests one THE WANAMAKER ORGAN of the organ’s many pouch rails. Carved console is American black walnut. Ivory key tops are original but buffed. point that the church felt comfortable Listen to it worldwide going to contract. Ongoing fund-raising makes certain that each piece is invento- a third of the necessary funds. Then, the of every type and variety gathered the over the Internet! ried as this helped ward off the possibil- miracle happened. In 2007 the Bradley remaining needed funds. ity of loss with all the shuffl ing. No more Foundation of Philadelphia took inter- The organ’s quality and excellent con- Hourlong streamcasts warehouses; we brought Opus 774 to our est in the project and agreed to give a dition proved itself during the recondi- are featured at 5pm ET Tolland facility—on one of the hottest generous amount to save Opus 774. tioning process. With not a pipe or screw days on record in Connecticut. Certainly, Incredibly, not long thereafter, a grant missing, the instrument responded the first Sunday of this is one well-traveled Skinner. writer located the Ahmanson Founda- beautifully to the reconditioning process It was now 2007 and at Glendale tion, based in Los Angeles. Yet a second and then fi t perfectly into the chambers each month at wrti.org fund-raising went into high gear. Bro- and generous donation from this trust, at St. Mark’s. Every piece of leather, chures were printed and the committee established for the arts, offered an be it valve, gasket, reservoir, pouch or did all but pound on doors to raise over amount that brought fundraising to the pneumatic, was replaced. Every pipe 22 THE DIAPASON was washed and regulated. Every wire was replaced and every board refi nished. Thanks to the efforts of all involved and Skinner Opus 774 the fact that we had designed, cut, and St. Mark’s Episcopal Church, pre-erected each division, installation Glendale, California went like clockwork and the organ was ″ in and running within a few weeks. Ton- GREAT 5 wind pressure 16′ Bourdon al fi nishing took less than a month. St. 8′ First Diapason Mark’s enjoys a reverberant acoustic, and 8′ Second Diapason the organ, in its new chancel chambers, 8′ Clarabella has no problem fi lling the room. 4′ Octave The project was completed early and 2′ Fifteenth the organ was ready for Christmas of 8′ Tromba 2009. The dedication concert was on 8′ French Horn April 25, 2010. Peter Richard Conte, Chimes with his special affi nity for early twen- tieth-century Skinners, put the organ SWELL 7. 5 ″ wind pressure through its paces. The “new” Opus 774 16′ Bourdon hosted a most memorable concert. 8′ Diapason 8′ Rohrfl öte Like so many organ projects, this one ′ was faced with more than its share of ob- 8 Salicional 8′ Voix Celeste stacles and also like others, this project ′ was sprinkled with people who roll up 8 Aeoline 8′ Flute Celeste II Close-up of pipes of the Swell division their sleeves, push the obstacles aside, 4′ Flute Triangulaire and make a difference. The result is that 2′ Mixture III Opus 774 is in like-new condition, thor- 8′ Cornopean oughly appreciated, and safely installed 8′ Oboe d’Amore in its new California home. Q 8′ Vox Humana Tremolo Mike Foley was born and raised in Man- chester, Connecticut. He studied piano for 15 CHOIR 6″ wind pressure years and essentially taught himself to play 8′ Orchestral Flute theatre organ. He saw his fi rst pipe organ at 8′ Dulciana age 13 and, as he puts it, was never the same ′ thereafter. With friend Tom Felice’s help, he 8 Unda Maris 4′ Flute started collecting and selling used organ pipes ′ and parts, and when he was 17, they bought 8 Clarinet and installed the organ from Hartford’s Colo- Harp nial Theatre. Celesta In 1968 he teemed up with William Castle Tremolo Baker to form a “Keyboard Instrument Ser- vice” business they called Foley-Baker Enter- PEDAL 6″ wind pressure prises. Within months, and with some profes- 32′ Resultant sionally designed advertising, business grew 16′ Open Diapason to include the care of pianos, harpsichords, 16′ Bourdon electronic keyboards, and pipe organs. In 16′ Echo Lieblich (Sw 16′ Bourdon) 1982, Mike split off all but the pipe organ de- 8′ Octave (ext) partment to concentrate on building a high 8′ Gedeckt (ext) quality and nationally recognized pipe organ 8′ Still Gedeckt (Sw 16′ Bourdon) service business. 4′ Flute (ext) Foley-Baker Inc. employs 15 full-time 16′ Trombone (ext, Gt) technicians who, Mike acknowledges, are the ′ reason behind the fi rm’s success. FBI services 8 Tromba (Gt) instruments throughout the Northeast and is Chimes (Gt) Partial view of the completed Swell division regularly engaged in major work throughout America, some of it high profi le. Freshly installed pedal 16′ Open Diapason L–R: Father Mark Weitzel, rector; Bill Welker, Howard Brown (committee chair), Phil Carpenter (FBI job manager), and organist David Houston AUGUST, 2012 23 Vilnius—A Tale of Two Maestros, Two Organs, and a Work in Progress Bill Halsey ilnius, the capital of the modern re- Vpublic of Lithuania, has a romance that comes from its place at the confl u- ence of different cultures. This history as a many-fl avored stew of Lithuanian, Polish, Jewish, and Russian culture has left intriguing traces in modern Vilnius, including the enduring presence of a large Polish minority. The combined Kingdom of Poland and Grand Duchy of Lithuania, united by matrimony, in its heyday in the 17th century was the big- gest country in Europe, reaching almost to Moscow. But from the fi nal partition of Poland in 1795 until the First World War, the area of northeastern Poland, including Vilnius and Warsaw, was ruled by the Russians, who loved Vilnius for the climate. The poet Pushkin’s son and daughter-in-law lived there in a dacha on a wooded hill outside the old town. Adam Mickiewicz, Poland’s greatest poet, also lived in Vilnius, as did Stan- islaw Moniuszko, the composer of the greatest Polish national opera, Haunted Manor, who was the organist at St. John’s University in Vilnius. After Lithuania RadaviĀius organ, Sts. Peter and Paul Church, Vilnius gained a brief independence between the world wars, Vilnius was a subject of bitter contention between Lithuania and the also newly independent Poland, The side panel of the Casparini organ, but remained under de facto Polish con- dated 1776 and signed in Latin in gilt let- trol. When the Soviets took control after ters, fecit do[minus] Ada[m] (Casparini, World War II, Stalin removed the Polish Master Adam Casparini made [it]) population but it came back, seemingly from rural areas around Vilnius, during the more liberal era of the sixties and subsequent decades. First trip to Vilnius, 2010 My fi rst trip to Vilnius was in July 2010. I went to see the organ of St. John’s Church, located in the old town within the walls of St. John’s University. This organ, the biggest in Lithuania, had intrigued me by the serendipity of the fact that one of Wikipedia’s public-use photos when you search the keyword or- gan is of St. John’s façade with the bust of Moniuszko prominent in front. I was also curious about what the other organs of the capital were like. My trip was fairly unsuccessful. In July in Lithuania every- body seems to go on vacation, and that included the organist of St. John’s, Vidas The façade of the organ at St. John’s University Pinkevičius. I heard the organ played for a wedding and managed to get his tele- French. So I gave up, I hope graciously, The work on this organ, by the fi rm of phone number, but it was impossible to and resolved to arrange things better on R. Gučo, taking 17 years from 1983 until arrange access. On Sunday, all the Mass- my next trip. 2000, was only called a reconstruction es are done with guitars! because the Soviets were willing to pay I stayed in a hostel in the People’s Re- Second visit, 2011 for reconstructions or renovations but The statue of King David from the Vil- nius Casparini, now stored behind the public of Uzupis, an area down near the My second visit was in the beginning not new organs. It is unclear how much organ Vilnia River that seceded—playfully— of March 2011. I spent a long weekend of the work the Soviets paid for, but from Vilnius and Lithuania over the lack in the old town with a friend, one of the certainly a substantial portion, and it is original lies in an appalling state. of services. Now it is a rapidly gentrify- French university students who choose to their credit and to the credit of the This Casparini is the subject of a very ing area, full of crumbling red-brick con- to study in Vilnius (courses are in Eng- Lithuanian government that followed fi ne website, 24 THE DIAPASON 8′ Hol Flaut 16′ Basson 4′ Octava Principal 8′ Trompete 4′ Flaut Travers 8′ Hautbois 2′ Super Octava 3′ Qvinta 3 OW / III Manualas (C–g3) 3 1⁄5′ Tertia 16′ Flauto major 2′ Flasch Flöt 8′ Principal V Mixtura 8′ Viola gamba 8′ Trompet 8′ Flauto dulce 8′ Rohrfl aut Claviatura Secunda 4′ Octave 8′ Principal Amalel 4′ Gemshorn 8′ Flaut Major 4′ Flauto 8′ Jula 3′ Quinte 8′ Spil Flet 2′ Super Octave 3 8′ Unda Maris 1⁄5′ Tertia 1 4′ Principal 1⁄3′ Quinte 4′ Flaut Minor 1′ Sedecima 2′ Octava 1′ Mixtura III 2′ Wald Flöt Cymbel III IV Mixtura 8′ Vox humana 8′ Vox Humana 8′ Krummhorn Vox Campanorum Pedalai (C–f1) Pedal 32′ Subbass 16′ Principal Bass 16′ Principalbass 16′ Violon Bass 16′ Majorbass 12′ Full Bass 16′ Salicetbass ′ ′ View of the Church of the Holy Ghost, Vilnius, from the choir loft 8Octava Bass 16 Subbass 8′ Flaut & Qvint Bass Super 8′ Violonbass 4′ Octava Bass 8′ Füllbass a particularly good time trying out the sic.” One issue raised after the service 16′ Posaun Bass 8′ Flautbass capabilities of the wonderful organ at St. was that their organ, too, lacked funds 8′ Trompet Bass 4′ Flautbass John’s. I had also mentioned my interest for renovation, and in the new world of 4′ Mixtura IV in the Sts. Peter and Paul instrument, limited government services that has be- Stoplists for St. John’s and Sts. Peter and Paul 16′ Posaune are from AUGUST, 2012 25 Cover feature Thomas Prentice Sanborn (1892) Goulding & Wood, Inc. (2011) Cook Grand Hall Indiana Landmarks Center, Indianapolis, Indiana Downtown Indianapolis is home to a number of architecturally distinguished churches from the last quarter of the nineteenth century. In addition to loca- tions within the mile square of the city’s planned downtown, a few “sub-urban” churches line the periphery of the his- toric district. One of the latter is on Cen- tral Avenue, one of the city’s main con- duits, a mile and a half from city center. Built as the Central Avenue Methodist Episcopal Church, the building was the second church to serve the congregation. Following a tornado that severely dam- aged the original wooden structure, the congregation began planning the current church in 1886. The cornerstone was laid on 12 September 1891, and the building was completed in the following year. Central Avenue Methodist Church continued to grow in the early part of Façade pipe stencil shadows (courtesy the twentieth century, and by the 1920s Goulding & Wood) it was the largest Methodist congrega- tion in the state of Indiana. Accordingly, Cook Grand Hall organ, Indiana Landmarks Center (courtesy Indiana Landmarks) it played a large role in local Method- ism, and two of its pastors later became presidents of DePauw University in nearby Greencastle, Indiana. Although the changing demographics of the neigh- borhood brought a steady decline in membership in the second half of the twentieth century, the striking architec- ture of the building and the ardent com- mitment of the membership maintained the church as an important institution in downtown Indianapolis. The church interior follows the Audi- torium Plan popular in mainline Protes- tant churches in the last quarter of the nineteenth century. The original intent of this architectural design was providing a speaker with unobstructed visual and aural access to a large number of people. The sanctuary achieves this admirably; even without electronic amplifi cation, a speaker in the pulpit can be heard clearly throughout the 1,300-seat room. Curved walls, a rigid dome ceiling, and avoid- ance of absorptive material all contribute Finished console (courtesy Indiana Landmarks) Façade pipes after stripping (courtesy to the effi cacy of the acoustics for this Goulding & Wood) purpose. The room is then fi nished in an appropriate and aesthetically pleasing which lasted from 1916 to 1921, com- manner, with graceful carved elements in bined Seeburg’s skills as a piano builder the chancel furnishings and pews and el- and Smith’s knowledge of contempora- egant stained glass windows. The organ, neous English organ building, equipping which stood behind the pulpit, shares the them for building and maintaining the- most prominent position in the room, atre organs, player pianos, and orches- visually and acoustically. Although the trions. Evidence of their work on church room is clearly designed for worship in organs is sparse, and the timing of the the mainline, non-liturgical Protestant Indianapolis project near the dissolution tradition, it also supports musical perfor- of their fi rm may imply that they were mance involving the pipe organ. willing to accept work outside their focus The pipe organ was present at the since the fi rm was in trouble. They re- dedication of the building in 1892, with moved all of Sanborn’s console controls indications that the instrument was new and whatever actuating system inter- rather than retained from the previous faced with the windchest mechanics. In building. The prior church building held their place, they installed a cumbersome an organ built by William H. Clarke & electrical switching system and electro- Co. of Indianapolis, and this organ had pneumatic action for the chest mechan- been relocated there from another house ics. They also installed a new detached of worship. The organ in the new 1892 console that is not extant. Their work church was misattributed to Clarke for shows a fair degree of competency and many years, and identifi cation of the care, although the design of their me- builder was further clouded by the fact chanical systems lacked responsiveness, that after less than thirty years of service, reliability, and sensitivity. the organ’s mechanics were signifi cantly The congregation at Central Avenue altered. Any builder’s plate or other plac- UMC dissolved in 2006, and the unused ard naming the builder seems not to have room fell into disrepair until Indiana survived this project. Several identifi ca- Indiana Landmarks Center (copyright © Susan Fleck Photography) Landmarks, a historical preservation tions within the organ led conclusively to foundation, took interest in the building. identifying the builder as Thomas Pren- initials, a practice he did not follow on 27-note span. It is tempting to imagine Bloomington, Indiana philanthropists tice Sanborn. instruments he built with Clarke. that Sanborn was eager to make a bold William and Gayle Cook funded a com- Sanborn worked as the shop foreman The organ is quite large for its time, impression with this well-designed and prehensive restoration project, including for William Clarke, and it makes sense and it has many classical elements that robust organ. Perhaps he even thought completely refurbishing the interior and that he would have been familiar with were atypical of late-nineteenth century of it as a crowning achievement, a testa- exterior of the church along with the pipe the church. Unfortunately, little is known tastes. Both divisions feature complete ment to his skill, as well as a calling card organ. The building now serves as a civic about Sanborn other than the fact that principal choruses, including mixtures. to attract more customers. performance space and as Indiana Land- he did go on to work under his own name The Great chorus is based on 16′ pitch, In 1921 the church engaged the See- marks’ headquarters. In 2010 Bill Cook at a shop on Massachusetts Avenue, the and the Swell on 8′ pitch. The stoplist burg-Smith Co. of Chicago to modify and Indiana Landmarks chose Goulding same address of Goulding & Wood. It is includes a wide variety of fl utes, both the mechanics of the organ to employ & Wood to carry out a project to bring unclear how many organs he built after stopped and open, as well as an inter- electrical switching. Justus Percival See- the organ back into usable condition. he left Clarke, and only one other extant esting choice of reed stops. The manual burg was a Swedish-born piano maker The fi rst step in reviving the organ was instrument is known to be by him. San- compass is 61 notes, which was quite for- and Frederick W. Smith was an English- to assess its history and current condi- born did sign many of the pipes in the ward looking, while the Pedal compass born organ builder who apprenticed with tion. The sole known photographic docu- organ, either with his full name or his is much more typical of its time, with a Robert Hope-Jones. Their partnership, mentation of the installation prior to any 26 THE DIAPASON Sanborn lower lip (courtesy Goulding & Façcade pipe stencil (courtesy Indiana Landmarks) Wood) from telltale signs such as a difference in wood species used, the interface be- tween the Seeburg-Smith mechanics and the Sanborn mechanics was clumsy and contrived. This work was done near the advent of using electricity in organs, and the action has a rudimentary design. The practice of retrofi tting an impro- Sanborn lower lip with signature visible vised action onto tracker action chests (courtesy Goulding & Wood) was somewhat common during this pe- riod, but rarely was the attempt success- conclusion is that the organ was never ful. The tolerances of the added action purely mechanical. Sanborn is known are so slight, a product of working within to have been awarded a U.S. patent No. ³ page 28 465,208 for a valve mechanism that was a mechanical-pneumatic assist, facilitat- ing playing keys that operate large pallet Thomas Prentice Sanborn (1892) valves from a distance that would other- Goulding & Wood, Inc. (2011) Cook Grand Hall wise cause heavy action. Such pneumatic Indiana Landmarks Center, assists were somewhat common in the Indianapolis, Indiana late nineteenth century as organ build- ers endeavored to make instruments of GREAT unprecedented size and in arrangements 16′ Teneroon Façade toe stencil (courtesy Indiana Landmarks) that would have been impossible for 8′ Diapason 8′ Melodia purely mechanical key action. Another ′ pre-electrical innovation to address 8 Doppel Flute 8′ Gamba these issues was tubular pneumatic ac- 8′ Dulciana tion, whereby key action is conveyed 4′ Octave to the pallet and slider windchests via 4′ Concert Flute 2 lead tubes. Due to the complicated and 2⁄3′ Octave Quint elaborate nature of this action, plus its 2′ Super Octave 1 ′ dependence on lead for semi-fl exible 1⁄3 Mixture III 8′ Trumpet tubing, this system remained in use for a ′ very short period. 8 Clarinet Tremulant Although the other known Sanborn Harp organ is a tracker instrument, it is en- Swell to Great tirely possible that he would have had an awareness of tubular pneumatic or- SWELL gans. Indeed, given the implication of 16′ Bourdon Bass (1–12) his mechanical leanings as suggested by 16′ Bourdon Treble (13–61) 8′ Violin Diapason his procurement of a patent, Sanborn ′ may have had motivation to employ the 8 Unison Bass (1–12) 8′ Gedeckt Treble (13–61) most recent design technology in such 8′ Salicional a prominent instrument. Unfortunately, 8′ Celeste (former Aeoline) the restoration project yielded no evi- 4′ Principal dence in the organ that either proves or 4′ Flute disproves the original actuating mecha- 4′ Violina nism. One can only surmise, given the 2′ Flageolet 2′ Mixture III Stop jamb left (courtesy Indiana Landmarks) apparent placement of the console and ′ the size of the organ, that a purely me- 8 Bassoon (1–12) 8′ Oboe (13–61) chanical installation was never in place. 8′ Vox Humana The Seeburg-Smith electro-pneu- Tremulant matic actuating system was obviously a Swell Super retrofi tted attempt to incorporate elec- tricity into the action of the organ. Aside PEDAL 16′ Diapason 16′ Bourdon 8′ Cello 16′ Trombone (new) Great to Pedal Great to Pedal Super Swell to Pedal Pedal Combinations on Divisionals Other remarks Entire organ on 76 mm wind (except 16′ Teneroon #1–12 and the 16′ Trombone, both on 101 mm) 8′ Trumpet: 120 mm, German taper shallot 8′ Clarinet: 40 mm 8′ Oboe: 89 mm 8′ Vox Humana: 40 mm 16′ Trombone (new): 152 mm scale, metal Stop jamb right (courtesy Indiana Landmarks) alteration does not depict the console and its carving detail, wood grain, stain, controls with any usable clarity. One of and condition match exactly the panels the fi rst questions, then, was the original on either side. If the organ initially had placement of the console in relation to a keydesk en fenêtre, the central panel the organ case. Nineteenth-century or- must have been entirely replaced. Given gans typically have keydesks en fenêtre, the quality of the fi rst renovation work that is, placed within the apron of the in- from 1921, it seems unlikely that the strument’s front façade case. Given that Seeburg-Smith Company had the wood- Thomas Prentice Sanborn was a local working resources to match the rest of builder of limited accomplishment, it is the paneling with such precision. unlikely that he would have had the tech- If the console controls were remote nological profi ciency to engineer a de- from the main body of the organ from tached mechanical console. On the other the beginning, and if the mechanical hand, the façade paneling in the apron engineering required of a mechanical seems to be original. There is no visible action arranged thus would have been sign of alteration in the central panel, beyond Thomas Sanborn, the natural AUGUST, 2012 27 ³ page 27: Goulding & Wood cover feature New Organs 2010 façade (courtesy Indiana Landmarks) a predetermined spacing of the existing From the photograph of the church chest, that the new actuating systems that was taken in 1910, it is clear that rarely operate the chest actions properly. the display pipes were originally sten- It is likely that the Seeburg-Smith me- ciled. They were subsequently painted a chanics never worked entirely satisfac- solid gold color on the front half of the torily, although they did permit the use pipes, but the original stenciling was still of electrical key contacts in the console, observable along the edges of the newer thus reducing the weight of the keys for paint. Conrad Schmitt Studios of Mil- organists. In sum, however, these compo- waukee, the fi rm responsible for restor- nents compromised the organ’s action. ing the sanctuary interior, re-stenciled With restoration of the original chest the pipes and added gold leaf. action impossible, Indiana Landmarks Goulding & Wood restored all of the elected to replace the windchests. Gould- original casework, re-staining and ton- ing & Wood’s electro-pneumatic slider ing the woodwork with only minor re- chest design shares much in common pairs required. The crew extended the with tubular pneumatic action, in that a apron paneling, including the whimsical traditional chest grid interfaces with re- carved motif, on either side to accommo- motely actuated pallets and sliders. This date room modifi cations and constructed choice then restored the instrument to matching podiums for the platform. Staff a similar musical condition, as pipes re- draftsman Kurt Ryll designed a new two- ceive wind much as they did originally. manual console patterned after extant On early site visits a harp stop was dis- consoles from other tubular-pneumatic covered, although no written documenta- organs. The terraced layout and richly tion of such an addition has been found. ornamented cabinet lends a strongly con- Given the wood species and stain color, temporaneous appearance, defying the it seems that this unit was installed with anachronistic solid-state control system the other Seeburg-Smith components. provided by Solid State Organ Systems. Seeburg-Smith built theatre organs and As with all new organs by Goulding orchestrions, thus the addition of a harp & Wood, the entire instrument was set is solidly in line with their main output. up in the shop for testing and regula- a case of quarter-sawn white oak with While it is clearly not original to the or- tion. Given the heavy local interest (the walnut accents and panels of ¼-inch tem- gan, the donor and oversight committee church is less than a half mile from the pered glass. The winding is via a weighted elected to retain this interesting addi- shop), many visitors stopped in to see wedge bellows, which may be fed either tion. Fellow Indianapolis organ builder the progress, and the shop hosted festive by a rotary fan blower or by hand pump- Carlton Smith Organ Restorations refur- open houses once the organ was playing. ing in the traditional manner. bished the 37-note harp unit. With room renovations complete, The organ was designed with a total of The pipework throughout the organ Goulding & Wood reinstalled the organ fi ve stops, all divided treble and bass, of was in reasonably good condition, con- in spring 2011 in time for the facility’s which the Twelfth and Seventeenth are sidering the age of the instrument. Most grand opening. Many celebratory events M. P. Rathke, Inc., currently prepared. The manual natu- of the pipes were cone tuned, and a cen- marked the entire project, and the organ Indianapolis, Indiana rals are grenadil with arcaded key fronts; tury of routine maintenance had taken was featured in many varying roles. Sadly, The Musical Instrument Museum, reverse-skunktail sharps are made from its toll on the tops of most of the pipes. Bill Cook, the donor whose vision and Phoenix, Arizona ebony fl anked by holly. The pedal keys Surprisingly, most of the scroll-tuned generous fi nancial backing made the proj- During autumn 2008 we were contact- are maple with walnut sharps. The iron pipes were in very good condition, and ect a reality, passed away days before the ed by Kimberly Marshall, director of the drawknobs and bellows handle were in general, the pipes were well built and dedicatory events. Tributes to the Cook Arizona State University School of Mu- fashioned by Louise Pezzi of Philadel- very well racked. family, all of whom are long-time patrons sic, who spoke of a museum that would phia, Pennsylvania; walnut pipe shades Work began in February 2010 with of historical preservation, took on added be unlike any other: the Musical Instru- were designed and carved by Morgan the removal of the organ. The building signifi cance during the celebrations in the ment Museum (MIM), then being built Faulds Pike of Gloucester, Massachu- had no heat or power, and the roof was newly renamed Cook Grand Hall. on the northern edge of Phoenix, would setts. The dedicatory recital was played collapsing. The Goulding & Wood crew, Although the activity inside the build- showcase instruments of virtually every by consultant Kimberly Marshall on Au- led by Mark Goulding, thus worked in ing has changed dramatically over the nation, culture, and musical style. Dr. gust 8, 2010. (More information on the heavy winter coats using only fl ashlights past century, its place as an anchor to Marshall had been retained as consultant museum is found in the “Here & There” for illumination. In the following year, the wider community continues. Cook to the museum in the planning of its pipe column of this issue; see page 4.) each pipe was washed, given new tuning Grand Hall is now a venue for concerts, organ exhibit, for which she suggested —Michael P. Rathke sleeves, and regulated by G&W voicer recitals, weddings, and other commu- a working chamber organ, with its inte- MANUAL Brandon Woods. The organ was pre- nity events. Many functions feature the rior parts completely visible to interested ′ served tonally, with only two slight pedal organ, which contributes its unique and eyes, yet protected from curious hands. 8 Stopped Diapason 4′ Principal additions. The original specifi cation in- colorful voice as an echo from Indiana’s This see-through instrument, dubbed 2 2⁄3′ Twelfth (prepared) cluded no independent pedal reed de- past. Through such public prominence, “The Visible Organ” at the time of its 2′ Fifteenth 3 spite a large manual disposition includ- the instrument is also contributing to the commissioning by donors Floyd and 1⁄5′ Seventeenth (prepared) ing four reed stops. Goulding & Wood future of the pipe organ in the cultural Marie Ganassi, is the product of our in- recommended extending the three origi- life of the city. triguing and rewarding collaboration with PEDAL nal pedal stops from 27 to 30 notes and —Jason Overall Kimberly Marshall and William DeWalt, Permanently coupled to manual adding a metal-resonator 16′ Trombone MIM’s president. It features mechani- built by A. R. Schopp’s Sons, Inc. Cover photo: Susan Fleck Photography cal key and stop action and is housed in Photo credit: Emil Dria 28 THE DIAPASON 2012 Summer Carillon Concert Calendar Bert Adams, FAGO by Brian Swager Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Pickle Piano & Church Organs Allendale, Michigan August 26, August 28, Duets: Richard D. NEW YORK Grand Valley State University, Cook Caril- Gegner & Richard M. Watson Bloomingdale, IL lon, Sundays at 8 pm August 5, Ray McLellan Middlebury, Vermont August 12, George Gregory & Julianne Middlebury College, Fridays at 7 pm Vanden Wyngaard (Chimemaster mobile August 3, Elena Sadina & Sergei Gratchev Christopher Babcock carillon) August 10, Amy Heebner August 19, Julianne Vanden Wyngaard August 17, George Matthew, Jr. St.St. Andrew’s by the Sea,Sea, Ames, Iowa Montreal, Quebec Hyannis PortPort Iowa State University, Tuesdays at 7 pm St. Joseph’s Oratory, Sundays at 6:30 pm August 28, Julianne Vanden Wyngaard August 5, Roy Lee SSt.t. David’s, South Yarmouth Berea, Kentucky Naperville, Illinois Berea College, Mondays at 7:30 pm Naperville Millennium Carillon August 6, Rick Watson & Richard Gegner Tuesdays at 7 pm August 7, Chelsea Vaught Dean W. Billmeyer GAVIN BLACK Bloomfi eld Hills, Michigan August 14, Sue Bergren Princeton Early Keyboard Center Christ Church Cranbrook, Sundays at 5 pm August 21, Jim Fackenthal University of Minnesota August 6, Melissa Weidner 732/599-0392 New Haven, Connecticut Kirk in the Hills Presbyterian Church Yale University, Yale Memorial Carillon Minneapolis 55455 • [email protected] www.pekc.org Sundays at 10 am and noon Fridays at 7 pm August 5, Julianne Vanden Wyngaard August 3, Lisa Lonie September 2, Dennis Curry August 10, Yale summer carillonneurs St. Hugo of the Hills Catholic Church Northfi eld, Vermont Byron L. Blackmore THOMAS BROWN Thursdays at 7 pm Norwich University, Saturdays at 1 pm UNIVERSITY August 2, Melissa Weidner August 4, Elena Sadina & Sergei Gratchev Crown of Life Lutheran Church PRESBYTERIAN CHURCH Sun City West, Arizona Centralia, Illinois Norwood, Massachusetts CHAPEL HILL, NORTH CAROLINA Centralia Carillon Norwood Memorial Municipal Building 623/214-4903 ThomasBrownMusic.com September 2, 2 pm, Tim Sleep Mondays at 7 pm September 2, 2:45 pm, Jeremy Chesman August 6, Lisa Lonie September 3, 2 pm, John Bordley August 13, George Matthew, Jr. September 3, 2:45 pm, Carlo van Ulft Ottawa, Ontario David Chalmers Chicago, Illinois Peace Tower Carillon DELBERT DISSELHORST University of Chicago, Rockefeller Chapel Weekdays in August, 11 am Concert Organist Sundays at 5 pm Andrea McCrady, carillonneur GLORIÆ DEI CANTORES Professor Emeritus August 5, Chelsea Vaught August 14, student recital University of Iowa–Iowa City August 12, Sue Bergren September 29, George Gregory Orleans, MA August 19, Jim Fackenthal Owings Mills, Maryland Cohasset, Massachusetts McDonogh School, Fridays at 7 pm St. Stephen’s Episcopal Church August 3, Edward Nassor JAMES DORROH, AAGO, PhD STEVEN EGLER Sundays at 6 pm Central Michigan University August 5, Lisa Lonie Princeton, New Jersey Saint Luke’s Episcopal Church Mt. Pleasant, Michigan August 12, George Matthew, Jr. Princeton University, Grover Cleveland Samford University Artist in Residence Tower, Sundays at 1 pm Birmingham, Alabama First Congregational Church Culver, Indiana August 5, Julia Littleton Saginaw, Michigan Culver Academies, Memorial Chapel Caril- August 12, Lisa Lonie Organ Consultant Organ Recitals lon, Saturdays at 4 pm August 19, George Matthew, Jr. [email protected] September 1, John Gouwens August 26, Steve Schreiber September 2, Nick Huang Denver, Colorado A Professional Card in University of Denver, Williams Carillon Storrs, Connecticut JOHN FENSTERMAKER Sundays at 7 pm Storrs Congregational Church The Diapason August 5, Koen Cosaert Mondays at 7 pm RINITY BY THE OVE For rates and digital specifi cations, August 19, David Hunsberger August 26, David Maker T - - -C contact Jerome Butera 847/391-1045 Erie, Pennsylvania Toronto, Ontario NAPLES, FLORIDA [email protected] Penn State University, Smith Chapel Metropolitan United Church, Thursdays, 7 pm Thursdays at 7 pm August 9, George Matthew, Jr. August 2, Koen Cosaert University of Toronto, Soldiers’ Tower Gainesville, Florida Wednesdays at 5 pm University of Florida, Sundays at 3 pm August 1, Andrée-Anne Doane STEPHEN HAMILTON WILL HEADLEE August 19, Laura Ellis 1650 James Street Valley Forge, Pennsylvania recitalist–clinician–educator Glencoe, Illinois Washington Memorial Chapel Syracuse, NY 13203-2816 Chicago Botanic Garden Wednesdays at 7:30 pm www.stephenjonhamilton.com (315) 471-8451 Mondays at 7 pm August 1, Julia Littleton August 6, Chelsea Vaught August 8, Doug Gefvert August 13, Sue Bergren August 15, Doug Gefvert, Irish Thunder August 20, Jim Fackenthal Pipes and Drums Gary L. Jenkins August 27, Kim Schafer August 22, Jonathan Lehrer ANDREW HENDERSON, DMA Central Presbyterian Church September 3, Jim Brown August 29, Lisa Lonie Madison Avenue Presbyterian Church Director, Schmidt Concert Series Grand Rapids, Michigan Victoria, British Columbia New York, NY Carmelite Monastery Grand Valley State University Netherlands Centennial Carillon Curator of Organs Wednesdays at noon Sundays at 3 pm, June–August www.andrewhenderson.net Rose-Hulman Institute of Technology August 1, Julianne Vanden Wyngaard Rosemary Laing, carillonneur Terre Haute, Indiana Hartford, Connecticut Williamsville, New York Trinity College Chapel, Wednesdays at 7 pm Calvary Episcopal Church August 1, Lisa Lonie Wednesdays at 7 pm A two-inch Professional Card August 1, Koen Cosaert August 15, Dan Kehoe in The Diapason Kennett Square, Pennsylvania Longwood Gardens, Sundays at 3 pm For information on rates and specifi cations, contact Jerome Butera: August 19, Doug Gefvert TheDiapason.com has a new look! [email protected] 847/391-1045 August 26, John Widmann Our website has been redesigned Luray, Virginia Luray Singing Tower and we invite you to visit. LORRAINE BRUGH, Ph.D. Tuesdays, Thursdays, Saturdays and Sun- days in August at 8 pm, David Breneman, As before, you must register in carillonneur order to view all its contents: fi nd Associate Professor Thursday, August 9, Charles Semowich your subscriber ID from the mail- ing label of an issue (you will need University Organist Mariemont, Ohio to enter the seven digits following Mary M. Emery Memorial Carillon “DPP”, but NOT the letters). Valparaiso University Sundays at 7 pm Valparaiso, IN August 5, “Lollipops & Balloons” Chil- If you need assistance logging in www.valpo.edu dren’s Concert, Richard D. Gegner August 12, September 2, September 4, or using the site, contact Joyce Robinson at 847/391-1044 or e-mail Richard M. Watson 219-464-5084 August 19, August 21, September 3 [email protected]. (2 pm), September 5 (2 pm), Richard D. [email protected] Gegner AUGUST, 2012 29 CALIFORNIA LUTHERAN UNIVERSITY MICHELE JOHNS A.Mus.D Kyle Johnson, DMA Calendar Organ — Harpsichord University Organist The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV Gordon Turk; Ocean Grove Auditorium, Ocean This calendar runs from the 15th of the month of School of Music Grove, NJ 7:30 pm www.callutheran.edu issue through the following month. The deadline is Leon Couch; First English Lutheran, Appleton, the fi rst of the preceding month (Jan. 1 for Feb. WI 12:15 pm issue). All events are assumed to be organ recitals Stephen Steely; Sinsinawa Mound, Sinsina- unless otherwise indicated and are grouped within wa, WI 7 pm each date north-south and east-west. •=AGO chap- KIM R. KASLING Velma Warder; Dayton Avenue Presbyterian, Brian Jones ter event, • •=RCCO centre event, +=new organ dedi- D.M.A. St. Paul, MN 12 noon DirectorDirector of Music Emeritus cation, ++= OHS event. Information cannot be accepted unless it speci- St. John’s University 30 AUGUST TRINITY CHURCH fi es artist name, date, location, and hour in writ- Ralph & Marillyn Freeman; St. Paul Lutheran, Collegeville, MN 56321 ing. Multiple listings should be in chronological order; BOSTON please do not send duplicate listings. THE DIAPA- Neenah, WI 12:15 pm SON regrets that it cannot assume responsibility for the accuracy of calendar entries. 1 SEPTEMBER John Gouwens, carillon; Memorial Chapel, JAMES KIBBIE Culver Academies, Culver, IN 4 pm The University of Michigan UNITED STATES 3 SEPTEMBER Ann Arbor, MI 48109-2085 East of the Mississippi Gordon Turk & Michael Stairs; Ocean Grove ORGAN CONSULTANT Auditorium, Ocean Grove, NJ 7:30 pm 734-764-1591 FAX: 734-763-5097 www.gabrielkney.com email: [email protected] 15 AUGUST 4 SEPTEMBER David Arcus; Methuen Memorial Music Hall, Olukola Owolabi; Setnor Auditorium, Crouse Methuen, MA 8 pm College, Syracuse, NY 8 pm Michael Stairs; Ocean Grove Auditorium, David K. Lamb, D.Mus. Ocean Grove, NJ 7:30 pm 5 SEPTEMBER RTHUR A IRANDE Helen Anthony; First United Methodist, Her- Les Petits Chanteurs and Chamber Orchestra Director of Music/Organist A L M shey, PA 7 pm of Holy Trinity Cathedral Music School, Port-au- Wolfgang Rübsam; First Congregational, First United Methodist Church [email protected] Prince, Haiti; St. John’s Episcopal, Hagerstown, Michigan City, IN 12:15 pm MD 7 pm Columbus, Indiana Donald VerKuilen; St. Joseph Catholic 812/372-2851 www.youtube.com/watch?v=WTkDk-cX1X4 David Troiano; St. Mary’s Catholic Church, Church, Appleton, WI 12:15 pm Menasha, WI 12:15 pm Joan DeVee Dixon & Alice Fiedlerova; Sinsi- WIlliam Tinker; Sinsinawa Mound, Sinsinawa, nawa Mound, Sinsinawa, WI 7 pm WI 7 pm John Salveson; Dayton Avenue Presbyterian, St. Paul, MN 12 noon 6 SEPTEMBER David Lowry Michael Shake; Peachtree Road United Meth- 17 AUGUST THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD odist, Atlanta, GA 7 pm Tom Trenney, silent fi lm accompaniment; Mer- 1512 BLANDING STREET, COLUMBIA, SC 29201 rill Auditorium, Portland, ME 7:30 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY 9 SEPTEMBER ROCK HILL, SC 29733 18 AUGUST Isabelle Demers; Woolsey Hall, Yale Univer- Tom Trenney, workshop; Merrill Auditorium, sity, New Haven, CT 8 pm Portland, ME 9 am Kevin Clemens; Our Lady of the Angels Cha- Performathon; Merrill Auditorium, Portland, ME pel, Catonsville, MD 3 pm 10 am–3 pm Paul Jacobs; Hayes Barton United Methodist, Walt Strony & Dave Wickerham, pops con- Raleigh, NC 3 pm ANDREW PAUL MOORE cert; Merrill Auditorium, Portland, ME 7:30 pm Craig Cramer; Grace Lutheran, River Forest, A.S.C.A.P. Gordon Turk; Ocean Grove Auditorium, Ocean IL 4 pm FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Grove, NJ 12 noon 11 SEPTEMBER 345 SADDLE LAKE DRIVE •Steven Egler ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS 19 AUGUST ; Staples Recital Hall, Central (770) 594-0949 David Christopher; St. Patrick’s Cathedral, Michigan University, Mt. Pleasant, MI 8 pm New York, NY 4:45 pm David Arcus; St. Paul Cathedral, Pittsburgh, 14 SEPTEMBER PA 4 pm Ken Cowan; U.S. Naval Academy Chapel, An- DOUGLAS O’NEILL Richard Pilliner; Basilica of the National napolis, MD 7:30 pm LEON NELSON Shrine of the Immaculate Conception, Washing- Director of the Sanctuary Choir Cathedral of the Madeleine ton, DC 6 pm 16 SEPTEMBER Salt Lake City, Utah James Fackenthal, carillon; Rockefeller Me- David Hurd; St. Gabriel’s Anglican Episcopal, Southminster Presbyterian Church morial Chapel, Chicago, IL 5 pm Hollis, NY 4 pm Arlington Heights, IL 60005 [email protected] Maxine Thevenot; Westminster Presbyterian, 801/671-8657 20 AUGUST Lynchburg, VA 4 pm John Weaver, masterclass; Merrill Auditorium, Isabelle Demers; Forrest Burdette Memorial Portland, ME 1:30 pm United Methodist, Hurricane, WV 3 pm MARILYN MASON Hell, Heywood & Hohman; Merrill Auditorium, Karen Beaumont; St. John’s Evangelical Lu- Portland, ME 7:30 pm theran, Milwaukee, WI 3 pm CHAIRMAN, DEPARTMENT OF ORGAN UNIVERSITY OF MICHIGAN 21 AUGUST 21 SEPTEMBER ANN ARBOR Frederick Swann & John Weaver; Merrill Au- Rosalind Mohnsen; Methuen Memorial Music “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it ditorium, Portland, ME 7:30 pm Hall, Methuen, MA 8 pm with awesome technique and a thrilling command of its daring writing.” Mark Engelhardt; Old West Church, Boston, Christopher Houlihan; St. Joseph’s Cathe- The American Organist, 1980 MA 8 pm dral, Hartford, CT 8 pm David Baskeyfi eld; Memorial Presbyterian, 22 AUGUST Midland, MI 7 pm Ray Cornils & Peter Richard Conte, with Alan Morrison; Shryock Auditorium, Southern SYLVIE POIRIER Festival Brass; Merrill Auditorium, Portland, ME Illinois University, Carbondale, IL 7:30 pm LARRY PALMER 7:30 pm Anne Horsch; Methuen Memorial Music Hall, 22 SEPTEMBER Professor of PHILIP CROZIER Methuen, MA 8 pm David Baskeyfi eld; Memorial Presbyterian, ORGAN DUO Chelsea Chen; First Presbyterian, Skaneate- Midland, MI 7 pm Harpsichord and Organ les, NY 8 pm 3355 Queen Mary Road, Apt 424 Wolfgang Rübsam, hymn improvisations; First 23 SEPTEMBER Meadows School of the Arts Congregational, Michigan City, IN 12:15 pm Francesco Cera; Mt. Holyoke College, South Montreal, H3V 1A5, P. Quebec David Bohn; First Presbyterian, Neenah, WI Hadley, MA 3 pm 12:15 pm Leonardo Ciampa, with soprano; Ciampa, SOUTHERN METHODIST UNIVERSITY Canada Sister M. Arnold Staudt, OSF; Sinsinawa Organ Symphony; Kresge Auditorium, Massa- (514) 739-8696 Mound, Sinsinawa, WI 7 pm chusetts Institute of Technology, Cambridge, MA Dallas, Texas 75275 John Wall; Dayton Avenue Presbyterian, St. 4 pm Fax: (514) 739-4752 Paul, MN 12 noon Rhonda Sider Edgington; Camp Hill Presby- Musical Heritage Society recordings [email protected] terian, Camp Hill, PA 4 pm 25 AUGUST Isabelle Demers; Bridgewater Church of the Gordon Turk; Ocean Grove Auditorium, Ocean Brethren, Bridgewater, VA 3 pm Grove, NJ 12 noon Bruce Neswick, hymn festival; Stambaugh University, Youngstown, OH 4 pm 26 AUGUST Jonathan Ryan; Legacy Hall, Columbus State Zvonimir Nagy; St. Paul Cathedral, Pittsburgh, University, Columbus, GA 4 pm A four-inch Professional Card PA 4 pm Yun Kyong Kim; Culver Academies Memorial Benjamin LaPrairie & Russell Weismann; Chapel, Culver, IN 4 pm in THE DIAPASON Basilica of the National Shrine of the Immaculate Conception, Washington, DC 6 pm 24 SEPTEMBER For rates and specifi cations Sue Walby; Shrine of Our Lady of Guadalupe, Julian Bewig; Elliott Chapel, Presbyterian contact Jerome Butera La Crosse, WI 3 pm Homes, Evanston, IL 1:30 pm 28 AUGUST 25 SEPTEMBER 847/391-1045 Raymond Nagem; Old West Church, Boston, Francesco Cera, masterclass; Yale University, MA 8 pm New Haven, CT 4 pm [email protected] 29 AUGUST 26 SEPTEMBER Frederick Teardo; Methuen Memorial Music Francesco Cera; Yale University, New Haven, Hall, Methuen, MA 8 pm CT 8 pm 30 THE DIAPASON Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Sam Porter; Ransdell Chapel, Campbellsville 2 SEPTEMBER University, Campbellsville, KY 5 pm Carol Williams, 12-hour organ marathon; Stephen G. Schaeffer Spreckels Organ Pavilion, Balboa Park, San Di- 28 SEPTEMBER ego, CA 8 am Recitals – Consultations Francesco Cera; Old West Church, Boston, MA 8 pm 8 SEPTEMBER Cathedral Church of the Advent Dongho Lee; First Presbyterian, Durham, NC Ty Woodward; Glendale City Church, Glen- Birmingham, Alabama 7:30 pm dale, CA 4 pm www.AdventBirmingham.org 30 SEPTEMBER 9 SEPTEMBER Francesco Cera; Holy Cross College, Worces- Ken Cowan & Bradley Welch; Broadway Bap- ter, MA 3 pm tist Church, Fort Worth, TX 7 pm ROBERT L. Robert Bates; Sacred Heart Cathedral, Roch- Nicholas E. Schmelter ester, NY 2 pm 10 SEPTEMBER Andrew Peters; St. John the Divine, New York, Larry Palmer, organ & harpsichord; Caruth Director of Music and Organist SIMPSON Auditorium, Southern Methodist University, Dal- NY 5 pm First Congregational Church Christ Church Cathedral las, TX 8 pm F. Allen Artz, III; Crescent Ave. Presbyterian, Saginaw, Michigan 1117 Texas Avenue Plainfi eld, NJ 3 pm Houston, Texas 77002 Coro Vocati; Peachtree Road United Method- 13 SEPTEMBER ist, Atlanta, GA 5 pm Jonathan Ryan; First Christian Church (Joy Asbury Memorial), Stillwater, OK 8 pm Choral Evensong; Cathedral Church of St. Paul, Detroit, MI 4 pm ORGAN MUSIC OF THE SPANISH BAROQUE 14 SEPTEMBER Stephen Tappe Paul Jacobs; Zion Lutheran, Wausau, WI Douglas Cleveland; Slagle Auditorium, Uni- Organist and Director of Music 3 pm versity of South Dakota, Vermillion, SD 7:30 pm David Troiano Saint John's Cathedral DMA MAPM 16 SEPTEMBER Denver, Colorado 586.778.8035 UNITED STATES Diane Meredith Belcher; Center for Faith and www.sjcathedral.org [email protected] West of the Mississippi Life, Luther College, Decorah, IA 4 pm Jeremy Filsell; Highland Park Presbyterian, Dallas, TX 7 pm 15 AUGUST Catherine Rodland; St. John’s Lutheran, 18 SEPTEMBER Marcia Van Oyen Northfi eld, MN 12:10 pm Houston Chamber Choir; Co-Cathedral of the Joe Utterback Neil Stipp; Cathedral of Our Lady, Los Ange- Sacred Heart, Houston, TX 7:30 pm First United Methodist Church les, CA 12:45 pm COMMISSIONS & CONCERTS Plymouth, Michigan 21 SEPTEMBER 18 AUGUST Peter Richard Conte; All Saints’ Episcopal, 732 . 747 . 5227 mvanoyen.com Christopher Houlihan, Vierne symphonies; Fort Worth, TX 7:30 pm Church of the Incarnation, Dallas, TX 3 pm and N. Seth Nelson; Redeemer Presbyterian, Aus- 7:30 pm tin, TX 7:30 pm 19 AUGUST 23 SEPTEMBER David Wagner Norman Paskowsky; St. Mary’s Cathedral, Peter Richard Conte; First Presbyterian, DMA Kevin Walters San Francisco, CA 3:30 pm Wichita, KS 3 pm Madonna University James David Christie; Hemmle Hall, Texas M.A., F.A.G.O. 20 AUGUST Tech University, Lubbock, TX 3 pm Livonia, Michigan Dennis James, silent fi lm accompaniment; Craig Cramer; First United Methodist, Colo- [email protected] Rye, New York Spreckels Organ Pavilion, Balboa Park, San Di- rado Springs, CO 7 pm ego, CA 7:30 pm 28 SEPTEMBER 21 AUGUST Maxine Thevenot, with baritone; First Presby- Ryan Hulshizer; Trinity Lutheran, Rochester, terian, Santa Fe, NM 5:30 pm Davis Wortman MN 12:10 pm KARL WATSON Christine Schulz; Bethlehem Lutheran, 30 SEPTEMBER Mankato, MN 12:10 pm Jeremy Filsell; St. Mark’s Episcopal Cathe- SAINT LUKE’S St. James’ Church dral, Minneapolis, MN 5 pm New York 22 AUGUST David Pickering; Community of Christ Audito- METUCHEN rium, Independence, MO 3 pm Sarah Hammar; First Lutheran, Hibbing, MN Christopher Houlihan; Christ United Method- 12 noon ist, Plano, TX 7 pm Su-Ryeon Ji; Cathedral of Our Lady, Los An- geles, CA 12:45 pm UDOLF UIDERVELD INTERNATIONAL RONALD WYATT R Z 27 AUGUST Carol Williams and guests; Spreckels Organ Trinity Church Illinois College, Jacksonville Pavilion, Balboa Park, San Diego, CA 7:30 pm 15 AUGUST Galveston First Presbyterian Church, Luk Bastiens, with Da Cantar; Sint-Marti- Springfi eld 28 AUGUST nuskerk, Haringe, Belgium 6 pm Merrill Davis III; Trinity Lutheran, Rochester, Blair Bailey; St. James’ Anglican, Orillia, ON, MN 12:10 pm Canada 12:15 pm Charles Dodsley Walker, FAGO 29 AUGUST 16 AUGUST Matthieu Latreille; Cathedral of Our Lady, Los Gillian Weir; Roskilde Cathedral, Roskilde, Artist-in-Residence Founder/Conductor Angeles, CA 12:45 pm Denmark 8 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. (9(+06796.9(4-69;/,205.6-05:;9<4,5;: Organist, First Christian Church, Danville, KY Instructor of Music & Religious Studies, Maysville Community College ( Contact Bill at ; ±1RUWKHUQ/LJKWV«FRPSRVHUVSHUIRUPHUVDQG LQVWUXPHQWEXLOGHUVSURYLGHDEULOOLDQWRXWOHWIRUPXVLFDO LPDJLQDWLRQLQ1RUGLFFRXQWULHV DAVID SPICER ±'DQFH3DUW\«FRQWUDU\WRFRPPRQRSLQLRQWKH First Church of Christ VXSSRVHGO\VWDLGROGSLSHRUJDQFDQZKHQLWZLVKHVJHW Wethersfi eld, Connecticut GRZQDQGERRJLH 7PWLKYLHTZ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZHWVIHJVT House Organist The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford AUGUST, 2012 31 Anna Picchiarini; Pieve di S. Maria Assunta, Jeannine Jordan; Petrikirche, Freiberg, Ger- 31 AUGUST 19 SEPTEMBER Popiglio, Italy 5 pm many 3 pm Michael Schönheit; Cathedral, Lausanne, Joseph Cullen; Westminster Cathedral, Lon- Benjamin Waterhouse; Church of St. Andrew William Maddox; St. James’ Anglican, Orillia, Switzerland 8 pm don, UK 7:30 pm and St. Paul, Montreal, QC, Canada 12:15 pm ON, Canada 12:15 pm 1 SEPTEMBER 20 SEPTEMBER 17 AUGUST 23 AUGUST Zvonimir Nagy; Kathedrale Basiliek Sint Bavo, Diego Innocenzi, with vocal trio; Saint-Sulpice, Jeannine Jordan; Stadtkirche, Lutherstadt Jacques Boucher; Church of St. Andrew and Haarlem, Netherlands 3 pm Paris, France 8:30 pm Wittenberg, Germany 6 pm St. Paul, Montreal, QC, Canada 12:15 pm Gillian Weir; Grote Kerk, The Hague, Nether- Roman Perucki; Cathedral, Lausanne, Swit- lands 8:15 pm 21 SEPTEMBER zerland 8 pm 24 AUGUST Giorgio Revelli, with guitar; Musée Suisse de Willibald Guggenmoos; Cathedral, Lau- Carolyn Shuster Fournier, with trumpet; Gillian Weir; Holy Ghost Church, Copenha- l’Orgue, Roche, Switzerland 5 pm sanne, Switzerland 8 pm Cathédrale St-Julien du Mans, Le Mans, France gen, Denmark 4:30 pm Stefano Canazza, with trumpet; Chiesa di S. 5 pm Maria della Pace, Pralungo, Italy 9 pm Daniel Chorzempa; Sint-Martinuskerk, Har- 2 SEPTEMBER inge, Belgium 8 pm David Baskeyfi eld; Cathedral, Chartres, 18 AUGUST 22 SEPTEMBER Peter van de Velde; Cathedral, Lausanne, France 4:30 pm Gillian Weir; Vor Frelsers Kirke, Horsens, Stephen Tharp; St. Lutwinus, Mettlach, Ger- Denmark 11 am Switzerland 8 pm 4 SEPTEMBER many 8 pm Jeannine Jordan; Marienkirche, Bad Belzig, Wladimir Matesic; Chiesa di S. Bartolomeo, John & Angela Evans; St. Werburgh’s, Ches- Margreeth de Jong, with soprano; Kathedrale Germany 3 pm Cutigliano, Italy 5 pm ter Grosvenor, UK 1 pm Basiliek Sint Bavo, Haarlem, Netherlands 3 pm Johan Hermans; Kathedrale Basiliek Sint Enrico Zanovello; Chiesa di San Lorenzo, Bavo, Haarlem, Netherlands 3 pm 25 AUGUST Ponderano, Italy 9 pm Giovanna Fornari; Musée Suisse de l’Orgue, Rupert Frieberger; Kathedrale Basiliek Sint 7 SEPTEMBER Roche, Switzerland 5 pm Bavo, Haarlem, Netherlands 3 pm Franz Günthner; Cathedral, Lausanne, Swit- zerland 8 pm 23 SEPTEMBER Kevin Morgan; Victoria Hall, Hanley, UK Oleksandra Kopan; Musée Suisse de l’Orgue, Stephen Tharp; Missionsbenediktinerabtei 12 noon Roche, Switzerland 5 pm Schweiklberg, Schweiklberg, Germany 7 pm Fauré, Requiem; Eglise St-Joseph, Mulhouse, 8 SEPTEMBER Stephan van de Wijgert & Aldwin Kroeze; Andrea Vannucchi; Chiesa Parrocchiale, Sar- 19 AUGUST Alsace, France 8 pm ripoli, Pistoia, Italy 5 pm Kathedrale Basiliek Sint Bavo, Haarlem, Nether- Francesco Cera; Parish Church, Evje, Norway Paolo Bougeat; Santuario di Sant’Euseo, Ser- lands 3 pm 7:30 pm 26 AUGUST ravalle Sesia, Italy 9 pm Ami Hoyano; Cathedral, Chartres, France Monica Melcova; Cathedral, Chartres, France Nathan Laube; York Minster, York, UK 7 pm 4:30 pm 4:30 pm 25 SEPTEMBER 9 SEPTEMBER William Whitehead; Auxerre Cathedral, Aux- Benjamin Chewter; Westminster Abbey, Lon- Virgile Monin & Baptiste-Florian Marle- Anna Picchiarini; Cattedrale, Pistoia, Italy erre, France 5 pm don, UK 5:45 pm Ouvard; Eglise Saint-Martin, Dudelange, Luxem- 5 pm Andrej Kouznetsov; Westminster Abbey, Lon- Raymond Perrin; Chalmers-Wesley United bourg 8 pm don, UK 5:45 pm Church, Quebec City, QC, Canada 6 pm Marie-Agnès Grall-Menet; Chalmers-Wesley 11 SEPTEMBER 28 SEPTEMBER John Lewis; St. Werburgh’s, Chester Grosve- United Church, Quebec City, QC, Canada 6 pm 28 AUGUST Daniel Pandolfo, with violin; Chiesa di S. Ma- nor, UK 1 pm Gillian Weir; Odense Cathedral, Odense, ria, Valduggia, Italy 9 pm 20 AUGUST Denmark 8 pm Gillian Weir; Haderslev Cathedral, Haderslev, 12 SEPTEMBER Lee Burgess; Marlborough Road Methodist, 29 SEPTEMBER Denmark 7:30 pm Nathan Laube; Christchurch Priory, Dorset, St. Albans, UK 12:30 pm Ton van Eck, with choir; Kathedrale Basiliek Jeannine Jordan; Bartholomauskirche, Dorn- UK 7 pm Peter Cooke; St. Werburgh’s, Chester Grosve- Sint Bavo, Haarlem, Netherlands 3 pm heim, Germany 6 pm nor, UK 1 pm 13 SEPTEMBER 30 SEPTEMBER William Maddox; St. James United Church, 21 AUGUST Léon Berben, with Gesualdo Consort; Sint- Stephen Tharp; Salvatorkirche, Duisburg, Montreal, QC, Canada 12:30 pm Francesco Cera; Royal Church, Fjaere, Nor- Germanuskerk, Tienen, Belgium 8 pm Germany 5 pm way 7 pm Daniel Pandolfo, with violin; Chiesa di S. Mi- Daniel Pandolfo, with violin; Chiesa di S. Mi- 29 AUGUST Michael Cayton; Marlborough Road Method- chele Arcangelo, Cavaglià, Italy 9 pm chele Arcangelo, Cavaglià, Italy 9 pm ist, St. Albans, UK 12:30 pm Gillian Weir; Høje Kolstrup Kirke, Aabenraa, Gillian Weir; St. Paul’s Cathedral, London, UK Glyn Hughes; St. Werburgh’s, Chester Gros- Denmark 8 pm 7:30 pm venor, UK 1 pm Richard Hansen; St. James’ Anglican, Orillia, Gabrielle Tessier; St. James United Church, ON, Canada 12:15 pm 14 SEPTEMBER Organ Recitals Montreal, QC, Canada 12:30 pm Gert Amerlinck, with chamber choir; Sint- 30 AUGUST Martinuskerk, Haringe, Belgium 8 pm 22 AUGUST Jonathan Oldengarm; Church of St. Andrew Hans Dehond; Sint-Pieterskerk, Langdorp, Gillian Weir; Cathedral, Viborg, Denmark 8 pm and St. Paul, Montreal, QC, Canada 12:15 pm BRYAN ASHLEY, Old West Church, Bos- Belgium 8 pm ton, MA, March 16: Offertoire sur les Grands Mario Ciferri; Cathedral, Lausanne, Switzer- Jeux, Couperin; Chaconne in f, Pachelbel; land 8 pm Magnifi cat Primi Toni, BuxWV 203, Buxte- martin ott pipe hude; O Mensch, bewein dein Sünde groß, organ 15 SEPTEMBER BWV 622, Prelude and Fugue in E-fl at, BWV company Jaap Stork; Kathedrale Basiliek Sint Bavo, inc. 552, Bach; Prelude on Land of Rest, Sowerby; Haarlem, Netherlands 3 pm Amazing Grace (Gospel Preludes), Bolcom; 7408 Somerset Ave. Gillian Weir; Coventry Cathedral, Coventry, Cantilène, Gigout; Fête, Langlais. St. Louis, MO 63105 UK 7:30 pm 314-504-0366 Phone 801-756-5777 Martin Ott [email protected] JAMES RUSSELL BROWN, Northern Il- www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com 16 SEPTEMBER linois University, DeKalb, IL, March 4: Tocca- Vincent Dubois, with tenor; Eglise St-Jacques- ta in d (BuxWV 155), Buxtehude; Kyrie, Gott le-Majeur, Hunawihr, Alsace, France 5 pm Vater in Ewigkeit, BWV 669, Christe, aller Welt Trost, BWV 670, Kyrie, Gott heiliger 18 SEPTEMBER Geist, BWV 671, Bach; Sonate I, Hindemith; Benjamin Chewter; St. Werburgh’s, Chester Phantasie über den Choral Wachet auf, ruft Grosvenor, UK 1 pm uns die Stimme, op. 52, no. 2, Reger. NEW INSTRUMENTS sound INSPIRATION MAINTENANCE RESTORATIONS Acoustical Design & Testing • Organ Consultation & 974 AUTUMN DRIVE Inspection • Organ Maintenance & Tuning • Sound & Video ATOS ANTIOCH, ILLINOIS 60002 System Design, Evaluation & Training ExperienceAmerican Theatre Organ Society ABR 847-395-1919 F I N C Y PIPE ORGANS FAX 847-395-1991 www.riedelassociates.com • (414) 771-8966 email: [email protected] www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Preserving a unique art form. Concerts, education, silent film, preservation, GAN BUILDERS - EST E OR . 187 PIP 7 fellowship and more. www.atos.org _ Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838 SAN FRANCISCO w ww 58 .sch 47-58 oenstein.com - (707) 7 Advertise in A. David Moore, Inc. The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected] 32 THE DIAPASON ALAN DOMINICCI, St. John’s Cathe- ANGELA KRAFT CROSS, Resurrection Praeambulum super f, Wilhelmus Legrant, JOHN SCHWANDT, Grand Avenue Tem- dral, Denver, CO, March 16: Grand Jeu et Parish, Santa Rosa, CA, March 18: A Joy- Mit ganczem Willen wünsch ich dir (Berlin, ple United Methodist Church, Kansas City, Duo, Daquin; La Mélodie Intérieure, Fugue ous Celebration, Kraft Cross; Fantasie and Staatsbibliotheck Ms. 40613); Engelsche For- MO, March 25: Festival March, Kreiser; An- sur les Jeux d’Anches, Grunenwald; Fantasy Fugue in g, Christ, unser Herr, zum Jordan tuyn, Toccata in C, Sweelinck; Reverie, Kohn; dante (Symphonie Pathetique), Tchaikovsky; and Fugue on Ad Nos, Ad Salutarem Undam, kam, Bach; Allegro, Chorale and Fugue in D, Es sind doch selig alle, Eben; Das Feld ist Toccata in G, Dubois; The Swan (Carnival of Liszt; Grand Choeur Dialogué, Gigout; Fan- Mendelssohn; Canon in A-fl at, Canon in b, weiß, Krenek; Die Nacht ist kommen, Eben; the Animals), Saint-Saëns; Elfentanz, John- taisie-Idylle, Franck; Mouvement, Berveiller; Schumann; Prelude and Fugue on B-A-C-H, Jesaja dem Propheten das geschah, Krenek; son; Sonata in f, op. 65, no. 1, Mendelssohn; Impromptu, Clair de Lune (Pièces de Fan- Liszt; Symphonie VI in g, Widor. Es geht daher des Tages Schein, Eben; Freut At Twilight, Frysinger; The Squirrel, Weaver; taisie), Final (Symphonie VI), Vierne. euch, ihr lieben Christen all, Krenek; Neo- improvisation on submitted themes. JOAN LIPPINCOTT, Merrill Auditorium, fantasy, Kohn. JOHN FENSTERMAKER, Trinity-by- Portland, ME, March 20: Concerto in G, STEPHEN THARP, with Jill Shellabarger the-Cove, Naples, FL, March 16: Rondeau, BWV 592, Nun danket alle Gott, BWV 657, CHRISTA RAKICH, with Miranda Harris and Roger Mueller, narrators, St. Luke’s Epis- Mouret; “Dorian” Toccata, Bach; Le Coucou, Schmücke dich, o liebe Seele, BWV 654, Pre- Bergmeier, soprano, St. Stephen’s Episcopal copal Church, Evanston, IL, March 14: The Daquin; Muzète, Cors de Chasse, Dandrieu; lude and Fugue in C, BWV 547, Contrapunc- Church, Pittsfi eld, MA, February 12: Piece Stations of the Cross, Dupré. Will-o’-the-Wisp, Nevin; Boléro de Concert, tus 6 in Stylo Francese, Contrapunctus 4 (Art d’Orgue, BWW 572, Schlummert ein, BWW Lefébure-Wély; Irish Air from County Derry, of Fugue, BWV 1080), Trio Sonata in E-fl at, 82, O Lamm Gottes, unschuldig, BWW 618, MICHAEL UNGER, St. John’s Cathedral, Lemare; Carillon-Sortie, Mulet. BWV 525, Passacaglia in c, BWV 582, Bach. Christe, du Lamm Gottes, BWW 619, Chris- Denver, CO, February 24: Sinfonia from Can- tus der uns selig macht, BWW 620, Da Jesus tata No. 29, Bach, transcr. Dupré; Allein Gott DAVID A. GELL, First United Method- CHRISTOPHE MANTOUX, St. John’s an dem Kreuze stund, BWW 621, O Mensch, in der Hoh sei Ehr, BWV 662, Kommst du nun, ist Church, Santa Barbara, CA, March 7: Alle Cathedral, Denver, CO, March 2: Symphonie bewein’ dein’ Sünde gross, BWW 622, Wir Jesu, vom Himmel herunter, BWV 650, Wir Menschen mussen sterben, Pachelbel; Palm danken dir, Herr Jesu Christ, BWW 623, Hilf Sunday Processional on ‘All glory, laud, and Romane, op. 73, Widor; Pièce héroïque, Can- glauben all’ an einen Gott, BWV 680, Bach; tabile, Franck; Litanies, Alain; Prélude et Gott, dass mir’s gelinge, BWW 624, Sonata Trio en Passacaille (Livre d’Orgue), Raison; honor’, Bender; Da Jesus an dem Kreuze No. 1 in E-fl at, BWW 525, Christ lag in Todes- stund, Scheidt; Herzlich tut mich verlangen, Fugue sur le nom d’Alain, Durufl é. Passacaglia, BWV 582, Bach; Studien für den banden, BWW 625, Jesus Christus, unser Hei- Pedal-Flugel, op. 56, Schumann; Fantasie und Burkhardt; When I Survey the Wondrous land, BWW 626, Christ ist erstanden, BWW Cross, Martin; Processional on ‘Lift High the LEON NELSON, First Presbyterian 627, Erstanden ist der heilige Christ, BWW Fuge über das Thema B-A-C-H, Liszt. Cross’, Busarow; Trumpet Tune on ‘Come ye Church, Arlington Heights, IL, March 7: 628, Erschienen ist der herrliche Tag, BWW faithful, raise the strain’, Lasky; Variations on Processional, Nelson; Andante Cantabile 629, Heut’ triumphiret Gottes Sohn, BWW RICHARD WEBSTER, with brass and ‘Noel Nouvelet’, Gell. (Violin Sonata No. 3), Bach; Meinen Jesum 630, Gedenke doch, mein Geist, BWW 509, percussion, Winnetka Congregational Church, lass ich nicht, Walther; My Faith Looks up Fugue in b, BWW 544, Bach. Winnetka, IL, February 26: Festival Proces- STEPHEN HAMILTON, First Presby- to Thee, There Is a Balm in Gilead, Hopson; sion, Strauss, arr. Olson; Canzon duodecimi terian Church, Manhattan, KS, February 8: Pastorale, Zipoli; To the memory of the Ti- RICHARD ROBERTSON, with Cyrissa toni (Sacrae Symphoniae), Gabrieli; Prelude Praeludium in e, Bruhns; Litanies, JA 119, Le tanic’s heroes, In Memoriam Titanic (12 Anderson, soprano, St. John’s Cathedral, Den- and Fugue in a, BWV 543, Bach; Sussex Mum- Jardin suspendu, JA 71, Alain; Toccata, Vil- Pièces pour Grand Orgue, op. 10), Bonnet; ver, CO, February 10: Introduction and Pas- mers’ Carol, Grainger, arr. Allen; Carillon de lancico y Fuga (BACH), Ginastera; Prelude, Trumpet Tune in C, Nelson. sacaglia in d, Reger; The 94th Psalm, Reubke; Westminster, op. 54, Vierne; Poème Héroïque, Fugue and Variation, Franck; Prelude and Funeral March and Song of the Seraphim, op. op. 33, Dupré; Siciliano, Réjouissance (Ba- Fugue in B, op. 7, no. 1, Dupré. DEREK NICKELS, St. Luke’s Episco- 17, Guilmant; The Way to Emmaus, Wein- roque Suite for Brass and Organ), Webster; pal Church, Dixon, IL, March 18: Sonata in berger; Choral Improvisation on the Easter Grand Choeur Dialogué, Gigout, arr. Olson. CALVERT JOHNSON, with Amanda A, op. 65, no. 3, Fugue in e, Mendelssohn; sequence ‘Victimae paschali laudes’, Tourne- Pepping, trumpet, Holy Trinity Episcopal Rhapsody in D-fl at, op. 17, no. 1, Howells; mire, transcr. Durufl é. THOMAS WIKMAN, Lutheran School Church, Decatur, GA, March 2: Prima Sonata Divertimento (Four Extemporisations), of Theology, Chicago, IL, February 7: Glo- di Tromba, et Organo insieme detta del Dol- Whitlock; Fantasia and Toccata in d, op. 57, JEFFREY SCHLEFF, St. Andrew Luther- ria: Plein jeu, Et in terra pax, Petite fugue loreto, Sonata No. 2, detta del Gonzaga, Fan- Stanford; Sonata on the 94th Psalm, Reubke. an Church, Mundelein, IL, February 26: Fan- sur le chromhorne, Duo sur les tierces, Dia- tini; Sonata in D Major for trumpet, Purcell; tasia VIII, Froberger; Herzlich tut mich ver- logue sur les trompettes, clairon et tierces, Sonata Capriccio for organ, Ziani; Concerto WILLIAM PETERSON, Pomona College, langen, two chorale settings, Walther; O Lord, Tierce en taille, Dialogue sur les grands jeux for trumpet in D, Torelli; Voluntary for organ, Claremont, CA, March 25: Fantasia Chro- throughout These Forty Days, Schack; Agnus (Mass for the Parishes), Couperin; Mit Fried op. 5, no. 8, Stanley; Concerto for trumpet in matica, Sweelinck; Psalm 103, Almande de Dei (Communion), op. 36, no. 2, Bingham; Je- und Freud ich fahr dahin, BWV 616, Pièce D, Fasch; Canzona for organ, BWV 588, Bach; La nonette, Almande Brun Smeedelyn (Su- sus, I Will Ponder Now, op. 16, Manz; O Welt, d’Orgue, BWV 572, Bach; Communion in e, Concerto for trumpet in E-fl at, Neruda. sanne van Soldt Manuscript); Ellend du hast, ich muss dich lassen, op. 122, Brahms. Franck; Toccata in e, Callaerts. Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045, Advertise in Visit The Diapason The Diapason For rates and digital specifi cations, website: contact Jerome Butera www.TheDiapason.com 847/391-1045 [email protected] CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 23.00 ______Display Classifi ed, per word 1.35 Display Classifi ed minimum 27.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 17.00 ______($30 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $5.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine. AUGUST, 2012 33 Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33. PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS RECORDINGS RECORDINGS RECORDINGS FOR SALE “Meditation,” by Gottfried Federlein is a quiet Certifi ed appraisals—Collections of organ The OHS Catalog is online at www.ohscatalog. Clearing inventory—Box organ. Specifi ca- piece, moderately easy, for a prelude or com- books, recordings, and music, for divorce, es- org. More than 5,000 organ and theatre organ tion: 8′ Gedeckt, 4′ Rohrfl ute, 2′ Principal. Case: munion. Also, “Consolation” by René Becker tate, gift, and tax purposes. Stephen L. Pinel, CDs, books, sheet music, DVDs and VHS vid- mahogany with extensive woodcarving. Key is a beautiful meditation dedicated to his son. Appraiser. [email protected]; 609/448-8427. eos are listed for browsing and easy ordering. compass: 54 notes from C1–e54. We will e-mail michaelsmusicservice.com; 704/567-1066. Use a link for adding your address to the OHS pictures upon request. Price: $25,000. Will con- Catalog mailing list. Organ Historical Soci- sider reasonable offers. E-mail: javandaalen@ Historic Organs of Seattle: A Young Yet Vi- ety, Box 26811, Richmond, VA 23261. E-mail: gmail.com. Organ music of César Franck: 7 Pieces in C brant History, the latest release from OHS, is a [email protected]. Major and C Minor from L’Organiste, originally four-disc set recorded at the 2008 OHS national for harmonium, arranged for organ in 2- and convention, held in the Seattle, Washington 1971 II/3 Delaware simulated tracker-touch 3-stave layout. This set of subtly woven min- area. Nearly fi ve hours of music feature historic Organ Media Foundation’s Organlive.com can pipe organ (61) pedal (32). Perfect for practice iatures offers an excellent teaching score for organs by Aeolian-Skinner, Casavant, Hook & continue broadcasting through May 2013. Organ- or small church. 12 stops, 185 pipes. Contact beginning students of French Romantic organ Hastings, and Hutchings-Votey, Kilgen, Tallman, live.com is a listener-supported 24-hour stream [email protected]; 330/494-3195. music (12 p. + texts, softbound 8½x11, $12 + Woodberry, Hinners, Cole & Woodberry, plus in- of classical organ music recorded by well-known struments by Flentrop, C. B. Fisk, and Rosales, shipping). Visit www.frumuspub.net, or contact: concert organists, as well as tracks recorded and and Pacifi c Northwest organbuilders Paul Fritts, submitted by less-renowned organists. Currently Seeburg Combo Player Organ/Piano— [email protected]; 805/682-5727, mornings, Martin Pasi, John Brombaugh, Richard Bond, Pacifi c time. By mail: Fruhauf Music Publica- over 14,000 tracks are available from commer- Stopped Flute and Quintadena, with Octave and many more! Renowned organists Douglas cially produced albums, and digitally archived Coupler. Blower and vacuum pump included. tions, P.O. Box 22043, Santa Barbara, CA, USA Cleveland, Julia Brown, J. Melvin Butler, Carole 93121-2043. LPs and 78s. The broadcast is completely Casework excellent. Piano works OK. All com- Terry, Bruce Stevens, and others are featured free through a broadband Internet connection; ponents complete. Re-rubberclothing needed in live performances on 24 pipe organs built through an iPhone, iPad or iPod touch, and for pipe valves and player action. Asking $3700. between 1871 and 2000. Includes a 36-page The Tracker —The Organ Historical Society pub- Android devices, through iTunes Radio; and on Tom Rench, Wisconsin; 262/639/3473. booklet with photographs and stoplists. $34.95, Internet audio devices such as the Roku or Log- lishes its journal four times a year. The Tracker OHS members: $31.95. For more info or to order: itech Squeezebox. It is heard in more than 100 includes news and articles about the organ and http://OHSCatalog.com/hiorofse.html. countries by more than 15,000 unique listeners Two manual, 3 ranks, 6 Walker stops, detached its history, organbuilders, exemplary organs, each month. Listeners can browse the entire li- console,10 years old; $6,500. Atlantic City Pipe regional surveys of instruments, and the music brary and request specifi c tracks to be played. Organ Co., 609/432-7876. played on the organ. The emphasis is on Ameri- Wayne Leupold Editions announces new re- For information, visit www.organlive.com. can organ topics of the 18th, 19th, and 20th leases: Jeffrey Brillhart, Breaking Free—Finding a Personal Language for Organ Improvisation centuries, and there are occasional subjects on 1961 Moller 4-rank Artiste—Great condition, European topics. Most issues run 32 pages with through 20th-century French Improvisation Tech- niques; Robin Dinda, Casey at the Bat for organ REED ORGANS $10,000/obo. It was rebuilt in the 1990’s and many illustrations and photographs, and at least has a Peterson solid-state pedal relay. We also one annual issue is published in full color. Mem- and narrator, Op. 26 (Organ Demonstrator No. FOR SALE 45, for middle school/high school students and have a 3-rank Moller petite, $8,500/obo. We bership in OHS includes a subscription to The can deliver within 300 miles of New Orleans or Tr a c ke r . Please visit our website for more infor- adults); Denise Lanning, In the Beginning—An Encounter with Improvisation at the Organ; Jo- prepare these organs for shipping. We can dis- mation or subscription: www.organsociety.org. hann Pachelbel, Complete Works for Keyboard 1898 Hinners Chapel Reed Organ. 6-oc- count if you pick up the organs. Please e-mail Instruments, Volume VII, Chorale Partitas, and tave keyboard, 14 stops (10 speaking) [email protected] or call 800/520-7723 for Volume VIII, Arias with Variations, edited by Mi- in a heavy golden oak console. In addi- dimensions and pictures. J.S. Bach’s Chromatic Fantasia & Fugue chael Belotti; John R. Shannon, Improvising in tion to the foot treadles with 2 bellows, it in D Minor, arranged for organ with pedal, in Traditional 17th- and 18th-Century Harmonic has a crankshaft with 3 bellows having a a detailed performance edition (3-stave lay- Style—A Volume Based on the Musical Lan- large side hand crank. Excellent pristine Reiley Tracker Organ (c. 1890) —Two manuals, out, 17 pages + texts, softbound 8½x11, $18 + guage of the Mature Baroque, Volume 1 and fi nish and in good playing condition. 9 ranks, 10 speaking stops, 4 couplers. 10′5″ shipping). Visit www.frumuspub.net, or contact: Volume II; Calimerio Soares, Pequenos Prelú- $3,300/best offer. Buyer to remove. Con- wide; walnut and cherry case. Excellent condi- [email protected]; 805/682-5727, mornings, dios Folclóricos (Órgão), Volume 2: Books 5, tact: Ray or Ron, Chicago, 773/327-2353, tion. Asking $42,000. Contact: Lutheran Church Pacifi c time. By mail: Fruhauf Music Publica- 6, 7, & 8 (A collection of easy preludes based [email protected]. For photo, re- of the Redeemer, Rev. Roy Coats, 443/745-9200; tions, P.O. Box 22043, Santa Barbara, CA, USA on Brazilian folk songs). For information: fer to www.TheDiapason.com. 4211 Vermont Avenue, Baltimore, MD 21229. 93121-2043. www.wayneleupold.com. E-mail: [email protected]. TOTAL PIPE ORGAN RESOURCES 2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail: For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215 PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com 3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com 34 THE DIAPASON Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33. PIPE ORGANS PIPE ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES 1995 Fowler self-contained pipe organ. Two Small pipe organs for sale. Great prices. For Atlantic City Pipe Organ Company—16′ Dou- more information, please go to our website, ′ ′ manuals, seven ranks, all solid state control. ble Open Diapason, 16 String, 16 Pedal Trom- Need help with your re-leathering www.milnarorgan.com. bone, much more. 609/641-9422, acorgan@ Ideal for smaller church seating up to 200. Full project? All pneumatics including details on request. Complete with 10 year war- comcast.net. Austin. Over 45 years experience ranty, installed—$44,000. Contact Fowler Organ (on the job assistance available). Co., [email protected] or 517/485-3748. ELECTRONIC ORGANS 16′ Double Open Wood Diapason with chests 615/274-6400. FOR SALE and racks. 14″ Scale, 5″ WP. $8000 FOB Deer- 1964 M.P. Möller pipe organ. 36-rank American fi eld, NH. Can deliver. john@organclearinghouse. Classic specifi cation including two célestes, two Baldwin/COS C360 two-manual with full ped- com; 617/688-9290. enclosed divisions and 32′ reed. Three-manual alboard, 39 pull stops, full presets, toe pistons, Releathering all types of pipe organ ac- console. No casework or façades; instrument couplers, MIDI, dual 50 watt; excellent condition, tions and mechanisms. Highest quality ma- is in good condition but will need releather- $3000. Hal Greenlee, [email protected], 321/636- SERVICES/ terials and workmanship. Reasonable rates. ing. Asking $50,000 “as is” or can be rebuilt 3393, Cocoa, FL. SUPPLIES Columbia Organ Leathers 800/423-7003. with some modifi cations. Available immedi- www.columbiaorgan.com/col. ately. For more information, contact Létourneau Allen MDS-65—3-manual drawknob, 54 stops, Highest quality organ control systems since Pipe Organs at [email protected] 6 channels, 600 watts audio, 6 speakers, MIDI; or 888/774-5105. 1989. Whether just a pipe relay, combination Aeolian/Robert Morton-style maroon 1990’s vintage, good condition: $33,000. Atlantic action or complete control system, all parts leather is now available from Columbia Or- City Pipe Organ Co.; 609/432-7876. are compatible. Intelligent design, competitive gan Leathers! Highest quality. 800/423-7003, Wicks organ, 2 manuals, 4 ranks, ca. 1990. pricing, custom software to meet all of your re- www.columbiaorgan.com. 16′ Rohrfl ute 97 pipes, 8′ Principal 85 pipes, 4′ quirements. For more information call Westa- Gemshorn 73 pipes, 8′ Trumpet 61 pipes. Excel- MISCELLANEOUS cott Organ Systems, 215/353-0286, or e-mail lent condition. Oak casework and console. Lauck [email protected]. ANNOUNCEMENTS Pipe Organ Co. 269/694/4500; e-mail: k.reed. Are you an organist (or enthusiast) that [email protected]. happens to be a Parliamentarian? We would The Kotzschmar Centennial Festival will mark like to speak with you at your earliest conve- ATTENTION ORGANISTS! Do you face nience. Please respond to Box JU-7121, THE the 100th birthday of the Kotzschmar Organ, complaints from your congregation about August 17–24, at Merrill Auditorium, Portland, Martin Pasi pipe organ—Two manuals, 24 DIAPASON. how much that pipe organ costs to tune stops, suspended-tracker action. $350,000. Web: Maine. Friends of the Kotzschmar Organ pres- and maintain? We have the answer! Our ent a six-day festival of concerts, masterclasses, http://martin-pasi-pipe-organ-sale.com; phone: new PipeBucks ATM attachment will of- 425/471-0826. MISCELLANEOUS and workshops given by organists and artists, lo- fer your congregation the convenience cal historians, and architects. August 17, silent FOR SALE of a handy ATM while the fees for its use fi lm with Tom Trenney; 8/18, “Performathon” with will help subsidize those maintenance Moeller Artiste, 3 ranks, very good condition, Maine organists and organ tours, and pops con- costs. At last, music can be a profi t cen- some renovation completed, builder ready to Wood pipes. Missing pipes made to match. cert with Walt Strony and Dave Wickerham; 8/20, ter instead of a costly drain on church assist in moving for additional cost. $10,000/ Damaged pipes in any condition repaired. Over the 3 H’s (Hell, Heywood, and Hohman); 8/21, funds! Our ATM kit can be installed into best offer. 414/228-8737; jennifer.ankerberg@ 25 years experience. Filip Cerny, 814/342-0975. Fred Swann and John Weaver; 8/22, Ray Cor- the console, or for a stick organ, near the sbcglobal.net. nils, Peter Richard Conte, and Festival Brass. keydesk. Causes little or no damage to the 207/553-4363; www.foko.org. Ornate Gothic oak organ case—Front and instrument. Options include linking ATM sides. H 312″, W 330″, D 174″. Includes fa- functions to particular hymns, so a con- Portative organ: Designed for small choral or çade pipes and related ranks (Principal 16′, baroque ensembles. Four stops: 8′, 4′, 2′, and ′, ′ gregant can insert their pledge payment ′ Principal 8 Harmonic Flute 8 ). $30,000. and hear “We Give Thee But Thine Own,” Postal regulations require that mail to 1-1/3 , with the last two divided into bass and tre- [email protected]; 617/688-9290. ble registers and an adjustable point of division or “What Shall I Render to the Lord,” or THE DIAPASON include a suite number to (b24/c25 or c25/c#26). Adjustable pitch between if they’re making a withdrawal, “Salva- assure delivery. Please send all corre- A=440 Hz and A=415 Hz. Quartersawn white oak Consoles, pipes and numerous miscellaneous tion Unto Us Has Come” or “The Strife Is spondence to: THE DIAPASON, 3030 W. case. Available immediately. For more informa- parts. Let us know what you are looking for. O’er”. Box PipeBucks-Con, The Diapason, Salt Creek Lane, Suite 201, Arlington tion, contact Létourneau Pipe Organs at mail@ E-mail [email protected] (not comcast), [email protected]. Heights, IL 60005. letourneauorgans.com or 888/774-5105. phone 215/353-0286 or 215/788-3423. Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 GUZOWSKI & STEPPE Advertise in The Diapason H.W. DEMARSE ORGANBUILDERS INC For rates and digital specifi cations TRACKER ORGANS NEW INSTRUMENTS REBUILDS - ADDITIONS contact Jerome Butera TUNING & SERVICE 518-761-0239 1070 N.E. 48th Court 847/391-1045 2 Zenus Dr., Queensbury, NY 12804-1930 FT. LAUDERDALE, FL 33334 (954) 491-6852 [email protected] HAGERSTOWN Own a piece of history! ORGAN COMPANY, INC. New • Rebuilding • Solid-State Updating The cover of the 100th Anni- versary Issue of The Diapason is 301/797-4309 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl AUGUST, 2012 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 Diane Meredith Belcher Michel Bouvard* Guy Bovet* Chelsea Chen Douglas Cleveland Dongho Lee 2010 AGO National Competition Winner Available 2010-2012 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 Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012 Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney Celebrating Our 90th Season! *=Artists based outside the U.S.A. Thomas Trotter* Todd Wilson Christopher Young