JULY 2019 Westport Presbyterian Church Kansas City, Missouri
THE DIAPASON JULY 2019
Westport Presbyterian Church Kansas City, Missouri Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS
ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS
ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN
DAVID HURD MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK
BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN
CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART
ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 7, Responses to our digitization project request Whole No. 1316 I have been amazed that several of our readers have gener- JULY 2019 ously responded to my request to provide missing copies of vin- Established in 1909 tage magazines for use in our digitization project. At this time, Stephen Schnurr ISSN 0012-2378 it appears we have fi lled in many of these gaps, and we are 847/954-7989; [email protected] acquiring copies of many issues dating back to the 1930s. Please www.TheDiapason.com An International Monthly Devoted to the Organ, stay tuned for further updates on this important endeavor to the Harpsichord, Carillon, and Church Music make our website one of the world’s fi nest for organ and church Our cover feature this month is Pasi Organbuilders Opus music research! Visit www.thediapason.com often! The website 24, recently completed for Westport Presbyterian Church, CONTENTS is continuously updated with news, events, and more. Kansas City, Missouri. The instrument is an integral part of the FEATURES rebuilding campaign of this congregation, whose previous edi- J. S. Bach’s Organ Music and Lutheran In this issue fi ce was destroyed by fi re in 2011. In Organ Projects, we learn Theology: The Clavier-Übung Third Part Our feature article this month is a fascinating examination of J. S. of a 111-year-old Hinners organ that has been transplanted to a by Michael Radulescu 16 Bach’s Clavier-Übung III by Michael Radulescu, a discussion of music new church building in Hortonville, Wisconsin. NEWS & DEPARTMENTS and theology. In “On Teaching,” Gavin Black continues his analysis of Editor’s Notebook 3 another monumental Bach work, The Art of the Fugue. Help spread the word Here & There 3 In “Harpsichord Notes,” Larry Palmer introduces us to It never hurts to remind you, our readers, that as you Appointments 6 Domenico Scarlatti’s “Cat Fugue” and Antoine Reicha’s “Cat enjoy your issue, please consider giving a gift subscription Carillon News by Brian Swager 8 Fugato.” John Bishop, in “In the wind . . .,” muses on the won- for The Diapason to a colleague, student, or friend. If you Nunc Dimittis 10 derment of music, as vividly encountered by an audience at a know someone who would like a sample copy as a potential Harpsichord Notes by Larry Palmer 11 On Teaching by Gavin Black 13 recent performance of the Boston Handel and Haydn Society subscriber, please contact our subscription director, Rose In the wind . . . by John Bishop 14 that culminated with the quiet yet audible response by the Geritano, at [email protected] or 847/391-1030. Our “Mozart wow child.” digital subscription is a bargain at $35 for one year, and our REVIEWS Our Reviews include choice treble anthems selected by student rate is incredible at $20 for one year. And, through Choral Music 12 Anne Krentz Organ for those who are planning their upcoming the next few months, any new one-year subscription qualifi es New Organ Music 12 choral year. The Calendar for this month is again truly interna- for one free Raven CD, two CDs for two years, and three New Handbell Music 12 tional, for those who travel, with programs to attend from the CDs for three years. Visit www.thediapason.com/subscribe ORGAN PROJECTS 24 Czech Republic to Australia. for more details! Q CALENDAR 25 RECITAL PROGRAMS 29 Here & There CLASSIFIED ADVERTISING 30 Events 7:30 p.m.: July 24, Matthias Havinga; August 28, Peter Stevens; September 18, Yves Castagnet; October 23, Martin THE DIAPASON Baker. For information: JULY 2019 www.westminstercathedralchoir.com.
Nicholas Schmelter and Tyler Kivel Westport Presbyterian Church Kansas City, Missouri Cover feature on pages 22–23 Chicago Temple), Chicago, Illinois, Tyler Kivel and Nicholas Schmelter COVER are performing more than ten concerts Pasi Organ Builders, Inc., Roy, Washington; Merrill Auditorium, Portland, Maine, in a three-state Midwest tour of piano- Westport Presbyterian Church, Kotzschmar Organ organ duo recitals. The ensemble has Kansas City, Missouri 22 Northfi eld United Methodist Church, realized new arrangements and tran- Northfi eld, Minnesota, Kney organ Friends of the Kotzschmar scriptions of selections by Debussy, Editorial Director STEPHEN SCHNURR Organ announces events featuring the Fauré, Grainger, Lutosławski, Milhaud, and Publisher [email protected] The 2019 Northfi eld Noontime Kotzschmar Organ at Merrill Audito- Poulenc, Saint-Saëns, Shostokovich, and 847/954-7989 Organ Recital Series announces its rium, Portland, Maine: August 2, James others. Chicago-based pianist Tyler Kivel President RICK SCHWER thirteenth year of programs, Wednesdays Kennerley and the Kotzschmar Festival is a freelance performer, teacher, and [email protected] at 12:15 p.m.: July 10, Joanne Rodland, St. Brass; 8/23, Peter Krasinski accompanies chamber musician, including his faculty 847/391-1048 John’s Lutheran Church; 7/17, Brian Car- the silent fi lm, Wings; 8/24, Port City role at ChiArts and musical direction of son, Boe Memorial Chapel, St. Olaf Col- Organ Day, featuring short recitals by Thrones! The Musical Parody. Nicholas Editor-at-Large ANDREW SCHAEFFER [email protected] lege; 7/24, Noah Klein, Northfi eld United local organists and tours of the organ; Schmelter is director of worship and Methodist Church; 7/31, Bill Peterson, and additional concerts by James Ken- congregational life at First Presbyterian Sales Director JEROME BUTERA All Saints Episcopal Church; August 7, nerley with tours of the organ at noon on Church of Caro, Michigan. For informa- [email protected] 608/634-6253 Stephen May, Northfi eld United Meth- 8/15 and 8/20; tion: www.schmeltermusic.com. Circulation/ odist Church; 8/14, Janean Hall and Larry September 13, James Kennerley & Subscriptions ROSE GERITANO Archbold, Bethel Lutheran Church. For Friends; 9/27, Jens Korndörfer; October [email protected] 847/391-1030 information: [email protected]. 29, James Kennerley, silent fi lm, Potem- Competitions kin; December 23, Christmas with James The Northern Ireland Interna- Designer KIMBERLY PELLIKAN Aspen Music Festival and Aspen Kennerley; March 20, Bach Birthday tional Organ Competition announces [email protected] Community United Methodist Bash. The organ, built by Austin Organ its 2019 competition, August 19–21, at 847/391-1024 Church, Aspen, Colorado, announce Company of Hartford, Connecticut, now St. Patrick’s Church of Ireland Cathe- Contributing Editors LARRY PALMER organ recitals, Sundays at 7:00 p.m.: consists of fi ve manuals, 104 ranks, with dral, Armagh, with categories for senior, Harpsichord July 14, Stephen Hamilton; 7/28, James 7,101 pipes. For information: intermediate, and junior organists age BRIAN SWAGER Welch. For information: www.foko.org. 21 and under. The jury will be Martin Carillon www.aspenmusicfestival.com. Baker, Katherine Dienes-Williams, and David Hill. The winner will receive JOHN BISHOP Westminster Cathedral, London, People £1,500 with recitals at St. Thomas In the wind . . . UK, continues its 2019 Grand Organ Beginning with an April 7 recital at Church Fifth Avenue, New York City; GAVIN BLACK Festival with recitals on Wednesdays at First United Methodist Church (The ³ page 4 On Teaching
Reviewers Anne Krentz Organ THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Charles W. Steele Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Leon Nelson Subscriptions: 1 yr. $43; 2 yr. $77; 3 yr. $106 (United States and U.S. Possessions). Copyright ©2019. Printed in the U.S.A. Canada and Mexico: 1 yr. $43 + $10 shipping; 2 yr. $77 + $15 shipping; 3 yr. $106 + $18 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $43 + $30 shipping; 2 yr. $77 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 3 yr. $106 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.
WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 3 Here & There
³ page 3 for SAB voices of a West Indian carol by Alan Smith; There Is No Rose of Such Virtue (978-1-5064-5691-1, $1.50) is an arrangement of a 15th-century English carol for SATB voices; Wake, O My Soul, (978-1-5064-5694-2, $1.80), by Steve Danyew, is for SATB voices a cappella. For information: www.augsburgfortress.org.
Doblinger announces new choral publications: Il Cantico di Frate Sole (The Sun Chant), by Peter Planyavsky (45-315, €24.95), for SATB, soprano solo, and organ; Missa solemnis in C Minor, by Christoph Rheineck (DM 1510, €44.95), for SATB, SATB soloists, and orchestra; and Te Deum, by Wolfram Wagner (45-978, €29.95), for SATB, TB soloists, and orchestra. For information: www.doblinger.at.
Wayne Leupold Editions announces new organ publications: Finale, op. 78, Participants in East Carolina University competition, left to right: Tyler Schodt, An- St. Patrick’s Church of Ireland Cathe- by Rachel Laurin (WL700059); Ghouls drew Scanlon, Jason Schodt, Michael Gibson, Justin Brueggemann, Matthew Buie, dral, Armagh, Northern Ireland, 1996 and Gremlins, op. 31, for organ duet, by Pei-Yi Ho, Chris Pharo, and Peter Krasinski Wells-Kennedy Partnership, Ltd., organ Dennis Janzer (WL700057); La Danza, by Pamela Decker (WL710022); Arabic East Carolina University, Greenville, North Carolina, announces the results Stockholm Cathedral; Notre-Dame- Suite, by Bálint Karosi (WL600312); and of its 13th annual Young Artists Competition in Organ Performance, held March 16. d’Auteul, Paris; King’s College, Cam- Eight Short and Easy Jazz Preludes, by Matthew Buie, a student of Timothy Olsen at North Carolina School of the Arts, was bridge; Westminster Abbey and West- Joe Utterback (WL600317). awarded fi rst prize and the hymn-playing prize. Justin Brueggemann of Johnson minster Cathedral, London. Deadline Several publications feature the work City, Tennessee, and a pupil of Joby Bell, earned second place, and the third place for application is July 19. For informa- of James H. Rogers (1857–1940). James award and the Bach prize both went to Michael Gibson of Williamsburg, Virginia, a tion: www.niioc.com. H. Rogers Organ Music, volume 1, student of Rebecca Davy. The competition judge was Peter Krasinski, who presented includes sonatas (WL600306), while vol- live accompaniment to the 1925 silent fi lm Ben-Hur on C. B. Fisk, Inc., Opus 126 The Third Odoyevsky Interna- ume 2 includes suites and sonatinas (WL the previous evening. Prize sponsors were East Carolina Musical Arts Education tional Organ Competition will take 600322). James H. Rogers: The Keynote Foundation, C. B. Fisk, Inc., and East Carolina Chapter of the American Guild of place November 17–25 in Moscow, of His Life Was Harmony, by Charles Organists. For information: www.ecu.edu. Russia. The contest consists of four L. Echols (WL800066), is a biography rounds in which participants of ages 17 with a discussion of the performance of to 33 play organs of different styles and his music. (A review of the book will be epochs in fi ve Moscow halls including forthcoming.) For information: the Organ Hall of the Russian Gnessins’ www.wayneleupold.com. Academy of Music, where a historic 1871 Henry Jones organ is located. Besides traditional organ repertoire, Recordings the competition program includes 20th-century compositions, as well as a number of organ works by Russian composers. In addition to obligatory pieces, participants of the fi nal round will have an opportunity to play a short concert program of their choice. Application deadline is October 10. For information: https://gnesin-academy.ru/ organ_competition/.
Publishers Augsburg Fortress announces new choral publications for Advent and Christmas: Now Hear the Glad Tid- Beatam ings (978-1-5064-5680-5, $1.80) is an arrangement by Hal H. Hopson of a Regent Records announces new movement from Bach’s Christmas Ora- recordings. Beatam features the choir torio for unison voices and keyboard; of York Minster, Robert Sharpe, Elon University, Elon, North Carolina: left, Casavant organ in Whitley Auditorium; The Virgin Mary Had a Baby Boy (978- director, Benjamin Morris, organist upper right, console in Schar Hall; lower right, console in Koury Gymnasium 1-5064-5690-4, $2.25) is an arrangement ³ page 6 Elon University, Elon, North Carolina, has chosen Solid State Organ Systems to provide a technological and musical solution for their Casavant organ in Whitley Auditorium. The university sought to have organ music for large events in other loca- tions on campus. In consultation with Casavant Frères, Limitée, the solution was realized with the addition of two Solid State Portal Systems and a dedicated data and audio network. Two additional consoles were built by Casavant: a two-manual and pedal console in Schar Hall (a basketball stadium roughly a mile from the auditorium) and a one- manual console without pedal in Koury Gymnasium (a small multipurpose gymna- sium roughly a quarter mile from the auditorium). The fi rst challenge presented was for the consoles to communicate to the pipe organ. Through the MultiSystem II relay network, each console was able to connect via a dedicated CAT5e cable to the pipe organ without latency in the transmission of data. The pipe organ sound is then captured live from microphones in Whitley and amplifi ed directly into both or either of the additional rooms. Each portable console has access to the main organ combination action, recalling piston settings on each memory level and creating new piston settings. While the two- manual console has a pedalboard, the one-manual console does not. To accommodate this, the AutoBass feature was enabled on the one-manual console, thus bringing AUSTINORGANS.COM the lowest 18 pedal notes to the manual. Additionally, three ventils were added so to t8PPEMBOE4U)BSUGPSE$5 remove organ divisions from the one manual keyboard. All of this is represented on the Solid State Portal Touchscreen, a virtual stop-jamb. For information: 703/933- 0024; [email protected].
4 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM www.ConcertArtistCooperative.com
Colin R. Monty Elisa Shin-Ae Leon W. Rhonda Sider Andrews Bennett Bickers Chun Couch III Edgington
Laura Faythe Simone Justin Sarah James D. Ellis Freese Gheller Hartz Hawbecker Hicks
Rob Michael Angela David K. Mark Yoonmi Hlebinsky Kaminski Kraft Cross Lamb Laubach Lim
Wynford S. Colin Katherine Scott Shelly Moorman- David F. Lyddane Lynch Meloan Montgomery Stah lman Oliver
Brenda Tom Beth Rodland Duo Portman Winpenny Zucchino Carol & Catherine Rodland
R. Monty Bennett, Director ([email protected]) Beth Zucchino, Founder & Director Emerita 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 Clarion Duo A non-traditional representation Christine Westhoff Keith Benjamin celebrating its 32nd year of operation & Timothy Allen Melody Steed Here & There
³ page 4 Builders, Bellwood, Illinois, with its “Organ Builder Appreciation Award” on Appointments May 17. Chapter dean Barbara Mas- Bryan Dunnewald is appointed ters gave the certifi cate to the company’s interim assistant organist and founder, Len Berghaus, during the choirmaster at St. Mark’s Church, chapter’s annual meeting. The chapter Philadelphia, Pennsylvania, for the had organized a tour of the organ fac- 2019–2020 season. The parish has a tory in March, and Berghaus provided music program in the Anglo-Catholic the participants a glimpse of the many tradition under the direction of Rob- aspects of organbuilding. The May eve- ert McCormick and supports a semi- ning was capped off by a performance professional parish choir and a choir by Isabelle Demers on the Berghaus of boys and girls, as well as a 1937 organ at St. Raphael Catholic Church, Aeolian-Skinner organ (restored in Naperville, Illinois. For information: 2019). Dunnewald will serve as prin- www.foxvalleyago.org. cipal accompanist for the choirs as well as assist in conducting, program As a seed bursts forth administration, and mentoring the Bryan Dunnewald organ scholar. (REGCD522). The selections feature Dunnewald will split his time works written for the cathedral and the between New York City and Philadelphia while he continues his stud- choir within the last century, with com- ies in conducting at the Mannes School of Music. He is a graduate of the positions by Edward Bairstow, Francis Curtis Institute of Music and Interlochen Arts Academy, serving as organ Jackson, Philip Moore, Judith Bingham, scholar at Saint Mark’s for three years while a student at Curtis. He is also and others. a member of The Diapason’s 20 Under 30 Class of 2019. For information: As a seed bursts forth features the choir www.bryandunnewald.com. of Christ’s College, Cambridge, David Rowland, director, Gabriel Harley and Jonathan White is appointed Edward Lilley, organists (REGCD525). director of religious music for The disc celebrates the 40th anniversary Christ Church Cathedral, Montreal, of the admission of women to the choir Canada. Born in the UK, White with selections by Christ’s College studied music at the University of alumna Annabel Rooney. Oxford where he was organ scholar The mystery of things features the at Lady Margaret Hall. Following Proteus Ensemble, Stephen Shel- his graduation, he spent a year at lard, director, and Richard Cook, Canterbury Cathedral, where he organist (REGCD520). The composi- was responsible for playing daily tions are the choral and organ works of services and training choristers, as Paul Fisher, the fi rst recording of these well as playing for special services, works. For information: Church of the Holy Communion, Lake broadcasts, and recordings. He then www.regentrecords.com. Geneva, Wisconsin, 1883 Hook & Hast- returned to Oxford to undertake ings Opus 1144 research into the symphonic works of Charles Villiers Stanford. White Organbuilders John-Paul Buzard Pipe Organ subsequently spent two years study- Builders of Champaign, Illinois, has ing at the Institute of Sacred Music restored the 1883 Hook & Hastings Jonathan White at Yale University, New Haven, Opus 1144 for Church of the Holy Connecticut. Communion, Lake Geneva, Wiscon- White has held positions at Christ Church Cathedral, Oxford; Magdalen sin. The instrument will be rededicated College, Oxford; and Henley Parish Church. He holds diplomas in organ in recital on August 4, 6:00 p.m., with performance and choral directing from the Royal College of Organists, and a program presented by Max Yount, was a lecturer in music for ten years at St. Catherine’s College, Oxford. For director of music and organist for First information: www.montrealcathedral.ca. Q Congregational Church and professor emeritus of music at Beloit College, both of Beloit, Wisconsin, including works by Handel, Copland, Bach, Hindemith, Vaughan Williams, and Mendelssohn. Other instrumentalists include Marianne Peterson, oboe, and Emily Sobacki, vio- lin. For information: https://holycommunionlakegeneva.com.
Faucher Organ Company, Inc., of Biddeford, Maine, has been contracted Len Berghaus to rebuild the historic 1938 four-manual Casavant gallery console at the Basilica The Fox Valley Chapter of the of Sts. Peter & Paul in Lewiston, American Guild of Organists (Illi- Maine. The console controls the largest nois) presented Berghaus Pipe Organ ³ page 8
Quality Pipe Organ Building and Service since 1969
Curtis Institute of Music students who performed at Macy’s Department Store: Mon- ica Czausz, Aaron Patterson, Clara Gerdes, and Adrian Binkley
The Curtis Institute of Music organ department presented its annual recital on the Wanamaker Organ at Macy’s Department Store, Philadelphia, Pennsylvania, April 6. The event was sponsored by the Friends of the Wanamaker Organ. Monica Czausz, Aaron Patterson, Clara Gerdes, and Adrian Binkley, all students of Alan Morrison, performed repertoire and transcriptions by Debussy, Durufl é, bedientorgan.com | 402.420.7662 | Lincoln, Nebraska Elgar, Fauré, Finzi, Gershwin, Hakim, Howells, Jongen, Karg-Elert, and Ravel. For information: www.curtis.edu.
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Here & There
³ page 6 Carillon News By Brian Swager
Basilica of Sts. Peter & Paul, Lewiston, Maine, Casavant console church organ in the state (see “Two Casa- vant Organs, Seventy-Five Years: The Basilica of Sts. Peter and Paul, Lewiston, Maine,” May 2014, pp. 22–25). New John A. Romeri (photo credit: Meg Goldman) solid-state controls and relays will be Mead Chapel, Middlebury College, Mid- provided by Virtuoso of Integrated delbury, Vermont St. Malachy’s–The Actors’ Chapel, New York, New York, announces that John Organ Technologies, Inc., replac- A. Romeri has received the 2019 Paul Creston Award. Romeri is director of ing the original electro-pneumatic and In the tower of Mead Chapel on the music and organist for Christ Cathedral (formerly the Crystal Cathedral), Diocese mechanical equipment that had become campus of Middlebury College in of Orange, California. He is the conductor of the newly formed Cathedral Choir, trouble-prone and increasingly diffi cult Vermont hangs a 48-bell carillon. The Vietnamese Cathedral Choir, Diocesan Children’s Choir, and the Diocesan Adult to service. The Faucher fi rm is also instrument began in 1918 as an 11-bell Choir. He is also host of the radio program, Music from the Tower, featuring sacred releathering the instrument in multiple chime cast by the Meneely Bellfoundry and classical music, broadcast each Saturday evening or on the website, www.christ- phases as funds are available. For infor- in West Troy (now Watervliet), New York. cathedralmusic.org. He previously served cathedral music positions in Philadelphia, mation: www.faucherorgan.com. The 2,300-pound bourdon sounds E and is Pennsylvania, and St. Louis, Missouri. now keyed to C. In 1985, the instrument The Paul Creston Award was established in 2009 to honor the memory of Paul was expanded to four chromatic octaves Creston and his legacy, having served 34 years as music director and organist at St. (excepting the lowest C#) by the Paccard Malachy’s–The Actors’ Chapel. Award recipients embody Creston’s passion for the Bellfoundry of Annecy, France. spiritual nature of composition and musical expression, and are chosen for their Ever since, there has been an annual accomplishments in church music, as distinguished scholars and performing artists, summer recital series featuring guest caril- and proponents of excellence in music and the arts. Past awardees include Frederick lonneurs. Russian carillonneurs Sergei Swann (2009), Bruce Neswick (2010), David Higgs (2012), Janette Fishell (2014), Gratchev, his wife Elena Sadina, and Stephen Tharp (2015), Jennifer Higdon (2016), Timothy Sun and Cindy Ho (2017), their son Nikita Gratchev go to Middle- and Jennifer Pascual (2018). bury every summer to direct the summer This year’s award ceremony took place May 10 at St. Malachy’s–The Actors’ Cha- Russian School choir and to participate pel, with guest musicians David L. Ball, Ryan Dodge, Michael Hey, and John A. in the summer carillon series. Along with Romeri, II, and The Actors’ Chapel Choir and Creston Singers under the direction of their colleague Alexander Solovov, they Stephen Fraser. For information: https://actorschapel.org. constitute a Russian folk group, Zolotoi Plyos (Golden Strand). Resident carillonneur George Mat- thew, Jr., considers himself a town caril- lonneur rather than a college carillonneur. Between himself, the summer series, guest carillonneurs, and his four students, he esti- mates that the instrument is played about 180 times per year. Like many carillons in academic institutions, it is played for con- Foley-Baker technician Rich Cote vocation, baccalaureate, commencement, scrubs ten years of storage damage and February graduation. Matthew’s clos- from the Gemshorn rank of Aeolian- Skinner Opus 908. ing program for the summer series always consists of a piece for each of the 11 lan- guages that are taught in summer language Foley-Baker, Inc., Tolland, Con- school. Also, for the last 15 years, he has Binghamton Bach performance necticut, is refurbishing Aeolian-Skinner played preludes for the Jewish High Holy Opus 908, built in 1933 and 1934 for Services of Rosh Hashanah and Yom Kip- Bruce Borton conducted the Madrigal Choir of Binghamton, Trinity Choir, Trin- Holy Cross Catholic Church, New pur, held in Mead Chapel, with traditional ity Orchestra, and soloists in a performance of J. S. Bach’s Saint John Passion at York, New York. Chimes were added Jewish music of Yamim Noraim (Days of Trinity Memorial Episcopal Church, Binghamton, New York, on April 13. Timothy to the three-manual, 25-rank organ by Awe). From about December 15 to the E. Smith, organist and choir director at Trinity, accompanied on harpsichord, and the builder in 1941. The reconditioning end of the year, he plays a daily program Jean Herman Henssler accompanied on organ. Tenor Steven Nanni was Evange- process is fi nished, and the organ is now of worldwide Christmas carols. Matthews list, and aria soloists were Christina Taylor, soprano, Kelly Miller, mezzo-soprano, being reinstalled. A dedication concert is is also carillonneur of Norwich University James Gleason, tenor, and John Shelhart, bass. Borton, retired professor of music under consideration, and a feature article and organist at St Stephen’s Episcopal at Binghamton University, is director of the Madrigal Choir of Binghamton. will be forthcoming. For information: Church in Middlebury. www.foleybaker.com. ³ page 10
MANDER ORGANS
New Mechanical Action Organs
³ St. Peter’s Square - London E 2 7AF - England St. Paul Catholic Church Choir, Valparaiso, Indiana, at the Cathedral Basilica of the Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 Assumption, Covington, Kentucky Continuo Organs [e] [email protected] www.mander-organs.com The Youth Choir of St. Paul Catholic Church, Valparaiso, Indiana, traveled to Covington, Kentucky, and Cincinnati, Ohio, May 10–12. The group sang for Mass on Saturday, May 11, at the Cathedral Basilica of the Assumption in Covington. Imaginative Reconstructions Stephen Schnurr is director of music.
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Here & There
Nunc Dimittis Roy Henry Carey, Jr., 89, died Patrick Wedd, 71, church musician, April 28. He was born in Carlsbad, New organist, composer, choral conductor, Mexico, on October 18, 1929, and lived and founding director of the choral there most of his life. He attended Wash- ensemble Musica Orbium, died May 19. ington University, St. Louis, Missouri, He retired as director of music at Christ before transferring to Trinity University, Church Cathedral, Montreal, Canada in San Antonio, Texas, where he received 2018, after 22 years of service. degrees in music and humanities, with Wedd was born in 1948 in Ontario and a major in organ performance, studying earned degrees in organ performance with Donald Willing. He reported to from the universities of Toronto and Brit- Offi cer Candidate School in Newport, ish Columbia. He was director of music Rhode Island, in July 1953 and was in for 11 years at Christ Church Cathedral, active service with the United States Vancouver, British Columbia. Navy until his honorable discharge as a In 1986 he moved to Montreal to Lt. JG in 1956. During his active duty he assume artistic directorship of the Tudor Roy Henry Carey, Jr. was stationed in Morocco and Nantucket Singers. He performed organ recitals as an information offi cer. in North America and England, and he Carey entered Stanford University Graduate School of Business in 1958. Patrick Wedd (photo credit: Jonathan recorded the Poulenc and Jongen organ His pursuit of a Master of Business Administration degree was cut short by the Sa’adah) concertos with the Calgary Symphony untimely death of his father, owner of the Carlsbad Oil Company. Carey returned Orchestra, NAXOS discs of music for to Carlsbad that year to become manager of the family business. During his time as organ and trombone with Alain Trudel, as well as organ works of Healy Willan. a student at Stanford, he met his wife, Barbara, whom he married in 1962. Before He composed for the church, including anthems, Masses, canticles, and hymns. he was married, he used his Navy money to purchase a small Rieger mechanical- He was also artistic director of the Montreal Boys’ Choir Course (now the Mas- action organ, which he sold in 2010. sachusetts Course) for over 20 years. A devoted member of Grace Episcopal Church, Carlsbad, he served as its senior Wedd received an honorary Doctorate of Divinity degree from McGill’s Diocesan warden and as its organist for 54 years. One of his proudest achievements was College and an honorary Fellowship of the Royal Canadian College of Organists. At shepherding the acquisition of a mechanical-action Kney organ for the church. his retirement he also received the President’s Award of the RCCO Montreal Cen- Over the years he arranged many concerts on this instrument. He was a member tre. (Additional information can be found in the September 2018 issue, pp. 10–11.) of the Diocese of the Rio Grande Music Commission during the years when the Patrick Wedd is survived by his husband Robert Wells, his sisters Penny and Episcopal hymnal and prayer book were being revised. In this capacity, he and his Pam, and Pam’s partner Jane, along with Wedd and Wells family in-laws. His wife traveled to national meetings to participate in the hymnal revision process. funeral was held May 31 at Christ Church Cathedral, Montreal. Later he served as president of the Rio Grande Standing Committee. Roy Henry Carey, Jr., is survived by his wife, Barbara; his son Hank Carey and William “Bill” Freestate Wharton, wife Michele and their children Hayden and Ashley; daughter Martha Carey and 75, of Easton, Maryland, died May wife Elisabeth Fidler; and daughter Julia and husband William and their daughters 19. Born January 4, 1944, he earned Annemarie and Téa. A memorial service was held May 4 Grace Episcopal Church. degrees (Bachelor of Arts, Master of Music, and Doctor of Musical Arts) in Kathryn Ulvilden Moen, 99, died music from Trinity College, Hartford, May 16. She was born May 14, 1920. A Connecticut; Northwestern University fi xture of the Twin Cities, Minnesota, School of Music, Evanston, Illinois; and church music and organ scene, she grad- Catholic University of America School of uated from Luther College, Decorah, Music, Washington, D.C. His teachers Iowa, in 1941, earned a Master of Music included Margaret Wolcott, organist and degree from Northwestern University, choir director of his hometown church, Evanston, Illinois, and was awarded a Clarence Watters, Richard Enright, and Fulbright scholarship to go to Norway Conrad Bernier. where she studied at the Konservatoriet. Wharton taught music for 35 years in She later studied with André Marchal William Freestate Wharton the public schools of Talbot County and in Paris, France, and with Heinrich Chesapeake College, Maryland, where Fleischer at the University of Minnesota. he was named professor of music and was honored at his retirement as professor Moen taught for 30 years at the Uni- emeritus. He served as organist of St. Mark’s United Methodist Church, Easton, Kathryn Ulvilden Moen (photo credit: versity of Wisconsin-River Falls, retiring for over 50 years. In 2007 with 40 years of service at St. Mark’s, the church hon- Michael Barone) at age 86. She held various church music ored him with the rebuilding and updating of the pipe organ’s console. In 2017 positions including that at Bethlehem with 50 years of service he was honored with a commissioned piece, “Variations Lutheran Church in south Minneapolis, where she was instrumental in the selec- on Engelberg” by Mark Miller. He earned the Associate and Choir Master cer- tion of a Casavant organ in the 1960s, and later at St. Anthony Park Lutheran tifi cations of the American Guild of Organists, and he presented and organized Church. Moen attended summer organ seminars in the Netherlands, France, recitals and concerts throughout the Mid-Shore region. Norway, and the Czech Republic. She later recorded an LP album of Czech organ William Freestate Wharton is survived by his brother, Franklin M. Wharton of repertoire that was reissued in CD format. Centreville, Maryland, and sister-in-law Kay G. Wharton of Butler, Pennsylvania. Q
³ page 8 Lukyanova; 7/19, George Matthew, Jr.; The 2019 summer series at Mead 7/26, Ellen Dickinson; August 2, Elena Chapel, Middlebury College, Middle- Sadina; 8/9, Austin Ferguson; 8/16 (3:00 bury, Vermont, Fridays at 6:00 p.m.: p.m.), George Matthew, Jr. For informa- July 5, Sergei Gratchev; 7/12, Tatyana tion: www.middlebury.edu. Q
Participants in Paul Manz centennial hymn festival: Sarah Forsberg, Scott Hyslop, Andrew Schaeffer, Anna Forsberg, Rev. Michael Costello, Rev. David Abrahamson
May 10, 2019, marked the centenary of the birth of Lutheran organist and com- poser, Paul Manz. To celebrate the occasion, the Evangelical Lutheran Church of Saint Luke, Chicago, Illinois, where Manz served as Cantor from 1983–1998, presented a hymn festival in his memory. The program, “So Much to Sing About,” was based on a text written by Jaroslav Vajda on the occasion of Manz’s 70th birthday and featured Andrew Schaeffer, organist, Scott Hyslop, commentator, and the combined choirs of Saint Luke Church; Grace Lutheran Church, River Forest, Illi- nois; and Luther Memorial Church, Madison, Wisconsin, under the direction of Rev. Michael Costello. Among the many guests were Manz’s daughter, Sarah Forsberg, and granddaughter, Anna Forsberg. Proceeds from the hymn festival benefi tted the Lutheran Summer Music Academy and Festival.
10 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM Harpsichord Notes By Larry Palmer
Scarlatti’s cat in London, times, but once I approached retirement Vienna, and Texas age I found that I really preferred to dwell Our story begins with Thomas Rose- longer on sonorities that I fi nd beautiful. ingrave, born in Winchester, England, in (Although my late-in-career students 1688. He emigrated to Dublin, Ireland, would probably counter, “But he always with his father, his fi rst music teacher. In mentioned that he would prefer a slightly 1707 he entered Trinity College, but did slower tempo!”) not complete his degree. A life-changing Roseingrave made a number of trip to Italy was fi nanced in 1709 by changes to Scarlatti’s score of K. 30: Saint Patrick’s Cathedral, “to improve these included a few differing notes, himself in the art of music that hereafter some octave doublings, and the replac- he may be serviceable to the Cathedral’s ing of many dotted quarter notes with music program.” a plain quarter, followed by an eighth It was at the home of a nobleman rest rather than a dot—making these in Venice that young Roseingrave was passages much more suitable to the invited to play the harpsichord. As he organ and to the resonant acoustics of related to music historian Charles Bur- London churches. Speaking of which ney some years later, “fi nding myself it may be of interest that Roseingrave, rather better in courage and fi nger than in 1725, became the organist of Saint usual, I exerted myself and fancied by George’s, Hanover Square, the par- the applause I received that my perfor- ish church of none other than George mance had made some impression on Frederic Handel, the longest-lived of the audience . . . .” Burney continues, the 1685 triumvirate.1 If one should wish to play from Rose- Larry Palmer at his talk for the 2019 conference of the Historical Keyboard Society of . . . a grave young man dressed in black North America, with Silvanio Reis in the background (photo credit: Judith Conrad) and in a black wig had stood in one cor- ingrave’s score, the best edition of K. 30 ner of the room, very quiet and attentive is a 1972 publication from Alfred Music, while Roseingrave played. Being asked to New York, edited by Willard Palmer special kinship when he moved from Franco-Flemish double harpsichord, sit down at the harpsichord, when he be- (who used to say when I was perform- Prague to Bonn with his parents in 1785? to complement the organ solo of Scar- gan to play, ‘Rosy’ said he thought ten hun- dred devils had been at the instrument. He ing in his presence, “Unfortunately, no In 1799 Reicha traveled to Vienna with latti’s original Fugue. A neighbor did the never had heard such passages of execu- relation”) and Margery Halford, both the hope of provoking interest in his newly recording, and, with the multiple duties tion and effect before. Inquiring the name Houston-based early-music supporters. composed opera. His fi rst visit was not to of preparing for the trip, I did not check of this extraordinary performer he was told These intrepid researchers compared all Beethoven, however, but to his idol, Josef the disc that was offered. Thus, when I it was Domenico Scarlatti, son of the fa- mous opera composer Alessandro Scarlatti. the earliest printings (there is no auto- Haydn, to whom his opus 36, a collection checked its suitability and compatibility Roseingrave did not touch the harpsichord graph known to exist)—and their edition of contrapuntal works, is dedicated. with my computer, I had the shock of its for a month following this experience, but, contains a facsimile of the work from Eventually Reicha moved to Paris, not being playable. after his hiatus he became very intimate the fi rst printed edition (London, 1738) where in 1818 he was appointed pro- My rescuer in this debacle was newly with the young Scarlatti, following him to Rome and Naples, and hardly ever leaving of which the fi rst copy was presented by fessor of counterpoint and fugue at the minted DMA Silvanio Reis, a star pupil of him during his time in Italy . . . . the composer to his patron King Joâo V Paris Conservatoire, where his classes Temple University’s Joyce Lindorff (who, of Portugal. Roseingrave’s changes to the included such now well-known fi gures as incidentally, succeeded me as president of Returning to England in 1714 or score are given in smaller staves directly Hector Berlioz, Franz Liszt, and, for the the Southeastern Historic Keyboard Soci- 1715, Roseingrave continued to cham- above the affected measures, and other ten months prior to his death in 1836, as ety, one of the now-merged components pion Scarlatti’s music, producing one divergences are indicated by footnotes special mentor to César Franck! of the current national organization). His of his operas at the Haymarket Theatre referencing a copy of Scarlatti’s fi rst edi- Reicha’s “Cat Fugato” (pun intended) computer was receptive to MP-3 record- and publishing an edition of forty-two tion that was reprinted by Witvogel in with its tempo indication of “Allegro mod- ing, and he not only operated the sound Scarlatti sonatas in 1739, a volume that 1742 and Clementi’s version, published erato” may portray a slightly younger cat for this second selection, but also took included some examples from the 1728 about 1811 in the second of four volumes than Scarlatti’s, but the theme is the same, over the earlier disc of the organ fugue, Essercizi, including Kirkpatrick number comprising Clementi’s Selection of Practi- and the full title Fugue on a Theme from which made my morning presentation 30, the “Cat’s Fugue,” which came to cal Harmony. All of these useful addenda Domenico Scarlatti leaves no doubt as to much easier than I could have imagined. bear the descriptive title that is often resulted in a score of 10 pages: the most the homage work that it is. Gently swirling Dr. Reis also made his own presentation, credited to the composer Muzio Filippo comprehensive edition that I have found sixteenth notes sound lovely on the harp- “The International Idiom in the Key- Vincenzo Francesco Saverio Clementi, of this iconic work. sichord, and I enjoy, immensely, introduc- board Sonatas of Domenico Scarlatti,” born in 1770 in Bonn. And why, you To continue with the references ing this beautiful novelty to audiences. during which he played examples from may ask, is it universally known today as found in my title, I used an April 2019 Depending on my mood of the moment six sonatas as apt musical preludes to my something to do with a cat? recording from a demonstration concert I sometimes make the piece even more more verbal and humorous offering. Q That answer derives from its wide- performed on the oldest playable organ special by changing the concluding chord Note ranging fugal subject that begins on the in Texas, the Caetano Oldovini organ from minor to major; thus far, no thun- 1. Dates given in Gerald Gifford’s article G below middle C and continues upward built in 1762 and now housed in South- derbolt has reached me from the heavens for Grove’s Dictionary of Music, Fifth Edition. dotted quarter note by dotted quarter ern Methodist University’s Meadows Art (nor from below the earth), so I suspect with these intervals: G–B-fl at, E-fl at– Museum. This instrument was originally that I have the composer’s blessing. Comments and questions are wel- F-sharp, B-fl at–C-sharp, then cascades in the Monks’ Gallery of Evora Cathe- Thus we have fulfi lled the offerings come. Address them to lpalmer@smu. downward in eighth notes: D, C-natural, dral in the university city of that name named in the title of my presentation edu or 10125 Cromwell Drive, Dallas, B-fl at, A, G, F-sharp, G—a rather in Portugal, where it was one of three for the May conference of the Histori- Texas 75229. strange subject, but, bearing Scarlatti’s organs in the building. cal Keyboard Society of North America original tempo indication of “Moderato” (HKSNA) held this year at Huntsville, Editor’s note: the staff of THE DIAPA- this 6/8 theme does indeed sound rather Vienna: Reicha Texas, in the beautiful venues provided SON congratulates Dr. Palmer on being like a middle-aged tabby cat walking on A composition that I have never by Sam Houston State University. I made named a member of the International its favorite harpsichord keys! encountered on anyone else’s concert an ad hoc quick recording of Reicha’s Advisory Panel for the Historical Key- I would emphasize the moderate programs is the Fugue on a Theme by Fugue utilizing my Richard Kingston board Society of North America. tempo should you wish to play this Domenico Scarlatti, opus 36/9 by Antoine audience-pleasing harpsichord or organ Reicha. I found this delightful homage Confident pedal work sonata! A Lyrachord recording by a very in Volume 2 of Bohemian Piano Music fi ne harpsichordist who is excessively from the Classical Period, edited by Peter comes with practice and fl eet of fi nger rather destroys the fun and Roggenkamp, published by Universal enjoyment of the quite unusual harmo- Edition, Vienna (UE18583), in 1990. Per- the right shoes nies generated. Of course, I, too, have haps Reicha, an exact contemporary of been guilty of playing too quickly many Beethoven (both born in 1770) felt some on the pedals
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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 11 Reviews
Choral Music and incorporates the Celtic prayer, “God www3.cpdl.org/wiki/images/7/7b/ showcase a large tuba or trumpet stop Gems from the fi le cabinet—Treble before me. God beside me. God behind Ws-mend-001.pdf. on certain phrases of the tune. Begin- choir anthems me. God above me. God within me.” You may have dilapidated, yellowing ning piano, the piece continually grows Sometimes the piece we are looking for While in the key of E-fl at, which is often copies of this choral score in your fi le in its dynamic level, concluding in a is right under our noses, fi led away, ready used for “The King of Love,” Walker cabinets. If that is the case, rather than fortissimo climax marked “Very grand.” to be pulled out and sung again. The fol- has composed a new tune. This piece is purchasing new copies you might choose This prelude will serve well as a dramatic lowing pieces for treble choir are worth a musically sophisticated, requiring care to go online to the link above and down- introduction to this grand hymn tune at second look, whether you have a standing and attention in teaching, yet very much load free copies for printing. This score a major church festival service or a hymn SSA choir, are giving the men of the mixed worth the effort! is accurate, but in other cases, remember festival service. voice choir a week off, or are assembling a that errors are possible. Caveat emptor! The tune Milwaukee was composed treble group for a special occasion. When You Pass Through the Waters, Mendelssohn’s setting of Psalm 121:1–4 by August Friedrich Wilhelm Lenke Paul D. Weber. Unison or 2-part is a joy to sing. It is a good vehicle for (1820–1913), a Lutheran musician and Prayer Litany, Helen Kemp. 2-part, voices, piano, MorningStar Music working on intonation and phrase shap- teacher who resided in Wisconsin. The piano, opt. oboe, Choristers Guild, Publishers, MSM-50-0501, $2.25. ing. All three voice lines are signifi cant text associated with this tune in The CGA747, $1.95. Suitable for services of baptism, con- and interdependent. Lutheran Service Book is “Lift Up Your “Lord, make me an instrument of thy fi rmation, Easter Vigil, or whenever a —Anne Krentz Organ Heads, Ye Mighty Gates.” Biery’s pre- peace.” The text of this anthem is appro- theme of comfort and belonging arises: Park Ridge, Illinois lude on Milwaukee is set in a delightful priate at any time during the church “Fear not, for I have redeemed you; I 6/8 dance-like style, incorporating ritor- year. Kemp has written a beautiful, lyri- have called you by name, you are mine.” nelli material between phrases of the cal piece with substantial unison sections Weber’s piece, written for the Montreat New Organ Music tune. The tune is played on a Cornet or allowing the choir to focus on musicality Worship and Music Conference in 2009, Journey to the Manger: Hymn Pre- reed stop, accompanied on a secondary of line and phrasing. The harmony is may be sung by choir alone or may ludes for Advent and Christmas, by manual with a bright ensemble utilizing primarily in thirds, easily learned. The involve congregation. A printed bulletin James Biery. Concordia Publishing a high-pitched mixture. addition of oboe (or violin) makes the insert is included. When done in two House, 97-7663, 2014, $26.00. Avail- In W Ρłobie LeΡy (“Infant holy, piece sparkle. parts, the voices sometimes sing in uni- able from www.cph.org. Infant Lowly”), the composer’s use of son, at other times antiphonally, and still James Biery received bachelor’s and hemiola creates a gentle rocking effect “Dona Nobis Pacem” from Missa Bre- other times overlapping or sung together master’s degrees in organ performance from which the tune emerges, played on vis, K. 259, W. A. Mozart, arr. Patrick in harmony. The end result is gentle, yet from Northwestern University where he an 8′ fl ute stop. The opening material is M. Liebergen. SSA, keyboard, opt. powerful and convincing. studied with Grigg Fountain and Wolf- used as a basis for interludes between fl ute, Belwin Mills, OCT9817, $2.25. gang Rübsam. He also holds the AAGO, phrases of this beautiful Polish tune. The Although the English text is also Oh, I Will Praise the Lord, Georg FAGO, and Choirmaster certifi cates of composer indicates an optional cut if a provided, this would be an excellent Philipp Telemann, ed. and arr. Michael the American Guild of Organists and has shorter version of the piece is desired. introduction to singing in Latin since Burkhardt. 3-part equal voices and received annual ASCAP awards since Sieh, hier bin ich is paired with the only three words are required: Dona keyboard, MorningStar Music Pub- 2006. Biery currently serves as minister Advent text “Jesus Came, the Heavens nobis pacem. Consider using this as a lishers, MSM-50-5903, $1.70. of music at Grosse Pointe Memorial Adoring.” The use of an undulating challenge piece for an older children’s or The text from Psalm 34:1 is general (Presbyterian) Church, Grosse Pointe eighth-note pattern throughout creates youth choir, teaching it in small sections enough to work most any Sunday of the Farms, Michigan. Prior to this appoint- a quiet and serene effect. The setting over a couple of months, targeting an church year. The German text is also ment, he served from 1996 until 2010 as would be quite useful when a more end-of-semester performance. The sing- included. If your choir has sung the director of music at the Cathedral of St. meditative style of music is needed dur- ers, rising to the occasion, will be proud piece previously in English, you might Paul, St. Paul, Minnesota. ing the Advent season. of their accomplishment! consider teaching the German for a Biery has become known as a talented Wo sol ich fliehen hin, a tune second or third rendition. The selection composer of choral and organ music. familiar to those acquainted with Bach’s Blessing, Katie Moran Bart. SSA, provides a good opportunity to teach the One of his collections for organ is Jour- cantatas and organ works, had its ori- piano, Neil A. Kjos, No. C8425, $1.85. term “melisma” and to work on singing ney to the Manger: Hymn Preludes for gins in a tune by the sixteenth-century This piece may be used in addition to, with lightness and pulse. All parts sing Advent and Christmas, published by composer Jacob Regnart. A perpetual or as a replacement for, the Benediction the opening section in unison, then Concordia Publishing House. The col- triplet pattern is tossed back and forth in a worship service. Having a piece like break into a three-part canon. lection comprises preludes on eight between the left hand and right hand this in your choir’s repertoire comes in tunes. Four of the tunes are common in as the chorale tune is harmonized in the handy for “farewell” banquets or “send- Canticle to the Spirit, Eleanor Daley. mainline denominational hymns; four of other hand. This continuous accompani- ing services.” You might use it simply as SA and piano, Alliance Music Publi- them seem to be more specifi c to The ment pattern creates a sense of joy and a sung blessing at the close of your choir cations, AMP 0411, $1.90. Lutheran Service Book, the hymnal of the energy, expressing the jubilance of the rehearsals. The text is an Irish poem, “May This piece with a text by Hildegard of Lutheran Church–Missouri Synod. The text associated with the tune, “O Bride the road rise up to meet you; may the Bingen (1098–1179) is especially appro- tunes included in this collection are ȓas of Christ, Rejoice.” wind be always at your back. May the sun priate for Pentecost Sunday, or any time Radosti, Divinum Mysterium, Go Any organ or choral music composed shine warm upon your face, and the rains the focus is on the Holy Spirit. Set in the Tell It, Helmsley, Milwaukee, Sieh, by Biery is skillfully crafted and deserves fall soft upon your fi elds. Until we meet key of D-fl at major, the vocal range is hier bin ich, W Ρłobie LeΡy, and Wo a look by organists and directors. For again, may God hold you in the palm of fairly extensive, from middle C to a high soll ich fliehen hin. The pieces those wishing to perform more organ his hand.” The writing alternates between F and G-fl at for the altos and sopranos, range in length from three to fi ve pages. music or to be introduced to Biery’s unison, two, and three parts, supported respectively. The writing is lyrical and ȓas Radosti (“Let Our Gladness music, this collection is highly recom- by a fl owing piano accompaniment. soars on the words “luminous, wonder- Banish Sadness”), a Bohemian tune from mended. The music is geared toward the ful, awak’ning the heart.” The piece, not the twelfth century, is set in a dancing, medium to advanced level organist and Good Shepherd, Gwyneth Walker. long, is worth every minute of rehearsal trio-like style, reminiscent of the Renais- will require practice; however, both the Women’s chorus SA(A) and organ; time required to learn it. sance. Divinum Mysterium (“Of the performer and the listener will enjoy the E. C. Schirmer, No. 8069, $1.85. Father’s Love Begotten”) incorporates rewards of the preparation. Walker has altered the text of Henry Lift Thine Eyes, Felix Mendels- ritornello material, based on the chant- —Charles W. Steele Baker’s hymn, “The King of Love My sohn. SSA a cappella, Choral Public style melody, between the phrases of Pisgah Forest, North Carolina Shepherd Is,” a paraphrase of Psalm 23, Domain Library (CPDL), http:// the tune. The setting offers the oppor- tunity to showcase an instrument’s string celestes and a mellow solo stop; the New Handbell Music composer suggests a clarinet. Bel Canto, for 4 or 5 octaves of Go Tell It (“Go Tell It on the Moun- handbells, by Ronald Kauffmann. tain”), as indicated by the composer, is Choristers Guild, CGB1073, Level 3 composed in a “cool jazz” style. If the jazz (M), $4.95. harmonies and easy listening approach This refl ective original piece combines to this well-known spiritual style does a lovely lyrical melody supported by a not fi t into one’s worship style, it would sustained, arpeggiated accompaniment. certainly be a well-received selection on This fi rst section moves through two a Christmas concert program. contrasting sections with new mate- Church of Saint Jude the Apostle The traditional English tune Helms- rial, then returns again to the original Wauwatosa, Wisconsin ley is often associated with the Charles melodic theme. It is a beautiful new Three manuals – forty ranks Wesley text “Lo! He Comes with Clouds piece for your library. Descending.” Biery’s setting of this —Leon Nelson A RTISTRY – R ELIABILITY – A DAPTABILITY majestic tune offers the opportunity to Vernon Hills, Illinois BACH AT NOON Grace Church in New York JL Weiler , Inc.
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12 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM On Teaching By Gavin Black
The Art of the Fugue, II For discussion in this the next two col- umns, I offer the program notes I wrote for my fi rst performance of The Art of the Fugue in May 1985. This perfor- Example 1 mance, on the Fisk organ at Westminster Choir College, was one of my two gradu- ate recitals. I prepared these notes over more or less an entire semester and had some input and help from my teacher Eugene Roan and from William Hays, who was the advisor for degree recital Example 2 program notes. I have been pleased with this essay, and I have used it as partial program notes for subsequent perfor- mances. It has an integrity to its overall structure—thanks in signifi cant part to not say so on the title page. It is also quite Dr. Hays’s assistance—such that I have Example 3 possible that Bach himself wanted musi- not changed it or excerpted it. Despite cians to use their own judgment as to how that, if I were to write these notes today, source of direction, growth, and meaning fugue. Further facts bear this analogy the piece can be realized in sound. there are a number of things I would throughout The Art of the Fugue. out (assuming it is not pressed into too phrase differently. The opening theme also contains, in detailed a form). The fi rst movements B-A-C-H It could be fruitful to use some of those signifi cant contexts, all the intervals from of the work introduce the main musical The third subject of the last move- theoretical revisions to frame future col- the semitone to the perfect fi fth. This is ideas in a straightforward way, as does the ment of The Art of the Fugue is made umns about the learning process, the evo- in spite of the brevity, compactness, and exposition of a fugue. up of notes that, in the standard German lution of my relationship with this work, apparent simplicity of the theme. The The middle movements of The Art of musical nomenclature, spell the name and the relationship between my own use of such a theme creates a situation in the Fugue develop those musical ideas “Bach” (Example 2). In the German work on this piece and teaching. Some of which any interval, either open or fi lled and others, with increasing complexity, system, B-fl at is called B, and B-natural what I wrote about the order of the move- in by step, can be used by the composer contrapuntal and harmonic, and with is called H. Bach was aware throughout ments was too cut-and-dried, rather too as a motive signifi cantly related to the increasing variety of texture. This is similar his life that the letters of his name made simple, failing to refl ect some of the com- main theme of the work. This possibility to the middle section (sometimes called a plausible musical theme—it was cer- plexities of what we do and do not know for motivic interrelation is an important “development”) of many fugues, espe- tainly known to his musical ancestors about the piece. In later columns, I will source of unity and coherence in The cially, longer ones. The four canons fulfi ll as well—but he used it sparingly in his discuss that, including some new ideas. Art of the Fugue in spite of considerable the purpose described above. In the fi nal music. The only extensive use he made of variety and diversity. three movements harmonic complexity it was in The Art of the Fugue. The fi nal History and form Most of the movements of The Art is reduced, and anything even approach- appearance of the B-A-C-H theme as the J. S. Bach wrote The Art of the Fugue of the Fugue are fugues or are largely ing the almost impenetrable density subject of a powerfully climactic fugue in during the last years of his life, probably constructed through fugal procedures. of Contrapunctus 11 is abandoned. In Contrapunctus 18 is prepared by a chain beginning work on what turned out to be Four movements are strict two-voice Contrapunctus 17, the original theme is of musical developments running through his longest and most complex instrumen- canons. Bach did not designate any of reintroduced in a form closer to the open- the whole work. This chain is best fol- tal composition in 1743, leaving the opus the movements as fugues, but rather ing of Contrapunctus 1 than anything lowed retrospectively. Before Contra- incomplete at his death in July 1750. It as contrapuncti. (He may well also not that has been heard since Contrapunctus punctus 18, the B-A-C-H theme appears was published in 1751 in Leipzig in a have been responsible for the title under 4. This is analogous to the return of the in Contrapunctus 11. Here, the four poorly engraved edition, the preparation which the work is known, since the title initial subject that characterizes the fi nal relevant notes form part of a lively and of only part of which had been supervised page was engraved after his death.) He section of many fugues. The extraordinary insistent eighth-note motive (Example by Bach himself. The publication was not seems to have been concerned in his contrapuntal ingenuity of Contrapuncti 3). They do not stand on their own, but a commercial success, and the project use of nomenclature to suggest that the 16 and 17 (see below) is analogous to the they are clearly present. This eighth-note was soon abandoned by Bach’s heirs. movements were not autonomous fugues increase in contrapuntal complexity that motive, however, is an inversion of one Copies of The Art of the Fugue circu- such as the organ fugues or the fugues of is found at the end of many Bach fugues, of the main themes of Contrapunctus 8. lated among musicians, however, from the Well-Tempered Clavier (all of which usually in the form of stretto. That movement is thus revealed to have that time on. In 1799 a scholar referred are paired with non-fugal preludes), but Neither the fi rst edition of The Art of the contained the B-A-C-H theme in a highly in print to the work as “celebrated,” and rather stages in the working out of a musi- Fugue nor any of the eighteenth-century disguised form. The motive also occurs both Mozart and Beethoven owned cop- cal idea, or a set of musical ideas, through manuscript copies say on what instrument in once in Contrapunctus 8, casually, ies. The Art of the Fugue was studied a variety of contrapuntal techniques. or instruments the work was meant to be without repetition or development, in the extensively by musicians throughout the Several of the movements, even apart performed. Over the years many differ- bass voice at measure 143, transposed up nineteenth century, and nearly twenty from the canons, would probably not have ent performing forces have been used, a whole step. The fi rst appearance of the editions or arrangements were published satisfi ed Bach’s own defi nition of a fugue including piano, chamber ensembles of B-A-C-H theme in the work occurs at the during those years. The fi rst known as such, because of serious irregularities various composition, symphony orches- end of Contrapunctus 4, where the four public performance of the whole work in the construction of their opening sec- tra, jazz combo, harpsichord, and organ. notes form part of an otherwise meander- took place in 1927 in Leipzig under the tions. These irregularities, however, make Many scholars believe that Bach actually ing free chromatic countersubject to the direction of Karl Straube, one of Bach’s perfect sense as stages in the contrapuntal meant the work for organ, some that he main theme. This serves to underline the successors as Kantor of Saint Thomas development of the work as a whole. They meant it for harpsichord, even though essential chromaticism of the B-A-C-H School in that city. serve invariably as responses to what has the posthumous title page says neither. theme, and to tie that theme to the other The Art of the Fugue is a work of well come before and as preparations for The fi rst edition was published in open chromaticism in The Art of the Fugue. over an hour in length, consisting of what will follow. These relationships are score, that is, with a separate line for each The seeds of the chromaticism in the eighteen movements all based in one way described in detail below in the com- voice. This was an old Italian and German work, and thus the seeds of the B-A-C- or another on the same musical theme. ments on the individual contrapuncti. way of presenting keyboard music used, H motive itself, are found, as explained This theme occurs in something like one The four two-voice canons (numbers for example, by Samuel Scheidt in his above, in the initial statement of the main hundred different forms throughout the 12–15) are lighter in texture and mood Tabulatura Nova (1624). It was certainly theme. The four contrapuncti in which piece. The fi rst and simplest form of the than any of the other movements and are not the standard keyboard notation in the B-A-C-H theme is found (4, 8, 11, theme is shown in Example 1. simpler in construction. Coming after the 1750, but Bach had used it shortly before, and 18) are by a considerable margin the The theme is closely based on the tonic most complex of all the contrapuncti, and in his Canonic Variations, BWV 769. The four longest movements in the work, and triad of the key of D minor, or, looking at it before the movements in which contra- contrapuncti all fi t very well under two each of the four is longer than the last. Q another way, on the interval of a fi fth, and puntal ingenuity is carried to its farthest hands and two feet, and with some dif- on the idea of fi lling that interval in. The extremes, they provide for performer fi culty under two hands alone. The pedal To be continued. fi rst gesture creates a perfect fi fth; the and listeners a moment of repose. This parts work as pedal parts: that is, they can next gesture fi lls in that fi fth, in the sim- makes possible a renewal of energy and be learned using the kinds of pedal tech- Gavin Black, director of the Princeton plest possible way. The rest of the theme of momentum towards the climax of the nique known to Bach and his students, Early Keyboard Center in Princeton, provides the remaining notes needed to fi nal movement. Many individual Bach and when so learned they are comfortable New Jersey, is preparing performances fi ll in the perfect fi fth, D–A, by step, and organ fugues contain within their struc- (though occasionally challenging) to play. on Bach’s The Art of the Fugue on both outlines a diminished fi fth, C-sharp–G. ture a similar “relaxed” passage, which This would not be true of the bass lines harpsichord and organ for the next two In the tonal world of Bach the perfect serves a similar function of providing a of Bach chamber works or harpsichord concert seasons. He can be reached by fi fth is the source of security and repose, breathing space before the fi nal climactic works, by and large. The editors of the email at [email protected]. while the diminished fi fth is a source of musical gesture. (Measures 121–139 of fi rst edition chose to include a short addi- tension, unrest, and striving. The two the Fugue in C minor, BWV 546ii, and tional piece by Bach, to compensate the 0LOQDU2UJDQ are antithetical to one another. This measures 141–155 of the Fugue in E purchaser for the incomplete state of the &RPSDQ\ antithesis, with the one side represented minor, BWV 548ii, are particularly good last movement. The piece they selected /DUJHVWVHOHFWLRQRIH[FHOOHQWXVHGSLSHV not only by the perfect fi fth as such but examples of this.) This suggests that The was an organ chorale, which they also pre- /LNHQHZ$XVWLQDFWLRQV 6ROLG-VWDWHV\VWHPV also by all diatonicism, and the other side Art of the Fugue should be thought of sented in open score. It is thus likely that ([FHOOHQW7UXPSHW(Q&KDPDGHV mainly represented by the chromaticism not as a collection of fugues, but as one they assumed that the users of the work --GHQQLV#PLOQDURUJDQFRP implicit in the diminished fi fth, is a major structure analogous to a single giant would be organists, even though they did ZZZPLOQDURUJDQFRP
WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 13 In the wind...
Momentous mementos beach in Florida, a pocketknife that was In the 2016 movie Sully, Tom Hanks a gift from a friend who died too young, plays Chesley Sullenberger, the US Air- a lucky silver dollar, a ticket stub from ways pilot who secured a spot in popular a World Series game. In the winter, I and aviation history by safely landing sometimes grab a shackle from a box of Flight 1549 on the Hudson River in miscellaneous sailboat parts and keep it January 2009. In the fi lm and especially in my pocket, just to reassure myself that in the cockpit voice recordings of the winter will end sometime, and that we actual fl ight, Sully was the epitome of will be back on the water. Eagle Pond cool. As air traffi c controllers were fran- tically suggesting alternative emergency One man’s junk is another Many of these paintings, especially landings at LaGuardia and Teterboro man’s treasure. the portraits, were commissioned by the airports, Sully simply said, “We’re gonna Donald Hall (1928–2018) was a pro- people seen in the images, people who be on the Hudson.” All 155 people lifi c writer of both poetry and prose. In were prepared to spend plenty of money on board the plane survived, and the his late forties, he married his former stu- to immortalize themselves. Others were episode quickly became known as “The dent, the poet Jane Kenyon, and moved the whim of the artist, capturing a bucolic Miracle on the Hudson.” We live in to the house in rural New Hampshire scene, a frantic scene, or a way of life. lower Manhattan, and every time I drive where his grandmother had been born. Good for what ails you . . . . Still Life with Lobster and Fruit gives on the Henry Hudson Parkway I think of The family called it Eagle Pond. Hall had us an idea of how food was prepared in that grand river as Sully’s landing strip. spent summers there as a kid, helping Vermont, and Google Maps™ tells me a seventeenth-century kitchen. As far as The movie dramatizes the incident his grandfather with farming chores, an that it would take around twenty-three I know, there is no actual record of what from taxi to take off to splash down, experience that fostered and nurtured hours to walk. I suppose that is about Moses looked like, but in Abraham Bloe- then moves into the chaotic aftermath of his life-long fascination with the concept the speed of the horse or ox-drawn cart maert’s painting, Moses Striking the Rock, the crash. The action shifts back to the of work. He had given up the security of that carried it to Eagle Pond. When it the prophet points his scantily draped rear hour or so before the fl ight, and we are a tenured position at the University of stopped working, or the last family mem- end to the viewer, pretty much concealing introduced to several of the passengers. Michigan to settle in New Hampshire ber who could play it passed away, it was his miraculous production of water for An aging father and his two sons race to with nothing to do but write. There he granted a spot in the shed where it could the Israelites. I suppose that Bloemaert catch the fl ight they almost missed. A felt freedom in his work, though his waste away. was being careful not to assume too young mother apologizes for her infant method of writing poetry often involved We are given a touching look into much about what Moses was actually like son to the friendly man sitting next to as many as four hundred drafts. Hall’s life-long connection with the farm as a person, because if I were asked to her. “He likes to throw everything.” Wendy is his literary executor, and it at Eagle Pond in his book Life Work name the painting without knowing the “That’s okay, I like to catch everything.” was with trepidation that we drove to the (Beacon Press 1993), where he chron- intended subject, I would call it Bare- An elderly woman in a wheelchair and ancient house in New Hampshire for his icles how the family’s needs were met breasted Muscle-Woman with Pitcher. her middle-aged daughter argue in a gift estate sale. One of Hall’s books bears the through the daily, weekly, seasonal, and Now that I have your attention, you shop. She wants to buy a souvenir for a title, String Too Short to be Saved. That annual repetition of essential chores. He can view all these images at www.met- family member, and paws over the kitschy could have been the motto of the sale. At tells of spending summers helping his museum.org. Click on “Exhibitions,” New York knick-knacks. “Mom, you were fi rst glance, it seemed there were thou- grandfather with those chores, cutting then “Current Exhibitions,” and scroll never this generous to us when we were sands of glass ashtrays. There were cups and raking hay by hand, hauling it to the down to “In Praise of Painting.” Then kids.” “How ’bout a snow-globe?” “Mom, from the New York World’s Fair, loose barn on a horse-drawn cart, and pitch- choose “Exhibition Objects.” Each here’s one.” “Okay, I’ll buy you a [much gears from a bicycle, rental car receipts ing up overhead to the loft. When he image is a memento of a moment, of a smaller] snow-globe, too.” from trips forty years ago, at least four moved to Eagle Pond, he practiced his personality, or of an allegorical story. I have a snow-globe. It is my talisman, empty bottles labeled “Paine’s Celery life’s work in the shadow of the example bringing inspiration and good luck to Compound,”1 and oh yes, the autograph set by the generations that preceded him The shorthand of emotion my superstitious mind. It contains the score of Three Donald Hall Songs by surrounded by the artifacts of the work- Leo Tolstoy wrote, “Music is the short- statue of Pythagoras that stands at the William Bolcom. It was as if no one ing farm. hand of emotion.” Leopold Stokowski end of the breakwater at the entrance threw anything away for fi ve generations. wrote, “A painter paints pictures on to the harbor of the town of Samos on The ten-year-old daughter of an English The selfi e generation canvas, but musicians paint their pictures the Island of Samos in the Greek Aegean teacher from a neighboring private prep Do you remember when photography on silence.” Sea. It shows Pythagoras standing erect school was dying of boredom while her was expensive? We would come home When you are standing in a gallery with index fi nger pointed skyward form- father searched the house hoping to fi nd from a vacation or study trip with thirty viewing a painting or sculpture, you are ing the long side of a right triangle with the box of short pieces of string. or forty rolls of fi lm to drop off at the seeing exactly what the artist left behind. a leaning beam forming the hypotenuse A wood block plane, a hammer, and a drug store. Six days and fi fty bucks later, The physical touch of a human being is (a2 + b2 = c2). The majesty diminishes carpenter’s ruler told of the industrious you would have a bundle of snapshots, present in the brush strokes. You marvel when you see the great man’s fi nger is rural farmer keeping things working. your mementos from the trip. Today, we that Rembrandt himself, the very man pointing at a compact fl uorescent bulb. A pitchfork, a wood wheelbarrow with snap away at our heart’s delight. Doesn’t with the bumpy nose, made that little We sailed into that harbor in 2014, and spoke wheels, a shovel, a rake all hint at cost a dime, unless you consider that in squiggle four hundred years ago. You I was thrilled to see my hero welcoming the back-breaking work of farming when any airplane, any coffee shop, any movie can tell something about the person or us, the grandfather of music who discov- the most powerful machine was a horse. theater, or any concert hall, every single the person’s mood by the brush strokes. ered and defi ned the overtone series, New Hampshire is known as the Granite person has a thousand-dollar phone in Look closely at a square inch of a paint- and whose observations are the root of State,2 and any farmland is reclaimed his pocket. ing to see how the paint was applied, the tuning of western music. There is from wild forest. It is legend that the In Praise of Painting: Dutch Master- how coarse were the bristles, whether a 4,700-foot mountain on Samos that easiest crop to grow there is rocks. pieces at the Met is a current exhibition the strokes were straight or not. Then rarely receives snow, and never mind And there was an Estey reed organ, at the Metropolitan Museum of Art. It step back and study that square inch in that it never snows on the plain or near a dilapidated mess that once must have closes on October 4, 2020, so you have context to see how the texture catches the coast of the island, I brought that fi lled the parlor with the strains of hymns plenty of time to get there. It features the light, how it affects the square inches snow-globe home. played by Donald’s grandmother. It is just sumptuous iridescent portraits by the around it, and how it contributes to the Many of us have mementos on our under seventy miles from Eagle Pond likes of Jan Steen, Vermeer, and Rem- complete work of art. desks, bureaus, mantles. A shell from a to the Estey factories in Brattleboro, brandt, portraits carefully crafted in Claude Monet revolutionized paint- the seventeenth century. Rather than ing by substituting little dabs of paint stepping into a drug store photo booth, with broader brushstrokes, leaving an a Burgomaster posed by a table for days impression of a scene. Does that make Saving organs throughout so his image could be immortalized, a him a dabbler? Between 1890 and 1891, memento of his impression of his own Monet painted twenty-fi ve scenes of America....affordably! grandeur. A Young Man and Woman in stacks of hay in fi elds around his home an Inn, their cheeks boozy rosy, are gaz- in Giverny. Each Meules was a study in ing sloppily at something that is amusing light at different times of day, in different them, but while it shows a moment in weather. Each evokes the other senses, time, the image took days, weeks, maybe the whiff of drying hay, the whistling of months to complete—a moment set in wind across an open fi eld. People must four-hundred-year-old paint that is so really love Monet’s dabbling. As I write, vivid you imagine you can smell their my iPhone chirps the news that one of horrible breath. You can tell by the color those canvasses sold this afternoon for of their teeth. $110,700,000, a record high price for an
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14 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM By John Bishop
sure enough, the word spread to the fam- ily of nine-year-old Ronan Mattin whose grandfather Stephen had taken him to the concert. International news outlets quoted Ronan’s father saying that Ronan is on the autism scale and “expresses himself differently,” that he is a huge fan of good music, and that his parents and especially his grandfather take him regularly to high-end performances. David Snead, president of the Handel and Haydn Society, said that it was one of the most wonderful moments he had ever experienced in a concert hall. You can hear this delightful moment yourself. Enter “Mozart wow child” in any search engine and you will fi nd dozens and poof. You have a work of art. When Pythagoras at the head of the harbor Pythagorean snow globe of stories and the live recording. Ronan you fi nish, no one will ever hear the same Mattin’s “wow” had infl ections similar to work of art. You will never do it the same impressionist painting. How’s that for word that expressed the feelings of every- the fi nal chord that so moved him. way, nor will anyone else. making hay while the sun shines? one present, and the audience broke into Remember the decoder rings that Wow. Q If a painting was like a musical com- laughter and applause. came as prizes in boxes of Cracker position, you would not see the image, Boston’s classical radio station, WCRB, Jack™? When you play a piece of music Notes but you would be schooled in reading was broadcasting the concert so the you are deciphering a code. You have 1. “A true nerve tonic, an active alterative, the code, the language that unlocks the moment was captured and immortalized. learned the language of the printed a reliable laxative and diuretic. It restores artwork. You would complete an equa- Executives of the Handel and Haydn score, the recipe for the instant creation strength, renews vitality, purifi es the blood, regulates the kidneys, liver, and bowels. tion and an artwork would appear. If the Society spread the word that they wished of an artwork. The composer has left Price $1.00.” viewers of art were like musicians, each to fi nd the “Wow Child” to give him an that for you as a memento. You put on 2. A popular bumper sticker says, “Don’t viewer would perceive a painting differ- opportunity to meet the conductor, and your secret ring, say the magic words, take New Hampshire for Granite.” ently, according to the level of his skill. If you were a beginning viewer, you would see a fuzzy image with muddled colors, because you did not have the chops to see it properly. DISCOVEDISCOVER R The same concept can apply to pre- paring food. A beginning cook can read a recipe, assemble the ingredients, and 21st CENTURY produce a gooey or burned shadow of a 21st CENTURY favorite dish. An experienced cook has a ORGAN BUILDING starting sense of what happens when you apply heat to a piece of meat or a veg- ORGANIN NORTH BUILDI AMERICA NG etable, and the skillful chef understands the chemistry and the artistry of making food sing. Last weekend, on our way to the estate IN NORTHORTH AAMERICAMER sale, Wendy and I stayed at a country inn whose website made it clear that they were very proud of their restaurant. Rightly so. The drinks were made with the best stuff, blended beautifully, and served in attractive glassware. The wine was nicely chosen and delicious. Each dish was made with the best ingredients, their fl avors artfully combined. The serv- BUILDER MEMBERS: SUPPLIER MEMBERS: ers were friendly and attentive to just the right degree, knowing not to interrupt the Andover Organ Company Goulding & Wood, Inc. 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Organ Taylor & Boody Organbuilders to get the notes right, but there is so A. Thompson-Allen much more to it than that. Like the chef Garland Pipe Organs, Inc. who adds a slurp of wine to a sauté at exactly the right moment and exactly the right temperature to make fl ames dance over the stove and the dish come alive, so the musician adds a dash of alchemy by APOBA provides a simple way for you to take blending tempo, intonation, infl ection, advantage of the expertise of the top people in and energy into a momentary creation that has life and produces energy. WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of “. . . Musicians paint their pictures on several generations who have preceded them. silence.” During a concert at Symphony Hall in Boston on May 5, 2019, the Handel and Haydn Society performed Call today for APOBA’s Pipe Organ Mozart’s Masonic Funeral Music (K. 477). 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV Conductor Harry Christophers brought the piece to a steady measured conclu- sion, the fi nal chord especially alive with a crescendo followed by decrescendo and 11804 Martin Rd. Please watch and share CONTACT :DWHUIRUG3$ held his arms aloft to maintain the capture our short video at: US of the audience’s attention. Several rich ZZZDSREDFRPYLGHR 800-473-5270 seconds of tense silence passed, the kind DSREDFRP of silence that makes me fi ght back tears, and clear as a bell, a young boy’s voice piped up an expressive “Wow!” With the innocence of a child, he spoke that single
WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 15 Organ music of Bach J. S. Bach’s Organ Music and Lutheran Theology The Clavier-Übung Third Part By Michael Radulescu Examples 1: Praeludium, measures 1–7 hen approaching Baroque music numerical ratios between different sec- Win general and spiritual music in tions of the overall formal concept of particular, it is of greatest importance to a piece, and also, most controversial take into consideration the fundamental of all, as numerological entities. The difference between the function and the latter aspect has been both heartily aims of music in the Roman Catholic emphasized and strongly questioned and rite and the Lutheran conception of even ruled out by scholars and practical music. While Roman Catholic music performers in recent decades. Neverthe- mainly embellishes and adorns the lit- less, a surprising hint at the possibility of urgy, Lutheran music wants to preach, Bach’s interest in the use of the “numeric to impress, to move, to convince every alphabet” seems to be, among others, single listener. Whereas the mystery of the theoretical work called Cabbalologia the Canon is at the center of the Roman by Johannes Henningius (Johann Hen- Example 2: Praeludium, measures 32–36 Catholic Mass, the announcing and the ning), published in Leipzig in 1683. This elucidation of the Word of God, spoken publication is said to have been found Leipzig in 1539 he preached on Pente- in 3 groups of 3 each: 3 “great” settings by the minister and sung or performed also in the famous private library of cost Monday in the Leipzig Pleissenburg for Kyrie-Christe-Kyrie, 3 “small” alio by the church musician, stand at the core Bach’s neighbor and colleague Johann Castle on two most crucial themes: the modo settings for the same cantus fi rmi of the Lutheran Divine Service. Heinrich Ernesti, former rector of Saint Mystery of the Trinity in the Lutheran Kyrie-Christe-Kyrie, and 3 settings for From this dichotomy results the Thomas Church in Leipzig. Mass and the Lutheran Catechism. Most the German Gloria, “Allein Gott in der overwhelming importance of rhetoric, signifi cantly, Bach takes both these theo- Höh’ sei Ehr.” of the musical speech (Klangrede) in I logical categories into consideration and, The remaining 12 chorales, which fol- Lutheran music. Both the ancient rules Bach published the Third Part of his obviously referring to Luther’s sermon low Luther’s Catechism, are arranged by of rhetoric and the use of the rhetorical- Clavier-Übung for the feast of Saint of 1539, treats them consistently in his 3 + 3 groups of 2 each, the fi rst group musical fi gures determine respectively Michael at the end of September 1739 Third Part of the Clavier-Übung. Of the dealing with the 3 main chapters of the the overall formal concept of a work as on the occasion of the bicentenary of the total of twenty-one chorale settings in Catechism (The Law of the Lord = The well as the invention of characteristic Lutheran Reformation in Leipzig. This the collection, the fi rst nine deal with the Ten Commandments, The Creed, and “speaking motifs.” collection of keyboard compositions is Lutheran Missa brevis (which includes The Prayer of the Lord = The “Our In the case of J. S. Bach’s music, generally known under the titles “The only the “Kyrie-Christe-Kyrie” and the Father”), and the second with the 3 however, there also seems to be a more Organ Mass” or “The Dogma Chorales,” “Gloria”), while the remaining twelve chapters concerning the Sacraments subtle, profound, and hidden means of neither of which can suggest the com- chorales follow exactly, chapter by chap- and the Penitence respectively (Bap- communicating a message, an interpre- plex meaning and the message of the ter, Luther’s Catechism of 1529. tism, Penitence as continual renewal of tation of a text. This happens through the entire opus. Seen as a whole, the entire Clavier- Baptism, and the Communion). Each ample use of symbols such as allegories, It should be remembered that when Übung III seems to suggest a most strik- of these cantus fi rmi is treated twice, certain characteristic motifs and specifi c Luther introduced his Reformation in ing resemblance to Bach’s own organ in a “great” version with pedal and in a improvisations as described by his fi rst “small” version without pedal, mostly in biographer, J. N. Forkel, in 1802: another key. Scattered leaves ... from our Scrapbook a) a great prelude and fugue in It has often been suggested that these Organo Pleno as an opening; two contrasting versions may allude to b) a long series of different kinds of Luther’s “Great Catechism” versus its chorale settings with a varying number reduced form, the “Small Catechism” for On the true rubato… of parts; younger and “more modest people.” This c) a great fugue in Organo Pleno at double treatment of the “catechism set- the end. tings,” however, seems also to allude to the In the pianoforte introduction to the first In Bach’s Clavier-Übung III, these double form of liturgy: as the great, offi - of the Harfenspieler songs by Wolf (‘Wer sich correspond to the following sections: cial one “in churches,” versus its “small,” der Einsamkeit ergibt’) the metronome and I a) the E-fl at Preludium in Organo intimate, personal form “at home,” within would be at odds in the very first measure, Pleno also containing the two fugal each Christian family. Interestingly for the third and fourth beats here take lon- sections; enough, this dualism appears also in the ger than the first two beats: the second bar is similarly shaped to the first; but the third b) the 21 chorale settings in 3, 4, 5, original subtitle of the Clavier-Übung III bar—climbing in pitch to the fourth bar—is or 6 parts, as well as four duettos; dedicated to both amateurs (Liebhaber) in a quicker tempo altogether; the fifth slow c) the E-fl at Fugue in Organo Pleno. and connoisseurs (Kenner). again. This is the shape as Fischer-Dieskau Two further allusions to the Trin- conceives it, a shape to be clothed by colour ity are most interesting in the overall II and feeling. plan of the entire collection. These are The opening Praeludium pro Organo manifest already in the title, “Third Part pleno, Bach’s largest organ prelude, sug- Gerald Moore of the Clavier-Übung,” and also in the gests, in spite of the original slurring of use of the majestic key of E-fl at major, the dotted rhythms of its beginning, the with its three fl ats in the signature, for pattern of a French overture: both the opening Prelude and the clos- a) majestic homophonic section with ing Fugue. Also striking is the fact that dotted rhythm, measures 1 to 70; both the Prelude and the Fugue appear b) Fugato section, measures 71 to 97; to be determined by the number 3 (three c) majestic homophonic section with Schoenstein & Co. main musical ideas in the prelude and dotted rhythm, measures 98 to 129; three themes in the triple fugue). d) Fugato section, measures 130 to Established in San Francisco 1877 Another obvious hint at the Trinity is 173; www.schoenstein.com ❧ (707) 747-5858 the fact that the fi rst 9 chorales dealing e) majestic homophonic section with with the Lutheran Mass are organized dotted rhythm, measures 174 to the end.
16 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM Example 4: Praeludium, measures 71–74
SOLID STATE ORGAN SYSTEMS
Ex. 3: Praeludium, bars 40–50
The three different musical ideas used movement,” suggests the descending of by Bach seem to illustrate in a marvelous God’s mercy upon us and depicts the way the three Persons of the Trinity: “eleison” (“have mercy”). 1. majestic fi ve-part homophonic sec- • The tenor cantus fi rmus in Christe tion for God the Father (Example 1); aller Welt Trost stresses the idea of 1970 2. transition passage with staccato Christ as the Mediator between God and notes suggesting drops of tears (as in Man, as strongly emphasized by Luther. 1980 the Passions and in several cantatas) and • The bass cantus fi rmus in Kyrie, a plaintive theme in the right hand, full Gott, heiliger Geist, on the other hand, of suspensions and chromaticisms and represents the fundamental Lutheran going to the “extreme” keys B-fl at minor idea of Justifi cation through the power of and E-fl at minor, respectively (musical- Faith; the text of the chorale also prays for rhetorical fi gure of parrhesia), suggest- “the reinforcement of our Faith.” The fi nal ing the human sufferings, the Passion section of this setting, “eleison,” is excru- and Death of God, the Son (Examples ciatingly dissonant, once again stressing 1990 2 and 3); human misery awaiting God’s mercy. 3. The fugal sections using the most • The total number of measures of spiritual writing, the fugue, and a theme all three large chorale-settings is a pri- MultiSystem II which by its shape (musical-rhetorical mary, indivisible number: 2000 fi gure of hypotyposis) suggests the Kyrie (42 measures) + Christe (61 The world’s movement and the shape of the fl ames, measures) + Kyrie (60 measures) = 163 the fi re of God, the Holy Spirit (Exam- ~ indivisibility of the Holy Trinity! most advanced ple 4). • The three small settings of “Kyrie- and intuitive Christe-Kyrie” strongly contrast with the III preceding three works. The cantus fi r- pipe organ Considering the 9 chorale settings mus is only hinted at by quotation of its control system of the Missa brevis, the great “Kyrie- fi rst phrase. Their writing is manualiter, 2010 Christe-Kyrie,” the small “Kyrie-Christe- without pedal, and in a soft “cantabile Kyrie,” and the 3 “Allein Gott” settings, clavier style.” This might suggest love one notes the following characteristics: and the soft breath of the Holy Spirit by • The fi rst three settings of the great its “cantability.” “Kyrie-Christe-Kyrie” are written in the • All three small settings end mod- ancient vocal, a cappella style, the stylus ally on an E-major chord. gravis, using the so called white nota- • The time signatures of all these 3 tion (breves, whole notes, half notes, chorales also allude to the Trinity, being 2020 quarter and, more rarely, eighth notes as “progressions” of the number 3: 3/4; 6/8; note values). According to Bach’s cousin 9/8 (= 1 x 3/4; 2 x 3/8; 3 x 3/8). J. G. Walther the stylus gravis is “majes- • The three Allein Gott in der tic, serious . . . and best appropriate to Höh’ sei Ehr settings fulfi ll a wonderful elevate the human soul to God.” anabasis (ascending movement) by the • The respective cantus fi rmus sequence of their keys: following the descends within this fi rst triad from the small “Kyrie-Christe-Kyrie” settings soprano in Kyrie, Gott Vater in Ewigkeit ending all on E major, they rise up to F (highest part ~ God Father as the High- major, G major, and fi nally to A major, est) into the tenor in Christe aller Welt thus obviously alluding to Gloria in Trost (middle part ~ God the Son as the excelsis (Allein Gott in der Höh’/“Glory Mediator) and fi nally into the pedal-bass to the Lord in the Highest”). in Kyrie, Gott, heiliger Geist (bass part • All three settings are trios and writ- 5600 General Washington Dr.,Suite B211, Alexandria, VA 22312 ~ God, the Holy Spirit as the universal ten in an “instrumental keyboard style,” t: +1 (703) 933 0024 e: [email protected] Basis). This katabasis, i.e., “descending the fi rst and the last in a brilliant, light
WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 17 Organ music of Bach
Example 7: Dies sind die heil’gen zehn Gebot, measures 21–22, pedal
Example 5: Allein Gott in der Höh’ sei Ehr’ I, measures 78–83 only right hand and pedal and measures 87–92 only left hand and pedal Example 8: Dies sind die heil’gen zehn Gebot, measures 47-48, 51-52, right hand
From measure 6 on this fi gure appears the natural numerical order: A = 1, B = also “transformed” into another fi gure 2, C = 3, . . ., Z = 24, with I = J and U = called kyklosis or circulatio and suggest- V as in old Latin: J (9) + C (3) + H (8) + ing a “turning around,” an “insecurity” R (17) = 37); or, as in our case, a great joy. b) Could 60 allude to the Old Testa- This “transformation” of suffering ment, to the 6 Days of God’s Creation, (“sighing fi gure”) into joy (“turning and also to the 10 Commandments = 60? around in joy”) perfectly matches NB! Bach occasionally uses the num- Luther’s commentary about the Com- ber 6 as allegory for the Creation, for mandments, stressing that those who the Entire World (also Orgelbüchlein: keep the Law apparently suffer in this Christum wir sollen loben schon, measure earthly world, but that through Christ 6, where the whole range of the organ is they shall live in joy. encompassed by the lowest C in the pedal Luther also considers the First Com- and the highest C in the treble part). mandment as being the most important NB! Luther always sees and treats Example 6: Dies sind die heil’gen zehn Gebot, measures 4–6 of the Decalogue. It is this very com- the Old Testament considering the New mandment that is cited in the second Testament and vice versa. style, the second à 2 Claviers et Pedale parts distributed on two manuals and stanza of the cantus fi rmus, the stanza to c) Could 47 recall the 47th Psalm, imitating violins or fl utes accompanied pedal. The cantus fi rmus is carried out which the great chorale setting seems to mentioned by Luther in his Great Cat- by a basso continuo in the pedal. as a canon between the two tenor parts allude the most: “I alone am your God echism: “O, clap your hands, all ye people; • The G-major trio on “Allein Gott” played by the left hand while the right and Lord. Thou shalt not have other shout unto God with the voice of triumph. seems to stress Jesus’s role as Lamb of hand plays the two free upper parts. Sur- gods; thou shalt love me from the bottom / For the Lord most high is terrible; He is God, alluding to the third stanza of the prisingly, these free parts never imitate of your heart. Kyrieleis.” a great King over all the earth”? chorale, “Lamb of God, holy Lord and or cite the cantus fi rmus. It is when the cantus fi rmus expounds NB! This third section of the pedal God, accept the prayer of our misery,” by Most interesting is the fact that in the phrase “Thou shalt not have other starts in measure 21 where the cantus citing these two verses in canon, a most Bach’s treatments of this cantus fi rmus gods” that the pedal plays a “huge” and fi rmus plays the phrase “Thou shalt not simple symbol for “one part following (Orgelbüchlein, the cantata BWV 77 Du “exaggerated” interval of two octaves, have other gods.” Also, it is here where another part:” fi rst between the right sollst Gott, deinen Herrn, lieben, and C – c′ (the fi gure of hyperbole = exag- the pedal plays the enormous, exagger- hand and pedal in measures 78 to 83, and the two settings in the Clavier-Übung), geration) and obviously referring to ated interval of the double octave, which in measures 87 to 92 between the left he uses the same key, Mixolydian on God’s immensity (Example 7). also perfectly matches the second verse hand and pedal, and thus alluding to the G, the “pure” key without accidentals Astonishing is the fact that the motif of Psalm 47. Gospel of John, 1:29–30: “The next day in its signature. Never does this cantus of measures 47 and 48 appears altered d) Could 147 recall the 11th verse John seeth Jesus coming unto him, and fi rmus appear transposed: this obviously in measures 51 and 52, transformed of the 147th Psalm: “The Lord taketh saith, Behold the Lamb of God, which suggests the “immutability of the Divine insofar as it is now divided between the pleasure in them that fear Him, in those taketh away the sin of the world. / This Law.” Most consistently, the treatment of two upper parts: one part continuing the that hope in His mercy”? is he of whom I said, After me cometh a the cantus fi rmus as a canon also evokes other, and thus suggesting the idea of “two NB! Luther himself quotes Ps. 147, man which is preferred before me: for he the “severity of God’s Law.” parts becoming one” (the fi gure called 11 in his Catechism, in the chapter dedi- was before me” (Example 5). A further symbolic meaning of the heterolepsis = meaning this continuity, cated to the Ten Commandments. This musical texture is the setting of the the unifi cation of two parts, i.e., love, as could make the assumption mentioned IV canonic cantus fi rmus in the two middle described by J. G. Walther). It is striking above quite plausible! The density and complexity of Bach’s parts, which clearly refers to Luther’s to note how often Bach makes use of this e) & f) Could the number 5 possibly dealing with the theological message commentary in his Catechism, regarding fi gure when alluding to love, to unifi cation allude in this context to mankind (fi ve through music is most impressively the way to keep the Divine Law through in and through love. Not surprisingly, this senses; the fi ve wounds on Jesus’s cru- revealed in the settings of chorales “Christ’s the Mediator’s Intercession.” fi gure appears in our chorale setting only cifi ed body) as “the Old” vs. “the New treating the main chapters of Luther’s The beginning of the chorale is most two times, exactly where each of the two Man”? Catechism: the Ten Commandments, serene, diatonic, and calm, and takes canonic cantus fi rmus parts play the notes g) 14 might well suggest Bach’s own the Creed, and the Lord’s Prayer. place over an organ point in the pedal. for lieben mich (love me); as one can eas- name (B [2] + A [1] + C [3] + H [8] = 14) The large setting of Dies sind die After four measures of “complete har- ily see in the “transformed” version, the as his personal commitment as a believer, heil’gen zehn Gebot is written in fi ve mony” the character changes in the motive is played by two “unifi ed” parts as the pro me (= “for me”), a central point fi fth measure: the alto plays a “harsh” according to the text line “Thou shall love in Luther’s theology. descending chromatic fi gure (the fi gure me” (Example 8). Another interesting symbolic con- A. E. Schlueter Pipe Organ Co. of parrhaesia) while the soprano plays If we take a look at the pedal part we notation is suggested by the general three times a “sighing fi gure” consist- note that it is divided into several sec- form of the chorale setting. The total of ing of a sixteenth rest followed by three tions either by rests or by the recurring 60 measures is clearly divided into two sixteenth notes, and followed by two long organ point on A in measure 29. A unequal sections considering the sort groups of stepwise descending eighth most intriguing and striking speculation of “recapitulation” of the beginning, in notes (Example 6). presents itself in this context when con- measure 29: This seems to be a strong allusion sidering the number of notes of each of 28 measures (= 7 x 4) + 32 measures to the Book of Genesis describing the these sections: (= 8 x 4) = 60 measures, or 28 : 32 = 7 : 8. Garden of Eden (= full harmony~4 mea- a) measure 1 to 10 = 37 notes Could 7 allude to the seven days of the sures) and Adam’s Fall in the fi fth mea- b) measure 10 to 20 = 60 notes week, of the 6 + 1 days of the Creation of sure (Adam in Hebrew meaning man and c) measure 21 to 28 = 47 notes the earthly world and 8 to the eighth day being symbolized, according to Andreas d) measure 29 to 55 = 147 notes (the day of Messiah)? Could this overall New Instruments Tonal Additions Werckmeister, by the number 5 for man’s e) measure 56 = 5 notes form and its “articulation” transmit the Rebuilding Maintenance 5 senses, 5 fi ngers and toes, and also hint- f) measure 57 = 5 notes message of Redemption? New Consoles Tuning ing at Jesus’s 5 wounds on the Cross). g) measure 58 to 60 = 14 notes The “small,” manualiter version of Interestingly enough, this “sighing” Dies sind die heiligen zehn Gebot seems How can we help you? fi gura suspirans is played by the two a) Could 37 represent the monogram to have a more obvious, more straight- upper parts during the whole piece JCHR for Jesus Christ? (the number forward approach to the text. It is a 800-836-2726 exactly 33 times, reminding of the 33 alphabet with the correspondence fughetta using the theme in both normal www.pipe-organ.com years of Jesus’s earthly life. between the letters of the alphabet and and inverted position. The gigue-like
18 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM Example 9: Vater unser im Himmelreich I, measures 1–4 right hand
Example 11: Christ unser Herr zum Jordan kam I, measures 1–4
h) this “plaintive” Lombardian manuals and pedal with the cantus rhythm and the overall rhythmical com- fi rmus in the latter, the bass in the left plexity seem to depict Luther’s comment hand and the two upper parts in the on The Lord’s Prayer expressing the right hand. This setting is quite full of “multitude of human miseries;” important symbolic meanings: i) the staccato triplets obviously a) the tenor cantus fi rmus in the describe Saint Matthew 7:7: “Ask and it pedal suggests, as the middle part of shall be given to you; seek and ye shall the setting, Christ’s role as Mediator fi nd; knock and it shall be opened unto between God Father and mankind; you.” As a matter of fact, this very verse b) the almost constant movement in appears quoted in practically all older sixteenth notes in the left hand bass part Lutheran hymn books on the page where seems to allude to the fl ow of the waters the chorale Vater unser im Himmelreich of the Jordan River; Example 10: Vater unser im Himmelreich I, measures 27–31 is printed. The staccato triplets may also c) the two upper parts of the right allude to drops of tears; hand can be seen as a symbol for the theme is characterized by the strongly NB! Interestingly enough, the score j) there is only one spot where the Holy Spirit fl oating above the scene of repeated notes at its beginning and by of the fi rst Credo chorus in the B Minor pedal quotes the “plaintive” Lombardian Christ’s Baptism by Saint John the Bap- strong leaps followed by stepwise pas- Mass shows the word “Credo” written 43 rhythm and this happens in measure 41 tist. The beginning four notes in each of sages. It is most interesting to note some times and heard 41 times, i.e., J-S-B-A- (J [9] + S [18] + B [2] + A [1] + C [3] the two upper parts seem to depict, as aspects of this piece: C-H’s creed. + H [8] = J. S. BACH), alluding to the a hypotyposis, a cross motif. Also, the 1) the title in the original print from The small version of the same chorale composer’s personal commitment. most intricate imitations between the 1739 is Dies sind die heiligen zehen is written as a short manualiter fughetta After this extraordinary piece, the alio small motives of the two upper parts Gebot consisting of exactly 10 syllables in the style of a brilliant French overture. modo manualiter version of the same can be seen as a hint to the Holy Spirit (Ten Commandments?) This surprising setting can be seen as an cantus fi rmus is a simple, quiet medita- proceeding from the consubstantiality of 2) the repeated G in the theme introduction to the large version of The tion on the Prayer, devoid of all further God Father and God Son, as mentioned appears 14 times (BACH’s commitment? Lord’s Prayer, Vater unser im Himmel- speculative symbols. in the Nicene Creed (Example 11). See above). reich, written in the same key of E Dorian. d) NB: the fi nal note of the fi fth 3) the theme appears 4 times in More likely, however, it also seems to VII chorale phrase in the pedal d° seems to normal, 4 times in inverted, and again 2 have the function of dividing the whole Following Luther’s Large Catechism generate a “wrong” 6/4-chord d° - g° - b′: times in its normal forms, i.e., 4 + 4 + 2 = set of 21 chorales into 12 + 9. One should exactly, Bach now treats the Sacraments This is to be seen as a hint to avoid the 10 times (see above). remember that, on the other hand, the 21 of Baptism in Christ, unser Herr zum wrong harmony by the use of a 4′ reed in 4) there is quite a long interlude chorales are also divided into 9, dealing Jordan kam, Penitence in Aus tiefer Not the pedal if the left hand were based on without the theme between measures 18 with the Lutheran Mass, and 12, treating schrei ich zu dir, the latter considered by 8′, or a 16′ basis for the left hand, should and 31, lasting 14 measures (see above). Luther’s Catechism and the Sacraments. Luther as the continuation and constant the pedal be played only on an 8′ basis! A very beautiful parallel, indeed! renewal of baptism, and fi nally the Sac- e) The total number of measures, 81, V rament of Communion in Jesus Christus, equals 3 x 3 x 3 x 3 as a most impressive The large chorale setting dealing with VI unser Heiland. symbol for the Trinity. the Creed, Wir gläuben all’an einen Gott The large version of Vater unser im The large version of Christ unser The small manualiter version of the (Schöpfer) is striking because of its dyna- Himmelreich is possibly Bach’s most Herr zum Jordan kam treats Jesus’s same chorale is quite a short fughetta mism, abundant syncopations, “modern” diffi cult and intricate organ work. It is baptism as described in Saint John, based on the fi rst phrase of the cho- 2/4 time signature, constant movement in written in 5 parts distributed once again Chapter 1. The piece is set for two rale, combined with an “obbligato” sixteenth notes, and lack of organ points among the two manuals and the pedal, in the pedal, by the six times of the pedal with the cantus fi rmus in canon. Unlike ostinato, and the fl amboyant movement the Ten Commandments however, of the manual parts. The theme treated in each hand here plays a free voice and a the manual is rooted in the fi rst phrase of canonic cantus fi rmus part. the cantus fi rmus, and it is this very phrase Some characteristics may help under- — 38 ranks that appears literally quoted in the tenor stand and elucidate the enormous com- in the last 12 measures of the piece. The plexity of this composition: overall fl amboyant, dynamic character a) the slow, majestic tempo in the tuscaloosa, alabama tuscaloosa,
of this setting might be surprising, but it 3/4 time signature suggests the austere opus 132 seems in perfect coherence with Luther’s character of a slow sarabande; idea of a willful, powerful, and passionate b) the pedal is treated as a basso con- personal commitment of each believer tinuo without quoting the cantus fi rmus; aiming to attain personal justifi cation. c) the cantus fi rmus is treated in Some characteristics of this com- canon suggesting our intimately repeat- position might elucidate its possible ing the prayer spoken by Jesus according Church Chri Episcopal further message: to Saint Mark and Saint Matthew; a) the total of exactly 100 measures d) the alternating order of the of the piece might suggest the idea of the canonic parts at each new entry seems totality of the Creation (Gott Schöpfer = to suggest a still dialogue between the God, the Creator); believer and Jesus; b) the 6-fold appearance of the pedal e) the free manual parts are based follow us on ostinato might hint at the 6 “working” on a theme quoting the richly embel- facebook! days of God’s Creation (see above); lished fi rst phrase of the cantus fi rmus c) the quotation of the fi rst cantus (Example 9); fi rmus phrase in the tenor, starting in f) each hand expounds this theme 3 measure 89 might allude to Christ as times, alluding probably once more to the Mediator; the Trinity; d) the last pedal entry is longer g) the two free manual parts display 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA than its other entries and has exactly an enormous rhythmical richness with t 800 625-7473 [email protected] 43 notes; this may well mean: (C [3] + frequent use of the “plaintive” Lom- Visit our website at www.letourneauorgans.com R [17] + E [5] + D [4] + O [14] = 43: bard rhythms and the staccato triplets CREDO) “I believe.” (Example 10);
WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 19 FeatureOrgan music of Bach counter-subject, both treated in normal the cantus fi rmus in both the reeds- and and inverted position. Could the theme the mixture-pleno, and thus strengthen- itself represent Christ and its inverted ing the cantus fi rmus. form Christ’s descent on Earth? Could The following alio modo manualiter the countersubject stand for Saint John version of the same chorale is written in the Baptist? Interesting enough is the four parts. Learned contrapuntal imita- fact that this fughetta consists of 27 mea- tions in the three lower parts—in normal sures (3 x 3 x 3) with exactly 81 quarter and inverted form—of each phrase of notes (see above). the chorale, anticipate each phrase of The large version of Aus tiefer Not the augmented cantus fi rmus expounded schrei ich zu dir, the German version of each time by the treble part. Psalm 130, “De profundis,” is an excep- • Each section of the piece begins tional work, as it is written in the old, with fi ve contrapuntal measures in Example 12 Aus tiefer Not schrei ich zu dir I, measures 68–69 solemn, majestic vocal stylus gravis or intricate counterpoint between the motet style, which, according to Johann three lower parts, followed by eight bars Gottfried Walther’s Musicalisches Lexi- expounding the respective phrase of the con of 1732, is able to “elevate the soul chorale in the treble and one supple- to God.” This setting marks a pinnacle mentary bar concluding each section. in Bach’s entire organ music insofar as it • The overall organization of the is written in six parts, four in the manual piece is quite extraordinary: and two in the pedal, with the augmented Sections a), b), c) & d): 5 + 8 + 1 bars; cantus fi rmus of Luther’s chorale melody section e): 5 + 8 + 5 in the right foot’s part. This obviously • But 5 + 8 + 1 = 14 [= B-A-C-H seems to be an allusion to the signifi cance = 2 + 1 + 3 + 8] and 8 : 5 stands for the of the upper bass part as the voice of the golden ratio. Old Testament psalmist. Most impressive The large version of Jesus Christus, is also the fact that at the beginning of unser Heiland, der von uns den Zorn the last verse of the chorale Wer kann, Gottes wandt is a trio for the two manuals Example 13: Duetto II, measures 69–78 Herr, vor dir bleiben? (Who can, Lord, and pedal with the cantus fi rmus in the stand before Thee?) in the seventh to last latter. It seems quite interesting that the measure, the upper bass part playing the pedal oscillates between playing the tenor cantus fi rmus is the highest part in the and bass parts. Could this hint at Jesus’s whole texture (Example 12). double nature, as God and Man? • The registration should be the • The two manual parts seem to Organo pleno, i.e., an 8′ based Plenum actually symbolize the “Wrath of God” in the (coupled) manual(s) and 16′ Ple- by their extremely virtuosic, agitated, Example 14: Fuga à 5, measures 1–4 num in the pedal, without mixtures but and aggressive movements in sixteenth with reeds 16′, 8′, and 4′. notes and eighth notes. • The augmented entry of the main- It also seems quite remarkable how well • This setting is obviously inspired • The main theme in the manuals theme in the tenor part in measure 57 the duettos match—by their astonishing by the great pleno settings in fi ve parts, starting with big and then diminishing might be another symbol for the praise variety and by their individual character— with double pedal, in Matthias Weck- intervals (tenth-octave-sixth) could pos- of Christ the Lord, as the mediator both the conception of the four elements mann’s great chorale settings with the sibly hint at Man’s approach to God, between God and Man. (mentioned by Luther in his Great Cate- cantus fi rmus in the upper pedal part. whereas, on the other hand, these leaps • NB! In order to emphasize this chism) and that of the four temperaments NB! In one of the Lüneburg tabla- sometimes occur also in the opposite augmented theme in the tenor it should and even maybe of the four archangels tures containing Weckmann’s majestic direction, from smaller to larger (sixth- be helpful to use a registration of (Michael, Gabriel, Raphael, and Uriel) as hymn on O lux, beata Trinitas the open- octave-tenth). The message of these pat- foundations (principals) 8′ and 4′ and a well as the four Evangelists (?). ing fi rst movement in fi ve parts with terns seems to be the “struggle” between trumpet 8′. Duetto I: E-minor key; 3/8 time signa- double pedal and the cantus fi rmus in God and sinful mankind expecting ture; right hand starts, left hand follows; the upper bass bears the indication redemption through communion, VIII 73 measures; perfectly symmetrical that the cantus fi rmus of the upper bass Luther’s second sacrament. Most intriguing and surprising part form based upon the golden ratio (28 could be played in the pedal by the right The following alio modo version of the of the work are the following four duet- measures + 17 measures + 28 measures foot, or on the manual by the left hand, same chorale is a very complex fugue tos preceding the fi nal Fugue in E-fl at = 73 measures // 28:17 = ~ 1.64; 45 (= or also by both the pedal and the left in F minor, using as a main theme the Major. Some speculations might help 28 + 17) : 28 = ~ 1.7; 73 (= 28 + 17 + hand together. This comment seems fi rst phrase of the cantus fi rmus. The justify their presence: 28) : 45 = ~ 1.62); fl amboyant themes to confi rm the registration mentioned extremely rich counterpoint and the a) Luther adds a “Short Admonition of and countersubjects suggesting fl ames of above, with the result that the left foot surprisingly daring new motives seem Confession” after the chapter about Com- fi re; Archangel Michael (with attributes: bass is playing in the reeds-pleno, the to recall the big, learned fugues of the munion. In this short appendix he quotes fi re, sword, perfect balance); choleric manual parts in the mixture-pleno and Well-Tempered Clavier, Book II. the various ways of confessing: 1. to the temperament (?); element Fire (?). priest/pastor; 2. as an open and common Duetto II: F-major key; 2/4 time confession in front of the congregation; 3. signature; right hand starts, left hand to the neighbor; and 4. to God; follows; 149 measures; perfectly sym- b) in the fi rst part of his Large Cat- metrical form of: 37 + 31 + 13 + 31 + echism Luther quotes the four elements 37 measures. NB! 37 could stand for of the world: 1. Fire; 2. Air; 3. Water; 4. Christ’s monogram in the Greek alpha- Earth; bet [ChRistos]: X ~ CH (= 20) + P ~ R c) in his Neu vermehrtes Ham- (= 17); 31 may stand for the Latin “In burgisches Gesangbuch (New Hymn Nomine Jesu” (In Jesus’s Name): [I (= Book) from 1739, Vopelius inserts after 9) + N (= 13) + I (= 9) = 31]; 13 could the Catechism Hymns other hymns for: allude to Jesus and his Twelve Apostles 1. the morning; 2. the evening; 3. before at the Last Supper. NB! This section of meals; 4. after meals; 13 measures from measures 69 to 78 is d) taking into consideration the the center, the middle of the whole piece Baroque Theory of Affects one can eas- in which the measures 74 to 78 are the ily imagine a certain parallel with the exact “inversion” of measures 69 to 73; four temperaments: 1. choleric; 2. san- could that maybe hint to Jesus’s death?; guine; 3. phlegmatic; and 4. melancholic element Air (?) (Example 13). temperament; The overall form of the piece is quite e) the duettos form a tight unity: complex, insofar as the fi rst section and their tonal progression ascending from E its da capo recapitulation (both 37 mea- to F, to G, and fi nally to A corresponds sures) are in major and in a serene, joyous strikingly to the sequence of keys in the mood, whereas the second and penulti- “Trinity chorales” 4 to 9, and thus lead- mate sections (both 31 measures) are in ing to the fi rst note, B-fl at, starting the minor and written as canons; might this following fugue; “discrepancy” remind one of the sanguine f) two of the duettos are in a major (II temperament (?); Air; could the three and III) and two in a minor key (I and IV); references to Jesus Christ (see above) “superb musicianship, masterly technique and savvy programming … Archer’s g) two are in a ternary (I: 3/8 and III: suggest a link to the Archangel Gabriel, sweeping assurance and stamina enable you to hear the music behind the virtuosity.” 12/8) and two in a binary (II: 2/4 and IV: Jesus’s messenger (with the attributes: lily — GRAMOPHONE (JAN 2018) — 2/2) time signature. and fi sh); could the perfect formal sym- h) two start with the right hand (I and metry represent the symmetrical beauty MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com II) and two with the left hand (II and IV). of a lily?; could the inversion, the crossing
20 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM proportion (= “proportio divina”) in the [NB! All these numbers are multiples infi nite. of 3 (Trinity again!).] e) NB! according to the Italian e) could the total number of 27 pieces Renaissance mathematician Luca Pacioli possibly recall in both the Clavier-Übung the golden ratio might symbolize the and the B Minor Mass the 27 books of Holy Trinity: the New Testament? A (the greater quantity/God Father) : f) could the number of 21 pieces B (the smaller quantity/God the consub- allude to the “Teaching Books” of the stantial Son) = (A + B) : A, or, theologi- New Testament, the 21 Epistles, and the cally speaking: 6 “free works” to the four Gospels, the A (God Father) engenders B (the con- Acts of the Apostles, and the prophetic substantial Son) and, out of these two, Apocalypse of John? proceeds A + B (the Holy Spirit); g) could one not consider the overall f) could this majestic, astonishingly architecture of Bach’s most impres- built fugue thus represent once more the sive cycles, Clavier-Übung III and the ultimate Symbol of the Holy Trinity? B Minor Mass, as huge symbols for the Example 15: Fuga à 5, measures 37–40 and Kyrie I, measure 1, left hand g) its perfectly symmetrical construc- New Testament and thereby also for tion is most impressive: Martin Luther’s Theology? Q First section (40 half measures— cadence—32 half measures), Michael Radulescu, born in Bucharest, Second section (22½—22½ measures) Romania, studied organ and conducting Third section (32 half measures— in Vienna at the Academy (now Univer- cadence—40 half measures), or, more sity) of Music and Performing Arts where simply: he taught as professor of organ from 1968 Example 16: Fuga à 5, measures 59–61 40 – 32 – 22½ – 22½ – 32 – 40 mea- to 2008. His career encompasses work sure lengths of the second section. as a composer, organist, and conductor. Since his debut in 1959 he has presented X concerts throughout Europe, North Taking a more attentive, new look at America, Australia, South Korea, and the Third Part of Bach’s Clavier-Übung, Japan. He regularly gives guest lectures one discovers some interesting facts con- and masterclasses in Europe and over- cerning the overall compositional plan, a seas, focusing mainly on the interpreta- plan corresponding also to Bach’s work, tion and elucidation of Bach’s organ and Example 17: Fuga à 5, measures 82–84 the B Minor Mass: major choral works. a) both cycles contain a total of 27 As a composer, Radulescu has written of the parts in measures 69–78 hint at a the fugue is in 6/4 meter and based on a movements each. sacred music, works for organ, voice and symbol for Christ’s Cross and Death? strongly contrasting theme characterized b) these 27 movements are divided organ, choral and chamber music, and Duetto III: G-major key; 12/8 time by its constant movement representing into two groups of: 6 “free” works with- orchestral works. He is also in demand signature; left hand starts, right hand fol- a lengthy kyklosis (“turning around-fi g- out a cantus fi rmus (prelude in E-fl at, as a jury member in international organ lows; 39 measures: ure”), with the main notes E-fl at—F—G the four Duettos, and the fi nal fugue) and composition competitions and as an 15 + 8 + 15 + 1 = 39 measures; 15 (= and thus quoting the fi rst phrase of the and the 21 chorales; NB! the “Missa” editor of early and ancient organ music. 3 x 5) + 24 (= 3 x 8) = 39 (= 3 x 13) = fi rst large chorale Kyrie, Gott Vater in and the “Symbolum Nicenum” in the Radulescu conducts international vocal golden ratio (cf. Fibonacci); melancholic Ewigkeit (Example 15). B Minor Mass have together 12 + 9 = and instrumental ensembles in perfor- temperament (?); could the very serene Exactly in the middle of this second 21 movements and the last section of mances of major vocal works. As an character of the piece remind of the section, the majestic fi rst theme reap- the B Minor Mass (“Sanctus,” “Osanna,” organist, he has recorded among other Archangel Raphael (with attribute: fi sh)? pears, rhythmically strengthened by its “Benedictus,” “Osanna,” “Agnus Dei,” things Bach’s complete works for organ, element Water? syncopations, and dividing the whole and “Dona nobis pacem”) also contains without any technical manipulation. Duetto IV: A-minor key; 2/2 (Alla fugue into two equal parts of 36 + 22½ : 6 movements. For his musical and pedagogical breve) time signature; left hand starts, 22½ + 36 (Example 16). c) the 21 chorales in the Clavier- contributions Radulescu was awarded right hand follows; two themes are used Finally, the third and last section of Übung are divided twice into: 9 for the the Goldene Verdienstzeichen des Lan- (a and b); 108 measures arranged as 8 the fugue written in 12/8 time signature, Lutheran Mass (“Kyrie-Christe-Kyrie des Wien in 2005. In 2007 he received (a) + 8 (a) + 16 (b) + 8 (a) + 8 (a) + 8 expounds a third theme that will later – Gloria:” Trinity) and 12 dealing with Würdigungspreis für Musik from the (b) + 13 (b) + 8 (a) + 8 (b) + 10 (b) + be combined with the fi rst and with a Luther’s Catechism plus Sacraments. Austrian Ministry of Education and Art. 13(a); NB! The grouping of measures varied form of the second theme. This d) The 21 chorales are also divided In December 2013 Michael Radulescu’s and themes reveals the scheme of: 9 x 8 third theme seems to use a bass cadence (“musically”) into 12 and 9 chorales by book on J. S. Bach’s spiritual musical (= 72 measures) + 2 x 13 (= 26 measures) formula of C–F, and B-fl at–E-fl at the 13th chorale written as a French language, Bey einer andächtig Musiq . . ., + 2 x 5 (= 10 measures), an order once (Example 17). overture and thus opening the rest of 9 focusing on the two Passions and the B more based upon the progression 5, 8, Most impressive is the perfect formal chorales. Minor Mass was published. and 13 as quantities of the Fibonacci symmetry of the whole fugue organized progression hinting at the “golden ratio;” in: (20 + 16 =) 36 measures + (22½ + 22½ the quite robust character of the music =) 45 measures + (16 + 20 =) 36 measures. seems to allude to the strong phlegmatic Considering the fugue as a whole and temperament, while the very intricate the most natural tempo relationship of formal scheme of the piece might possi- its three time signatures (half note = dot- bly be a hint to the archangel Uriel (with ted half note = dotted quarter note), one attribute: fi re); element Earth? can conclude the following: a) the fi rst and the third sections of IX the fugue are equal in length lasting 36 The concluding Fuga à 5 Pro Organo measures each, divided into 20 + 16, pleno in E-fl at major perfectly continues respectively, into 16 + 20; the ascending keys movement of the b) applying the tempo relationship duettos (E-F-G-A) by its starting with a “half note = dotted half note = dotted B-fl at in the tenor. quarter note” and taking as a com- The main theme suggests by its shape mon unity of measurement the smaller the form of a cross: connecting on paper quantity, i.e., the measure length of the the fi rst note with the fourth and the second fugue (which has only two beats second with the third, respectively the per measure vs. the four beats of the fi rst second with the fi fth and the third with and the third sections respectively), one the fourth, respectively the third with obtains the following measurements for the sixth and the fourth with the fi fth, the three sections: respectively the fourth with the seventh 72 (= 36 x 2) half-measures; 45 and the fi fth with the sixth, one obtains measures and again 72 (= 36 x 2) three times (Trinity again!) the Greek let- half-measures ter X = Chi used as a symbol of the Cross, c) all these numbers being multiples for crossing: cf. also Bach’s original title of 9, these ratios can be reduced to: Da Jesus an dem X stund’ and the English 72 (= 8 x 9); 45 (= 5 x 9); 72 (= 8 x 9), No X-ing or Merry X-mas (Example 14). or just 8 + 5 (= 13) + 8 = 21 This majestic theme dominates the d) this series of numbers 8, 5, 13, whole fi rst section of the fugue written 21 belongs to the famous “Fibonacci www.ruffatti.com in the ancient stylus gravis (see above, progression” starting by 1:1:2:3:5:8:13:21 chorales 1 to 3). The second section of and reaching the golden ratio or divine
WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 21 Cover feature
Pasi Organ Builders, Inc., Roy, Washington Westport Presbyterian Church, Kansas City, Missouri
On December 29, 2011, a blazing fi re engulfed and destroyed Westport Presbyterian Church. Located in historic Westport—the one-time outfi tting sta- tion for traders, trappers, and pioneers heading west on the Santa Fe and Oregon trails—the Romanesque Revival church built in 1905 was home to a congregation that had worshipped in the community since 1835. The second half of the last century saw a decline in both the congregation and the surrounding community as the population migrated to the suburbs. At the time of the fi re, however, the residential, commercial, and entertain- ment districts of the neighborhood were thriving again, and the remnant of the congregation met this revival by turning outward in service toward the surrounding community. The catastrophic turn of events may well have buried the small congregation, but brimming over with faith, hope, and love, the community doubled down on its joyful, inclusive worship celebrations, service and advocacy for the poor, and its outreach through arts ministries. Led by Pastor Scott Myers (also a poet and playwright), the congregation decided immediately to rebuild. A team from the architectural fi rm BNIM (of Kansas City, Missouri), led by Erik Heitman, designed an award- winning steel and glass structure delicately nested within the limestone ruins of the old church, rising out of the rubble and ashes as a place of light and peace. The fi rm of Jaffe Holden (of Houston, Texas), under the direction of Russ Cooper, was engaged to oversee the acoustical design. Pasi Organbuild- ers of Roy, Washington, was simultane- ously chosen to design and build a new organ for the church—a rare oppor- tunity for architect, acoustician, and organbuilder to be involved in planning a project together. The committee charged with recom- mending an organbuilder comprised several musicians and well-informed enthusiasts in the congregation, led by then-music director Filippa Duke, and later by former-organist Marian McCaa Thomas. The contract for the new organ was signed in late 2012, with delivery slated for late 2014. Delays in the church construction, however, postponed the Pasi Organ Builders, Inc., Opus 24 installation of the organ until June 2016. The new Pasi organ (Opus 24) budget for the new organ was fi xed by and fl ute choruses, mutations, strings, horizontal pipe shades allowed for an 8′ replaced a 1926 Reuter (Opus 215, 3 the insurance settlement, the decision and versatile reeds. façade in towers housing the full-length manuals, 30 ranks), rebuilt in 1962 by was made to forego such conveniences The organ is housed in a tall, shal- 16′ Posaun. The Great and Pedal chests Wicks (Opus 4277, 3 manuals, 28 ranks). and invest as much as possible in the low white oak case, designed to visually are at the level of the impost with the The claim to fame of the original Reuter tonal resources of instrument. The harmonize with the horizontal panels of Swell above. is that it was dedicated in recital on April specifi cation is both as economical and wood reclaimed from the old church. All pipes for the organ were made in 1, 1927, by none other than Louis Vierne colorful as possible. The mechanical stop The extreme height of the room sug- the Pasi shop. Most of the fl ue pipes are (who was apparently fascinated by all action allows for two double-draws, and gested a 16′ case, while the room volume cast in 97% hammered lead. The 2′ stops its modern registration aids). Since the both manuals boast complete principal and budget required an 8′ organ. The and mixtures are made with an alloy of 25% tin and 75% lead. The strings are 90% tin. The various fl utes are distinc- Westport Presbyterian Church, tive in color, and the Swell 4′ Rohrfl öt Pasi Organ Builders, Inc., Opus 24 Kansas City, Missouri has chimneys in the bass and is open in the treble. The Quint/Sesquialter is HAUPTWERK OBERWERK PEDAL principal-scaled, while the Nasat/Hörnli (Manual I) (Manual II, enclosed) 16′ Subbaß 30 pipes ′ ′ ′ is fl ute-scaled. 16 Quintaden 58 pipes 8 Suavial 58 pipes 8 Principal (Transmission HW) All reed shallots are made in the 8′ Principal 58 pipes 8′ Unda maris (TC) 46 pipes 16′ Posaun 30 pipes 8′ Rohrfl öt 58 pipes 8′ Gedackt 58 pipes 8′ Trompet (Transmission HW) Schnitger (North German) style. Reed 8′ Viol di gamba 58 pipes 4′ Fugara 58 pipes Pedalkoppel I blocks are wood for the basses and 4′ Octav 58 pipes 4′ Rohrfl öt 58 pipes Pedalkoppel II metal for the trebles. The 16′ Posaun 4′ Spitzfl öt 58 pipes 3′ Hörnli II 116 pipes has wooden resonators in the low ′ [ ′ Detached console 3 Sesquialter II 116 pipes 3 Nasat (Half-draw) octave. All other reed resonators are [ 3′ Quint (Half-draw) 2′ Waldfl öt 58 pipes Mechanical key action 2′ Superoctav 58 pipes 2′ Mixtur III 174 pipes Mechanical stop action made of 97% lead. 1 Balanced Swell pedal 1⁄3′ Mixtur IV 232 pipes 8′ Dulcian 58 pipes All open fl ue pipes are cut to length 8′ Trompet 58 pipes Cymbelstern and cone-tuned. Metal stopped pipes Manualkoppel Three wedge-shaped bellows Quiet electric blower have soldered-on caps. Reed pipes Tremulant have resonators as long as possible for
22 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM Westport Presbyterian Church, Kansas City, Missouri, and Pasi Organ Builders, Inc., Opus 24 tuning stability. The organ is tuned in an unequal circulating temperament devised by Mark Brombaugh. The wind-driven Cymbalstern comprises fi ve un-tuned bells. The organ is winded by three 7′ x 3.5′ bellows located in a room directly behind the organ. They are either fed by a 3/4-HP Laukhuff blower or mechani- cally raised with foot levers. Both the key action and stop action are entirely mechanical, controlled from a detached reversed console that allows the organist to conduct the choir from the console at the apex of the choral semi-circle and to visually interact with other instrumentalists in ensemble situa- tions. Trackers are made of carbon fi ber for both horizontal and vertical runs. The organ was dedicated on Septem- ber 23, 2016, with a recital by Filippa Duke and Kevin Vogt. Emily Davidson is the current music director and organist for the church. The bellows with foot-pumping levers Pasi Organbuilders Opus 24 is the work of: Photo credits: Markus Morscher: windchests, case, Michael Robinson Photography (cover pipe racking, design, installation, and and top of this page) shop foreman Martin Pasi (all other photographs) Steven Jett: pipe making and installation Pasi Organ Builders, Inc. Kaspar Vonbank: key action, stop 32215 8th Avenue South action Roy, Washington 98580 Clara Mainetti: pedalboard, case 253/843-2914 woodworking, and assembly at the shop http://www.pasiorgans.com/ Jennifer VonHolstein: administration Martin Pasi: design, key action, stop Westport Presbyterian Church action, reed pipe making, voicing, and 201 Westport Road administration Kansas City, Missouri 64111 Anthony Balducci: on-site installation. 816/931-1032 —Kevin Vogt, organ consultant http://westportpresbyterian.org The reversed console
WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 23 Organ Projects
John-Paul Buzard Pipe Organ Builders, Champaign, Illinois Bethlehem Lutheran Church, Hortonville, Wisconsin Hortonville, Wisconsin, has had a continuing Lutheran presence since 1867. However, members of Bethlehem Evangelical Lutheran Church date their anniversary as August 14, 1870, the dedication of their fi rst church building. In January 1897 the congregation voted to build a new church on the corner of Nash and Embarrass Streets. Five days later, the fi rst stones were hauled for the basement, and less than three months later bids were opened for the building of the church. The contract was let to the local Diestler Lumber Co. for $5,165, with $500 later added to the total. The cornerstone was laid on Sunday, June 13, 1897, and the church was dedicated Sunday, November 28, 1897. That day the second English service in the history of the congregation was conducted. That building, now the former church, is made of brick in Gothic style; the tower is about 100 feet high. An extensive remodeling of the original building took The console with the façade in the place in 1960. In 2010 Herman Jenner- background john, in his will, bequeathed twenty-fi ve acres of land to the congregation for $1, if a new church complex could be begun within ten years. Hence, Bethlehem Church has been on the move! The congregation planned a campus including a new church, a school, a retirement community, and walking paths. The fi rst phase of their growth was the new sanctuary, and the The 1908 Hinners Organ Co. organ in its new home, Bethlehem Lutheran Church, congregation passionately wanted to Hortonville, Wisconsin The organ’s nameplates bring their 1908 Hinners organ with them. The church retained consultant The original façade was restored. and acoustician Scott Riedel of Milwau- Since the 1908 organ utilized mechani- kee, Wisconsin, to oversee the project cal key action, new center panels and assist in the choice of a builder to matching the rest of the casework carry out the work. John-Paul Buzard were made to fi ll in the location of Pipe Organ Builders was chosen to give the original keydesk. Additional space the 110-year-old instrument new life in in the new organ gallery provided the a new home. opportunity to add some important The original Hinners slider and pallet new sounds to the organ to increase windchests were replaced in the 1960s its versatility. A Pedal/Great 16′/8′ 3 with equipment that was unusable. For- Trumpet, and a full-compass Swell 1 ⁄5′ tunately, the staff of the Buzard service Tierce were added; the original Aeo- department had saved some beautifully line was replaced by a Celeste rank. built Kilgen slider and pallet windchests, The 1960s Pedal Principal was rescaled coincidentally also made in 1908, which and revoiced. conveniently fi t the Hinners pipework, its The 1960s console cabinet was Signatures of Kilgen employees on slider windchest bearers original tonal specifi cation, and desired repaired, refi nished, and retrofi tted with additions. The tables of these windchests a new solid-state relay, stop tablets, cou- were in perfect condition, streamlining plers, and combination pistons. The organ Hinners Organ Co./John-Paul restoration efforts. The channels were is now ready to serve the Bethlehem fl ooded as a precaution against runs; new congregation in its new home for another Buzard Pipe Organ Builders felt and leather facings were glued onto century. We are honored to have served Bethlehem Lutheran Church, Hortonville, Wisconsin the pallets; new powerful pull-down the people of Bethlehem Lutheran magnets were affi xed to new magnet Church. The instrument now speaks with GREAT (Manual I) PEDAL 8′ Open Diapason 61 pipes 16′ Subbass 32 pipes rails under the pallet boxes. All pipes authority and clarity. (bass in façade) 16′ Gedeckt 44 pipes were neatly racked, using as many of the —Dennis E. Northway 8′ Melodia 61 pipes 8′ Principal 56 pipes original rack boards as possible. and Keith Williams 8′ Dulciana 61 pipes (bass in façade) 4′ Octave 61 pipes 8′ Gedeckt (ext 16′) 4′ Rohr Flute 61 pipes 4′ Octave (ext 8′) 2′ Principal 61 pipes 2′ Super Octave (ext 8′) III Mixture 183 pipes 16′ Trumpet (ext, Gt 8′) 8′ Trumpet 85 pipes 8′ Trumpet (Gt) 4′ Trumpet (ext 8′) Great 8 Chimes (25 tubes) Great 4 New subscribers and gift Great 16 Swell 8 Great Unison Off Swell 4 subscriptions can receive Great 4 one free Raven CD for Swell 16 Accessories Swell 8 8 General pistons a one-year subscription, Swell 4 4 Great pistons 4 Swell pistons two free CDs for a SWELL (Manual II, enclosed) 2 Pedal pistons 8′ Violin Diapason 61 pipes two-year subscription, ′ General Cancel piston 8 Bourdon 61 pipes 128-level memory 8′ Salicional 61 pipes and three free CDs for ′ Balanced Swell expression shoe 8 Voix Celeste (TC) 49 pipes Balanced Crescendo shoe 4′ Harmonic Flute 61 pipes a three-year subscription. 2 Sforzando reversible 2⁄3′ Nazard 61 pipes 2′ Piccolo 61 pipes 3 20 stops 1⁄5′ Tierce 61 pipes ′ 22 ranks 8 Oboe 61 pipes 1,303 pipes total Tremulant For details and to begin your new or gift subscription, electric pull-down slider windchests for manuals Swell 16 Builder’s website: https://buzardorgans.com visit www.thediapason.com/subscribe. Swell Unison Off Church website: www.bethlehem-wels.com Swell 4 marzolino - stock.adobe.com
24 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 7 AUGUST Park Ridge Presbyterian Church This calendar runs from the 15th of the month Scott Lamlein; Mechanics Hall, Worcester, Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline MA 12 noon Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for Janet Yieh; Methuen Memorial Music Hall, NEW YORK Feb. issue). All events are assumed to be organ Methuen, MA 8 pm Bloomingdale, IL recitals unless otherwise indicated and are grouped Christopher Johnson; The Riverside Church, New York, NY 7 pm within each date north-south and east-west. •=AGO George Karst; Christ Church, Michigan chapter event, • •=RCCO centre event, +=new organ City, IN 12:15 pm dedication, ++= OHS event. Derek Nickels; First Presbyterian, Neenah, Christopher Babcock Michael J. Batcho Information cannot be accepted unless it WI 12:15 pm specifi es artist name, date, location, and hour in Director of Music writing. Multiple listings should be in chronological 8 AUGUST St. Andrew’s by the Sea, Jeff Verkuilen order; please do not send duplicate listings. ; Holy Name Chapel, Madi- CATHEDRAL OF ST. JOHN son, WI 7 pm Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. 9 AUGUST Austin Ferguson, carillon; Middlebury Col- UNITED STATES lege, Middlebury, VT 6 pm East of the Mississippi Christopher Houlihan; St. Paul’s Chapel, Dean W. Billmeyer Trinity Church Wall Street, New York, NY 1 pm
16 JULY 11 AUGUST University of Minnesota Christian Lane; Dennis Union Church, Daniel Kovacic; St. Paul Catholic Cathe- Dennis, MA 7 pm dral, Pittsburgh, PA 3:30 pm Minneapolis 55455 • [email protected] Alcee Chriss; The Riverside Church, New York, NY 7 pm 14 AUGUST Mary Dolch; Methuen Memorial Music 17 JULY Hall, Methuen, MA 8 pm John Walthausen; Methuen Memorial Mu- Bradley Hunter Welch; Ocean Grove Audi- sic Hall, Methuen, MA 8 pm torium, Ocean Grove, NJ 7:30 pm GAVIN BLACK Byron L. Blackmore David Hurd; The Riverside Church, New Oliver Rzycki; Christ Church, Michigan York, NY 7 pm City, IN 12:15 pm Princeton Early Keyboard Center Crown of Life Lutheran Church Robert Myers; Trinity Lutheran, Cleveland, Kartika Putri; St. Paul Lutheran, Neenah, 732/599-0392 Sun City West, Arizona OH 12:15 pm WI 12:15 pm Ann Dobie; Christ Church, Michigan City, www.pekc.org 623/214-4903 IN 12:15 pm 15 AUGUST Andrew Schaeffer; St. Bernard Catholic James Kennerley; Merrill Auditorium, Port- Church, Appleton, WI 12:15 pm land, ME 12 noon Simone Gheller; Holy Name Chapel, Madi- 18 JULY son, WI 7 pm THOMAS BROWN Carson Cooman David Jonies; Holy Name Chapel, Madi- UNIVERSITY son, WI 7 pm 18 AUGUST Composer and Concert Organist George Matthew, Jr., carillon; Middlebury PRESBYTERIAN CHURCH 19 JULY College, Middlebury, VT 3 pm CHAPEL HILL, NORTH CAROLINA Harvard University George Matthew, Jr., carillon; Middlebury Betty Jo Couch; Advent Lutheran, Mel- ThomasBrownMusic.com www.carsoncooman.com College, Middlebury, VT 6 pm bourne, FL 3 pm & 6 pm Nicholas Schmelter; Basilica of the Na- Karen Beaumont; St. Hedwig Catholic tional Shrine of the Immaculate Conception, Church, Milwaukee, WI 2 pm Washington, DC 6 pm Jonathan Rudy; Loyola University, Chi- cago, IL 3 pm Your professional card 21 JULY DELBERT DISSELHORST Karen Beaumont; St. Hedwig Catholic 20 AUGUST could appear here! James Kennerley; Merrill Auditorium, Port- Church, Milwaukee, WI 2 pm Professor Emeritus Ahreum Han; Loyola University, Chicago, land, ME 12 noon Contact: [email protected] IL 3 pm University of Iowa–Iowa City 21 AUGUST or 608/634-6253 24 JULY Anne Laver; Methuen Memorial Music Kevin Neel; Methuen Memorial Music Hall, Hall, Methuen, MA 8 pm Methuen, MA 8 pm William Halliar; Christ Church, Michigan Peter Krasinski, silent fi lm, The Ten Com- City, IN 12:15 pm Ethan Mellema; First United Methodist, STEVEN EGLER JOHN FENSTERMAKER mandments; The Riverside Church, New Appleton, WI 12:15 pm York, NY 7 pm Central Michigan University Robert Myers; Trinity Lutheran, Cleveland, 22 AUGUST School of Music TRINITY-BY-THE-COVE OH 12:15 pm Chris Stroh; Holy Name Chapel, Madison, Mt. Pleasant, MI 48859 Lee Meyer; Christ Church, Michigan City, WI 7 pm IN 12:15 pm [email protected] NAPLES, FLORIDA Jeffrey Verkuilen; First Congregational 23 AUGUST UCC, Appleton, WI 12:15 pm Peter Krasinski, silent fi lm, Wings; Merrill Auditorium, Portland, ME 7 pm Norberto 25 JULY James Grzadzinski & Rachel Mallette; 25 AUGUST Holy Name Chapel, Madison, WI 7 pm Aaron Tan; Columbus State University, Co- Susan Goodson Guinaldo lumbus, GA 4 pm 26 JULY Emanuel United Church of Christ His Music Ellen Dickinson, carillon; Middlebury Col- 28 AUGUST Manchester, Michigan See—Listen—Buy lege, Middlebury, VT 6 pm Rudolf Innig; Methuen Memorial Music www.GuinaldoPublications.com Hall, Methuen, MA 8 pm 28 JULY Bruce Bengtson; St. Joseph Catholic Bruce Ludwick; St. Paul Catholic Cathe- Church, Appleton, WI 12:15 pm dral, Pittsburgh, PA 3:30 pm Aaron David Miller; Sinsinawa Mound, A Professional Card in Sinsinawa, WI, 7 pm 29 JULY STEPHEN HAMILTON Joshua Stafford; St. Philip the Apostle 29 AUGUST The Diapason Catholic Church, Saddle Brook, NJ 7:30 pm Mitchell Miller; Holy Name Chapel, Madi- For rates and digital specifi cations, recitalist–clinician–educator son, WI 7 pm contact Jerome Butera 31 JULY www.stephenjonhamilton.com Julian Wachner; Methuen Memorial Music 31 AUGUST 847/391-1045; [email protected] Hall, Methuen, MA 8 pm John Gouwens, carillon; Culver Acad- Christopher Creaghan; The Riverside emies, Culver, IN 4 pm Church, New York, NY 7 pm Shane Brandes; Trinity Lutheran, Cleve- UNITED STATES land, OH 12:15 pm West of the Mississippi David Herman Carol Garrett; Christ Church, Michigan City, IN 12:15 pm Paul Weber; First English Lutheran, Apple- 15 JULY Trustees Distinguished Professor Emeritus of Music and University Organist ton, WI 12:15 pm ++ Joshua Stafford; Park Cities Presbyte- rian, Dallas, TX 1 pm The University of Delaware Q [email protected] ++ Renée Anne Louprette 1 AUGUST ; Christ the King Catholic Church, Dallas, TX 2:15 pm Kevin Vaughn; Holy Name Chapel, Madi- ++ Alcee Chriss; St. Thomas Aquinas son, WI 7 pm Catholic Church, Dallas, TX 7:30 pm Aaron Tan & Luke Staisiunas; Balboa 2 AUGUST Park, San Diego, CA 7 pm Gail Archer James Kennerley, with Kotzschmar Festival Brass; Merrill Auditorium, Portland, ME 7 pm 16 JULY organist Elena Sadina, carillon; Middlebury College, ++ Bradley Hunter Welch; Meyerson Sym- www.gailarcher.com Lorraine Brugh, Ph.D. Middlebury, VT 6 pm phony Center, Dallas, TX 3:30pm Yon Zhang; First Presbyterian, Evansville, Professor of Music IN 7 pm 17 JULY Vassar College Brian Carson; St. Olaf College, Northfi eld, Barnard College, Columbia University University Organist 4 AUGUST MN 12:15 pm [email protected] Valparaiso, Ind. James Burns; St. Paul Catholic Cathedral, ++ Stefan Engels; Southern Methodist (212) 854-5096 Pittsburgh, PA 3:30 pm University, Dallas, TX 3:15 pm valpo.edu Christopher Holman; Shrine of Our Lady Promotion 219.464.5084 of Guadalupe, La Crosse, WI 3 pm 18 JULY SOZO Media + Max Yount, Church of the Holy Commu- ++ Douglas Cleveland; Episcopal Church [email protected] nion, Episcopal, Lake Geneva, WI 6 pm of the Transfi guration, Dallas, TX 7:30 pm [email protected]
WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 19 JULY Alexandra Wiedlich; Munster, Basel, Swit- New York, NY Mark Brombaugh; Christ Episcopal, Taco- zerland 12 noon Syracuse, NY 13203-2816 ma, WA 12:10 pm Andrea Macinanti; Basilica, Valère, Swit- (315) 471-8451 www.andrewhenderson.net zerland 4 pm 21 JULY Nicholas Mannoukas; St. John the Evan- Angela Kraft Cross, Widor, Symphonie VIII; gelist, East Dulwich, UK 11 am Cathedral of St. Mary of the Assumption, San Adrian Gunning; St. John the Evangelist Francisco, CA 4 pm Catholic Church, Islington, UK 7:30 pm Richard Barrick Hoskins Brian Jones 22 JULY 21 JULY Director of Music & Organist Peter Richard Conte & Andrew Ennis; Josef Hofer; St. Stefan, Oststeiermark, Director of Music Emeritus Balboa Park, San Diego, CA 7 pm Austria 6 pm St. Chrysostom's Church Gereon Krahforst; Jesuitenkirche, Vienna, TRINITY CHURCH Chicago 24 JULY Austria 6:20 pm [email protected] BOSTON Noah Klein; Northfi eld United Methodist Torgen Zepke; Dom, Altenberg, Germany Church, Northfi eld, MN 12:15 pm 11:45 am Kseniya Pogorelaya; Klosterkirche, 28 JULY Fürstenfeldbruck, Germany 12:15 pm Christiaan Ingelse James Welch ; Dom, Altenberg, Ger- JAMES KIBBIE ; Aspen Community United many 2:30 pm KIM R. KASLING Methodist Church, Aspen, CO 7 pm Matthias Giesen; St. Paulus Kirche, Her- D.M.A. The University of Michigan Mateusz Rzewuski; Cathedral of St. Mary ford, Germany 6 pm of the Assumption, San Francisco, CA 4 pm Roman Perucki; Evangelishe Stadtkirche, St. John’s University Ann Arbor, MI 48109-2085 Karlsruhe, Germany 8:30 pm 734-764-1591 FAX: 734-763-5097 29 JULY Andrés Cea Galián; Abbey Church, Ro- Collegeville, MN 56321 Hector Olivera; Balboa Park, San Diego, mainmôtier, Switzerland 5 pm email: [email protected] CA 7 pm Margaret Phillips; Methodist Central Hall, Westminster, London, UK 3 pm 31 JULY Peter King; St. Paul’s Cathedral, London, Bill Peterson; All Saints Episcopal, North- UK 4:45 pm David K. Lamb, D.Mus. fi eld, MN 12:15 pm William Fox; Westminster Abbey, London, Karen Schneider Kirner UK 5:45 pm Director of Music 5 AUGUST Director, Notre Dame Handbell Choir Gilles-Maurice Leclerc; Basilica Notre- Trinity United Methodist Church Thomas Ospital; Balboa Park, San Diego, Dame, Trois-Rivières, Québec, Canada 2 pm Assistant Director, Notre Dame Folk Choir New Albany, Indiana CA 7 pm University of Notre Dame 23 JULY 812/944-2229 7 AUGUST Ivan Duchnytsch; Erlöserkirche, München, Stephen May; Northfi eld United Methodist Germany 7 pm Church, Northfi eld, MN 12:15 pm Lorenzo Ghielmi; Hauptkirche St. Jacobi, Hamburg, Germany 8 pm 12 AUGUST Luca Benedicti; Cathedral, Bruges, Bel- Isabelle Demers; Balboa Park, San Diego, gium 8:30 pm CA 7 pm Bernard Haas; Munster, Berner, Switzer- A.S.C.A.P. land 5 pm FELLOW, AMERICAN GUILD OF ORGANISTS 14 AUGUST Murray Forbes Sommerville; Abbey, Selby, 345 SADDLE LAKE DRIVE Janean Hall & Larry Archbold; Bethel Lu- UK 12:30 pm ROSWELL-ATLANTA, GEORGIA 30076 theran, Northfi eld, MN 12:15 pm Samuel Bristow; St. George’s Hanover (770) 594-0949 Square, London, UK 1:10 pm 16 AUGUST James O’Donnell; Westminster Abbey, Samuel Libra; Christ Episcopal, Tacoma, London, UK 7 pm WA 12:10 pm 24 JULY 19 AUGUST Winfried Bönig; St. Michaelis, Hamburg, Marilyn Mason Gunnar Idenstam; Balboa Park, San Diego, Germany 7 pm Simon Johnson CA 7 pm ; Frauenkirche, Dresden, June 29, 1925–April 4, 2019 Germany 8 pm Michael Emerson; Parish Church, Ching- 25 AUGUST ford, UK 1:10 pm Requiescat in pace Thomas Fielding; St. Matthew’s by-the- Bridge Episcopal, Iowa Falls, IA 4 pm 25 JULY Wolfgang Zerer; Dom St. Petri, Bremen, 26 AUGUST Germany 7 pm A two-inch Professional Card in The Diapason Raúl Prieto Ramírez, with string quartet; Thomas Ospital; Dom, Altenberg, Germany Balboa Park, San Diego, CA 7 pm 8 pm Jean-Paul Imbert; Notre Dame des Neiges, For information on rates and specifi cations, contact Jerome Butera: 31 AUGUST Alpe d’Huez, France 8:45 pm Clark Wilson, silent fi lm; Balboa Park, San Lionel Rogg; St. Margaret Lothbury, Lon- [email protected] 608/634-6253 Diego, CA 7 pm don, UK 1:10 pm Richard Moore; Cathedral, Guildford, UK INTERNATIONAL 7:30 pm 26 JULY 16 JULY Markus Utz, with soprano; Münster, Kon- Bernard Foccroulle; Hauptkirche St. Ja- stanz, Germany 8 pm LARRY PALMER cobi, Hamburg, Germany 8 pm Ansgar Schlei; Münster, Überlingen, Ger- PHILIP CROZIER Juan Paradell Solé; Cathedral, Bruges, many 8:15 pm Harpsichord – Organ Belgium 8:30 pm Stefan Kagl; Münster, Herford, Germany CONCERT ORGANIST Samuel Cosandey, with alto; Munster, Ber- 9 pm ACCOMPANIST ner, Switzerland 5 pm Joachim Neugart; Cathedral, Bruges, Bel- Professor of Music, Emeritus Geoffrey Coffin; Abbey, Selby, UK 12:30 pm gium 8:30 pm 3355 Queen Mary Road, Apt 424 Stefan Donner; St. Lawrence Jewry, Lon- Elie Jolliet; Collegiate Church, Neuchätel, don, UK 1 pm Switzerland 6:30 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Zsombor Tóth-Vajna; Grosvenor Chapel, Bernhard Marx; Cathedral, Lausanne, Swit- London, UK 1:10 pm zerland 8 pm Canada Isabelle Demers; Westminster Abbey, Lon- (514) 739-8696 Recitals — Lectures — Consultancies don, UK 7 pm 27 JULY Manuel Gera; St. Michaelis, Hamburg, Ger- [email protected] 17 JULY many 12 noon [email protected] + 214.350-3628 Matthias Maierhofer; St. Michaelis, Ham- Rudolf Peter, with trombone; Au- burg, Germany 7 pm gustinerkirche, Landau, Germany 7:30 pm Richard Brasier; Kathedrale, Dresden, Andreas Dorfner; St. Wolfgang, Reutlingen, Germany 8 pm Germany 8 pm Malcolm Rudland; Christ Church Cathe- Pieter Diriksen; Basilika, Tongeren, Bel- dral, Grafton, Australia 12:30 pm gium 4 pm James O’Donnell; Munster, Basel, Switzer- 18 JULY land 12 noon A gift subscription to Gerhard Löffler; Dom St. Petri, Bremen, Frédéric Mayeur, with cornet; Basilica, Germany 7 pm Valère, Switzerland 4 pm Alexander Fiseisky; Dom, Altenberg, Ger- Stefan Donner; Bloomsbury Central Bap- many 8 pm tist, London, UK 4 pm The Diapason Roman Perucki, with cello; Notre Dame des Neiges, Alpe d’Huez, France 8:45 pm 28 JULY The perfect gift for Joe Matthews; St. John the Evangelist, Up- Johannes Ebenbauer, with saxophone; St. per Norwood, UK 7:30 pm Ruprecht an der Raab, Oststeiermark, Austria + organist colleagues + choir directors 6 pm Hannes Marek; Jesuitenkirche, Vienna, + students + organ builders 19 JULY Austria 6:20 pm Jugendkonzertchor der Chorakademie Dort- Markus Utz; Münster, Konstanz, Germany + teachers + clergy mund; Münster, Überlingen, Germany 7 pm 11:30 am Elmar Lehnen, silent fi lm, The Hunchback Paolo Oreni & Rolf Müller; Dom, Altenberg, of Notre Dame; Münster, Herford, Germany Each month your gift will keep on giving by providing the Germany 11:45 am 9 pm Umberto Kostanic; Klosterkirche, Fürsten- important news of the organ and church music fi eld. Know that Ignace Michiels; Cathedral, Bruges, Bel- feldbruck, Germany 12:15 pm gium 8:30 pm your gift will be just right. Andrea-Ulrike Schneller & Hans-Rudolf Roman Perucki, with violin; Cathedral, Lau- Krüger; Ev. Martinskirche, Stuttgart-Plienin- For information, contact Rose Geritano, 847/391-1030; sanne, Switzerland 8 pm gen, Germany 5 pm [email protected]. Or visit www.thediapason.com and click Donato Cuzzato; Jakobikirche, Herford, 20 JULY Germany 6 pm “subscribe.” Konrad Paul; St. Michaelis, Hamburg, Ger- Ansgar Schlei, with instruments; Willibror- many 12 noon di-Dom, Wesel, Germany 6 pm $43 one year USA; $35 one year digital; $20 one year student Luc Ponet; Basilika, Tongeren, Belgium Gerhard Löffler; Hauptkirche St. Jacobi, 4 pm Hamburg, Germany 8 pm
26 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Vincent Warnier; Stiftskirche, Tübingen, Giulio Mercati; Munster, Basel, Switzerland Southminster Presbyterian Church Germany 8 pm 12 noon David Enlow; Evangelishe Stadtkirche, SHORT HILLS Arlington Heights, IL 60005 Karlsruhe, Germany 8:30 pm 4 AUGUST Winfried Bönig; Munster, Basel, Switzer- Joseph Hofer; Wallfarhtskirche, Maria land 6 pm Fieberbründl, Austria 6 pm Stefan Donner; Westminster Abbey, Lon- Wolfgang Sieber; Jesuitenkirche, Vienna, ANDREW SCHAEFFER don, UK 5:45 pm Austria 6:20 pm DEREK E. NICKELS, DMA Raphaël Ashby; Basilica Notre-Dame, Alexander Kuhlo; Klosterkirche, Maul- Trois-Rivières, Québec, Canada 2 pm bronn, Germany 11 am Church of the Holy Comforter Luther Memorial Church (ELCA) Thomas Engler, with soprano; Dom, Alten- Madison, Wisconsin 29 JULY berg, Germany 11:45 am Kenilworth, IL 60043 Peter Eilander; Ev.-Lutherse Kerik, Den João Vaz; Klosterkirche, Fürstenfeldbruck, [email protected] Haag, Netherlands 8 pm Germany 12:15 pm (847) 251-6120 • [email protected] Recitals — Hymn Festivals Matthias Ank; Dom, Altenberg, Germany 30 JULY 2:30 pm Diego Cannizzaro; Erlöserkirche, Roman Perucki; St. Marien Stift Berg, Her- München, Germany 7 pm ford, Germany 6 pm Christian-Markus Raiser; Evangelishe Jeffrey Schleff, Ed.D. A one-inch Professional Card Hans Fagius; Hauptkirche St. Jacobi, Ham- in The Diapason burg, Germany 8 pm Stadtkirche, Karlsruhe, Germany 8:30 pm Organist – Teacher – Consultant Anna-Victoria Baltrusch, with oboe, oboe Richard Brasier; Abbey, Farnborough, UK d’amore & English horn; Munster, Berner, 3 pm For information on rates and specifi cations, Switzerland 5 pm Jamie Rogers; St. Marylebone, London, UK Sulphur Public Schools, Sulphur, OK Nathan Laube; Abbey, Selby, UK 12:30 pm 4 pm United Disciples Christian Church, Richardson, TX contact Jerome Butera: Jonathan Vaughn; St. Paul’s Cathedral, Matthew Jorysz; Westminster Abbey, Lon- [email protected] [email protected] 608/634-6253 don, UK 7 pm London, UK 4:45 pm James Kealey; Westminster Abbey, Lon- don, UK 5:45 pm 31 JULY Suzanne Ozorak; Basilica Notre-Dame, Kirsten Sturm; Stiftskirche, Tübingen, Ger- Trois-Rivières, Québec, Canada 2 pm many 6 pm JOHN SCHWANDT Christoph Schoener; St. Michaelis, Ham- 5 AUGUST STEPHEN SCHNURR burg, Germany 7 pm American Organ Institute Jan Lehtola; Kreuzkirche, Dresden, Ger- Johannes Mayr, improvisation; Dom, Alten- Saint Paul Catholic Church many 8 pm berg, Germany 8 pm University of Oklahoma William Layzell-Smith; Parish Church, Valparaiso, Indiana aoi.ou.edu Chingford, UK 1:10 pm 6 AUGUST Michael Grill; Erlöserkirche, München, Ger- many 7 pm 1 AUGUST Paul Goussot, improvisation; Dom, Alten- Mark Steinback; St. James Basilica, berg, Germany 8 pm Prague, Czech Republic 7 pm Masaaki Suzuki; Hauptkirche St. Jacobi, ROBERT L. Stephan Leuthold; Dom St. Petri, Bremen, Hamburg, Germany 8 pm Germany 7 pm Ignace Michiels, with panfl ute; Cathedral, Mark Steinbach Johan Hermans; Dom, Altenberg, Germany Bruges, Belgium 8:30 pm SIMPSON 8 pm Tatjana Fuog; Munster, Berner, Switzerland Christ Church Cathedral Brown University Daniel Beckmann; St. Paul’s Cathedral, 5 pm London, UK 6:30 pm 1117 Texas Avenue Philippe Lefebvre; Abbey, Selby, UK Houston, Texas 77002 Colin Andrews; Cathedral, Guildford, UK 12:30 pm 7:30 pm Peter Holder; Westminster Abbey, London, Jonathan White; Church of St. Andrew and UK 7 pm
St. Paul, Montréal, Québec, Canada 12:15 pm ] 7 AUGUST 2 AUGUST Horst Allgaier; Stiftskirche, Tübingen, Ger- Joe Utterback Sirka Schwartz-Uppendieck; Evange- many 6 pm David Wagner lische Bischofskirche St. Matthäus, München, Peter Kofl er; St. Michaelis, Hamburg, Ger- www.jazzmuze.com]] ] DMA Germany 7 pm many 7 pm Cindy Castillo; Münster, Konstanz, Ger- Wolfgang Seifen, improvisation; Dom, Al- www.davidwagnerorganist.com many 8 pm tenberg, Germany 8 pm 203 386 9992 Lukas Stollhof; Münster, Überlingen, Ger- Suzanne Z’Graggen; Kathedrale, Dresden, many 8:15 pm Germany 8 pm Stefan Kagl, with accordion; Münster, Her- Jonathan Marten; Parish Church, Ching- ford, Germany 9 pm ford, UK 1:10 pm Juan Paradell Sole; Cathedral, Lausanne, Switzerland 8 pm 8 AUGUST Kevin Walters ARL ATSON Kurt Rampton; Abbey, Farnborough, UK Jesús Sampedro; St. James Basilica, K W 3 pm Prague, Czech Republic 7 pm FIRST PRESBYTERIAN CHURCH Helke Ittmann; Dom St. Petri, Bremen, Ger- M.A., F.A.G.O. 3 AUGUST many 7 pm WOODBRIDGE, NJ Thomas Harnath; Willibrordi-Dom, Wesel, Students of Altenberg Orgelakadamie, im- Rye, New York Germany 12 noon provisation; Dom, Altenberg, Germany 8 pm Matthias Schneider; St. Michaelis, Ham- Anne Page; Cathedral, Guildford, UK 7:30 burg, Germany 7 pm pm Martin Neu; Ss. Peter & Paul, Storlach, Ger- Maria Budacova; Church of St. Andrew and many 8 pm St. Paul, Montréal, Québec, Canada 12:15 pm Alan G Woolley PhD Hilger Kespohl; Stiftskirche, Tübingen, RONALD WYATT Germany 8 pm 9 AUGUST Musical Instrument Research
Frederik Kranemann; Basilika, Tongeren, Ruben Sturm; Evangelische Bischofskirche Edinburgh Trinity Church Belgium 4 pm St. Matthäus, München, Germany 7 pm [email protected] Galveston
A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253 1926 - Seventh Heaven . . . for the seventh day of the seventh month, scores by Widor, Rheinberger and Guilmant offer players and listeners a rainbow of tonal possibility! J A two-inch Professional Card in The Diapason 1927 - Water MusicÀXHQW¿QJHUVIDQWDVL]HWKH¿QHU U IHDWXUHVRIÀRZLQJVWUHDPVUDJLQJULYHUVOD]\RUWRUUHQWLDO L raindrops, etc. as we acknowledge the importance of water For information on rates and specifi cations, contact Jerome Butera: Y in the organist’s repertoire! [email protected] 608/634-6253 1928 - Walt’s Wonders . . . sharing music and conversation with 2 the notable American theatre organist Walt Strony. ArtistArtist Spotlights Spotlightspotlight s 0 1929 - The Arp of the Organ . . . a tribute to the foremost organ 1 builder in the North German tradition, Arp Schnitger, on Artist Spotlights the occasion of the 300th anniversary of his death. 9 are available on Your professional card The Diapason 1930 - A Return to Bach Country . . . anticipating our ‘encore’ tour in Germany (October 1-14), a sampler of sounds from website and could appear here! instruments in Thuringia and Saxony. e-mail newsletter. Contact Jerome Contact: [email protected]
Pipedreams is American Public Media’s weekly program dedicated to Butera for rates or 608/634-6253 the artistry of the pipe organ. Host Michael Barone’s celebration of the and specifi cations. king of instruments is heard on stations nationwide and worldwide via is a proud supporter 608/634-6253 pipedreams.org. Go online to locate a broadcast station near you. of Pipedreams apoba.com [email protected] SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO
WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 27 Calendar
Stephen Tharp; Münster, Konstanz, Ger- Francesco Pelizza; Jesuitenkirche, Vien- 20 AUGUST Martin Brossard; Basilica Notre-Dame, many 8 pm na, Austria 6:20 pm Michael Grill, with fl ute; Erlöserkirche, Trois-Rivières, Québec, Canada 2 pm Martin Sturm; Münster, Überlingen, Ger- Hayo Boerema; Jesuitenkirche St. Michael, München, Germany 7 pm many 8:15 pm München, Germany 4 pm Jörg Halubek; Hauptkirche St. Jacobi, 26 AUGUST Luc Ponet, with percussion; Cathedral, Bru- Markéta Schley Reindlová & Ulrich Hamburg, Germany 8 pm Benjamin Alard; Kirche Sts. Sixtus und ges, Belgium 8:30 pm Theißen; Stadtpfarrkirche St. Martin, Bam- Willem Harold Boog; Cathedral, Bruges, Sinicius, Hohenkirchen, Germany 8 pm Johannes Skudlik; Cathedral, Lausanne, berg, Germany 5:30 pm Belgium 8:30 pm Henry Fairs; Bromley Parish Church, Brom- Switzerland 8 pm Michael Schönheit; Dom St. Petri, Bre- Daniel Glaus, with cello; Munster, Berner, ley, UK 11:30 am men, Germany 7 pm Switzerland 5 pm 10 AUGUST Rolf Müller; Dom, Altenberg, Germany 8 pm Relf Clark; St. George’s Hanover Square, 27 AUGUST William Saunders; St. Michaelis, Hamburg, Egor Kolesov, with clarinet; Notre Dame London, UK 1:10 pm Els Biesemans; St. Laurentius Kirche, Germany 12 noon des Neiges, Alpe d’Huez, France 8:45 pm Dedesdorf, Germany 6 pm D’Arcy Trinkwon; Marienkirche, Reutlingen, 21 AUGUST Jean-Claude Zehnder; Hauptkirche St. Ja- Arnau Raynés; Cathedral, Guildford, UK cobi, Hamburg, Germany 8 pm Germany 8 pm 7:30 pm Jens Wollenschläger, harmonium, with so- prano; Stiftskirche, Tübingen, Germany 6 pm Arp-Schnitger-Ensemble, Ensemble Ali- Stephan Leuthold; Stiftskirche, Tübingen, Scott Lamlein; Church of St. Andrew and Martin Lücker; St. Michaelis, Hamburg, quando; St. Bartholomäus Kirche, Golzwar- Germany 8 pm St. Paul, Montréal, Québec, Canada 12:15 pm Hans Leenders; Basilika, Tongeren, Bel- Germany 7 pm den, Germany 8 pm gium 4 pm Andrzej Szadejko; Kreuzkirche, Dresden, Theo Flury, improvisation workshop; Mun- Christoph Schoener; Munster, Basel, Swit- 16 AUGUST Germany 8 pm ster, Berner, Switzerland 2 pm zerland 12 noon Dariusz Bakowski-Kois; Cathedral, Stephen King; Parish Church, Chingford, Daniel Glaus & Theo Flury; Munster, Ber- Christian Schoen; St. Alphage, Edgware, Bruges, Belgium 8:30 pm UK 1:10 pm ner, Switzerland 5 pm UK 7:30 pm Bernhardt Brand-Hofmeister, with saxo- Kai Krakenberg; Grosvenor Chapel, Lon- phone; Evangelische Johanneskirche, Darm- 22 AUGUST don, UK 1:10 pm 11 AUGUST stadt, Germany 6 pm Kensuke Ohira; St. James Basilica, Prague, Jürgen Wolf; Jesuitenkirche, Vienna, Aus- Armin Becker; Evangelische Bischofskirche Czech Republic 7 pm 28 AUGUST tria 6:20 pm St. Matthäus, München, Germany 7 pm Loreto Aramendi; Martinikerk, Doesburg, Marcel Martínez; Stiftskirche, Tübingen, Ralf Sach; Klosterkirche, Maulbronn, Ger- Francesco Buongiorno; Münster, Kon- Netherlands 8 pm Germany 6 pm stanz, Germany 8 pm Markus Eichenlaub; Dom St. Petri, Bre- Martin Haselböck; St. Michaelis, Hamburg, many 11 am Germany 7 pm Matthias Haarmann; Dom, Altenberg, Ger- Michal Markuszweski; Münster, Überlin- men, Germany 7 pm gen, Germany 8:15 pm Andreas Meisner; Dom, Altenberg, Ger- Vincenzo Allevato; Kathedrale, Dresden, many 11:45 am Germany 8 pm Nicolò Sari; Klosterkirche, Fürstenfeld- Anne Chollet; Cathedral, Lausanne, Swit- many 8 pm Katherine Dienes-Williams; Cathedral, Francis Jacob, with ensemble; bruck, Germany 12:15 pm zerland 8 pm Ludgerikirche, Norden, Germany 8 pm Stephan van de Wijgert; Dom, Altenberg, Guildford, UK 7:30 pm Willy Ippolito; Church of St. Andrew and St. John Rippon; Parish Church, Chingford, Germany 2:30 pm 17 AUGUST UK 1:10 pm Daniele Dori; St. Johannes Baptist, Herford, Roman Hauser; Stiftskirche, Tübingen, Paul, Montréal, Québec, Canada 12:15 pm Germany 6 pm Germany 8 pm 23 AUGUST 29 AUGUST Klaus Geitner; Evangelishe Stadtkirche, David Burn & Luc Ponet; Basilika, Ton- Maria Magdalena Kaczor; St. James Ba- Pavel Kohout; Münster, Konstanz, Ger- Karlsruhe, Germany 8:30 pm geren, Belgium 4 pm silica, Prague, Czech Republic 7 pm James Orford; St. Paul’s Cathedral, Lon- Andreas Liebig; Munster, Basel, Switzer- many 8 pm Tobias Gravenhorst; Dom St. Petri, Bre- don, UK 4:45 pm land 12 noon Andrzej Chorosinski; Cathedral, Laus- men, Germany 7 pm David von Behren; Westminster Abbey, anne, Switzerland 8 pm Martin Schmeding & Wolfgang Seifen; London, UK 5:45 pm 18 AUGUST Abteikirche, Brauweiler, Germany 7:30 pm Arno Hartmann; Jesuitenkirche, Vienna, 24 AUGUST Benjamin Alard, with L’Armonia Sonora Christoph Schoener 13 AUGUST Austria 6:20 pm ; St. Michaelis, Ham- Instrumentalensemble; Findorffkirche, Gras- Kaori Mune-Maier, with accordion; Er- burg, Germany 12 noon berg, Germany 8 pm Thorsten Hülsemann; Klosterkirche, Maul- Frantisek Vanicek; Kathedrale St. Sebas- löserkirche, München, Germany 7 pm bronn, Germany 11 am Daniel Beckmann; Dom, Altenberg, Ger- Bine Bryndorf; Hauptkirche St. Jacobi, tian, Magdeburg, Germany 7:30 pm many 8 pm Peter van de Felde; Klosterkirche, Fürsten- Enrico Presti; Marienkirche, Reutlingen, Hamburg, Germany 8 pm feldbruck, Germany 12:15 pm Eckhard Manz; Munster, Berner, Switzer- Germany 8 pm 30 AUGUST Andreas Meisner; Dom, Altenberg, Ger- Martin Schmeding; Stiftskirche, Tübingen, land 5 pm many 2:30 pm Michel Bouvard; Kirche Ss. Peter und Paul, Michel Bouvard; Westminster Abbey, Lon- Germany 8 pm Josef Miltschitzky; Münster, Ober- Cappel, Germany 7 pm don, UK 7 pm Dana Hemelaer; Basilika, Tongeren, Bel- Manuel Gera; St. Michaelis, Hamburg, Ger- marchtal, Germany 5 pm gium 4 pm many 7:30 pm 14 AUGUST Ekaterina Panina & Anna Myasoedova; Andreas Liebig; Munster, Basel, Switzer- Andreas Jost; Münster, Konstanz, Ger- Thomas Schäfer-Winter; Stiftskirche, Neuapostolische Kirche, Herford, Germany land 12 noon many 8 pm Tübingen, Germany 6 pm 6 pm Stefan Moser; Cathedral, Lausanne, Swit- Willibald Guggenmos; St. Michaelis, Ham- Rolf Müller, with brass; Dom, Altenberg, 25 AUGUST zerland 8 pm burg, Germany 7 pm Germany 8 pm Willibald Guggenmos; Jesuitenkirche, Vi- Jan Dolezel; Frauenkirche, Dresden, Ger- Gerard Brooks, with saxophone; Methodist enna, Austria 6:20 pm 31 AUGUST many 8 pm Central Hall, Westminster, London, UK 3 pm Emanuel Culcasi; Klosterkirche, Maul- Manuel Gera; St. Michaelis, Hamburg, Ger- June Rippon; Parish Church, Chingford, Matteo Venturini; St. Paul’s Cathedral, bronn, Germany 11 am many 12 noon UK 1:10 pm London, UK 4:45 pm Kensuke Ohira; Klosterkirche, Fürstenfeld- Johannes Mayr, silent fi lm; St. Ludwig Johannes Krahl; Westminster Abbey, Lon- bruck, Germany 12:15 pm Kirche, Darmstadt, Germany 7:30 pm 15 AUGUST don, UK 5:45 pm Vox Luminis; St. Pankratius Kirche, Ham- Michael Stadtherr, with cello; Stiftskirche, Anastasia Kovbyk; St. James Basilica, Marc Sennevile; Basilica Notre-Dame, burg-Neuenfelde, Germany 5 pm Tübingen, Germany 8 pm Prague, Czech Republic 7 pm Trois-Rivières, Québec, Canada 2 pm Jörg Weingarten; Liebfrauenkirche, Hamm, Bernadetta Sunavska; St. Wolfgang, Reut- Germany 5 pm lingen, Germany 8 pm James Lancelot; Münster, Herford, Ger- Jean-Luc Perrot; Basilika, Tongeren, Bel- many 6 pm gium 4 pm Rudolf Peter; Augustinerkirche, Landau, Hans-Ola Ericsson; Martinikerk, Gronin- Germany 6 pm gen, Netherlands 6 pm Andreas Meisner, with block fl ute; Dom, Al- Harald Vogel; Der Aa-Kerk, Groningen, tenberg, Germany 8 pm Netherlands 8 pm Matthew Jorysz; Westminster Abbey, Lon- Ilja Völlmy Kudravtsev; Munster, Basel, don, UK 5:45 pm Switzerland 12 noon
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Subscribers can view the digital David E. Wallace version of this issue (as well as A N D C O M PA N Y, L. L. C. selected past issues) at our website. Pipe Organ Builders New Organs Visit www.TheDiapason.com Restoration / Renovation / Relocation to experience this! www.wallacepipeorgans.com ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838
28 Q THE DIAPASON Q JULY 2019 WWW.THEDIAPASON.COM Recital Programs
F. ALLEN ARTZ, III, Jerusalem Lutheran Corelli, transcr. Marsh; And the glory of the in E, Franck; L’Ascension, Messiaen; Prelude legro maestoso (Sonata in G, op. 28), Elgar; Church, Schuylkill Haven, PA, December Lord (Messiah), transcr. Marsh; Pastorella and Fugue in B, op. 7, no. 1, Dupré. Andantino doucement expressif (String Quar- 16: Nun komm, der Heiden Heiland, Scheidt; in F, Mariner; Tocata Amorosa Pastoril in tet, op. 10), Debussy, transcr. Guilmant; Non Partita on Freu dich sehr, Böhm; Fantasy on G, Mestres; Variations on Lasst uns das DANIEL HYDE, St. Thomas Church, Allegro (Symphonic Dances), Rachmaninoff, Veni Emmanuel, Lau; Toccata on Antioch, Kindelein wiegen per imitationem Cucculi, Fifth Avenue, New York, NY, December 22: transcr. Sheen; Scherzo, op. 2, Durufl é; Angerman; Nun komm, der Heiden Heiland, Murschhauser; Pastorale, Zipoli; Wie schön La Nativité du Seigneur, Messiaen. Liebestod (Tristan und Isolde), Wagner, transcr. Pachelbel; Nun komm, der Heiden Heiland, leuchtet der Morgenstern, Buxtehude. Lemare; Sonata on the 94th Psalm, Reubke. Buxtehude; Four French Couplets on An- KAY JOHANSSEN and Henning Wiegräbe, gels We Have Heard on High, Visser; Es ist RHONDA EDGINGTON, with Brian trombone, January 18: Sonata III in d, Bach; JOHN SHERER, Fourth Presbyterian ein Ros’ entsprungen, Fedor; Es ist ein Ros’ Reichenbach, trumpet, Fourth Presbyterian Choral No. 1 in E, Franck; Fantasie über den Church, Chicago, IL, January 25: Toccata entsprungen, Brahms; Improvisation on God Church, Chicago, IL, January 18: Trumpet Choral Wie schön leucht’ uns der Morgenstern, (Suite Gothique), Boëllmann; Toccata (Fiori Rest You Merry, Gentlemen, Roberts; Nun Tune in D, Johnson; Allegretto (Three Prayers Reger; Movere, Ruoff. Musicali), Frescobaldi; Toccata in G, S. A. komm, der Heiden Heiland (2 settings), Bach; without Words), Damase; Solstice Sonata, op. Sherer; Toccata and Fugue in F, Buxtehude; Refl ection on Greensleeves, Vaughan Wil- 1013, Three St. Francis Legends, Cooman; DAVID JONIES, Cathedral of St. Peter, Toccata, Adagio, and Fugue, BWV 564, Bach; liams, transcr. Roper; Partita on Wie schön Andante (Concerto in E-fl at), Haydn; Prelude Marquette, MI, January 3: March on Theme Toccata (Symphonie V, op. 42), Widor. leuchtet, Burkhardt. and Fugue in A, BWV 536, Bach; Lobet Gott by Handel, op. 15, Guilmant; Vom Himmel in seinen Reichen, Bach, transcr. Powell; Chin- hoch, da komm ich her, BWV 700, Bach; EDWARD TIPTON, Cathedral of St. MARTIN BAKER, Calvary Episco- chilla (Grooving Outfi t), Kalke. Greensleeves, Vaughan Williams; Votre Bonté, Philip, Atlanta, GA, January 6: Prélude sur pal Church, Pittsburgh, PA, February 24: Grand Dieu, Balbastre; Prelude and Fugue in l’Introit de l’Épiphanie, op. 13, Durufl é; Chaconne (Partita in d), BWV 1004, Bach, JOHN FENSTERMAKER with strings D, BWV 532, Bach; Pavane–Danse liturgique, Stella ista, Lumen ad revelationem, Dupré; transcr. Middelschulte; Wie schön leuchtet from Naples Philharmonic, Trinity-by-the- Proulx; Symphonie VI, op. 42, no. 2, Widor. Epiphania Domini, L’Orgue Mystique, op. der Morgenstern, BuxWV 223, Buxtehude; Cove Episcopal Church, Naples, FL, Janu- 55, no. 7, Tournemire. Rubrics, Locklair; Pictures at an Exhibition, ary 18: Concerto in F, HWV 293, Concerto in JAMES KENNERLEY, St. Thomas Mussorgsky, transcr. Baker; improvisation. B-fl at, HWV 294, Handel; Four sonatas for Church Fifth Avenue, New York, NY, Janu- GEOFFREY WARD, Cathedral of St. strings and organ, K. 67, 244, 328, 336, Mozart. ary 27: Introduction, Passacaglia and Fugue, Philip, Atlanta, GA, January 13: Hymne RICHARD BENEDUM, Fourth Presby- op. 149, Willan; Fantasy and Fugue on the d’Actions de grâces “Te Deum,” Langlais; terian Church, Chicago, IL, February 8: Prae- JILLIAN GARDNER, First Baptist chorale Ad nos, ad salutarem undam, S. 259, Trois pièces, Alain; Prelude and Fugue in C, ludium in D, BuxWV 139, Buxtehude; Dies Church, Vero Beach, FL, January 25: Fan- Liszt, transcr. Kennerley. op. 109, Saint-Saëns; Master Tallis’s Testa- sind die heil’gen zehn Gebot, BWV 678, Allein tasy and Fugue in g, BWV 542, Bach; Amaz- ment (Six Pieces), Howells. Gott in der Höh’ sei Ehr’, BWV 676, Prelude ing Grace! How Sweet the Sound, There Is a CHRISTA RAKICH, St. Alban’s Episcopal and Fugue in G, BWV 541, Contrapuncti I, Happy Land, Jerusalem, My Happy Home, Church, Tucson, AZ, December 7: Passaca- JAMES WETZEL, St. Thomas Church II, IV, IX, XI, Fugue on three subjects (Art Shearing; Fountain Reverie, Fletcher; Inven- glia in d, BuxWV 161, Buxtehude; Fantasia Fifth Avenue, New York, NY, January 6: Flour- of the Fugue, BWV 1080), Vor deinen Thron’ tions 1, 8, 10 (School of Trio Playing), Bach/ on Komm, heiliger Geist, Herre Gott, Tunder; ish for an Occasion, Harris; Rhapsody, op. 4, tret ich, BWV 668, Bach. Reger; Variations sur le choral: Nun komm’ Variations on Christe Sanctorum, Dahl; So- Darke; Salix (Plymouth Suite), Whitlock; St. der Heiden Heiland, Bédard; Pas de quatre, La nata in C, BWV 529, Bach; Three Autumn Patrick’s Breastplate (Sonata IV, op. 153), JAMES RUSSELL BROWN, St. Giles Fée-Argent, Cendrillon et Fortuné, L’oiseau Sketches, Cooman; Passacaglia and Fugue in Stanford; Benedictus, Rowley; Orb and Scep- Episcopal Church, Northbrook, IL, Janu- Bleu et La princess Florine, Chaperon rouge c, BWV 582, Bach. tre, Walton, transcr. McKie. ary 13: Praeludium in e, Bruhns; Pastorale et le loup, Apotheose (The Sleeping Beauty, (6 Pièces d’orgue), op. 19, Franck; Salaman- Act III, op. 66), Tchaikovsky, transcr. Gardner; KIRK MICHAEL RICH, Cathedral of St. ANTHONY WILLIAMS, Fourth Presbyte- ca (Trois Préludes Hambourgeois), Bovet; Passacaglia (Sonata VIII, op. 32), Rheinberger. Philip, Atlanta, GA, January 20: Épiphanie, rian Church, Chicago, IL, December 14: Toc- Miroir, Wammes; Attende Domine, Demes- Litaize; Noël – Grand jeu et duo, d’Aquin; cata on Veni Emmanuel, Hailstork; Pastorale, sieux; Prélude et Fugue sur le nom d’Alain, RICHARD GRAY, St. John the Evange- Bergamasca, Frescobaldi; Sonata IV in B-fl at, op. 19, Franck; Noel Où S’en vont Ces gais op. 7, Durufl é. list Episcopal Church, St. Paul, MN, Janu- op. 65, no. 4, Mendelssohn. bergers, Balbastre; Spiritual Lullaby, Cooper; ary 25: Fantasia and Fugue in g, BWV 542, O Little Town of Bethlehem, Joy to the World, CORRADO CAVALLI, Loyola University, Bach; Psalm Prelude, Set 2, No. 1, Howells; NICHOLAS SCHMELTER, with Townes Good Christian Friends, Rejoice, Dinda; Car- Chicago, IL, January 20: Epithalame, Willan; Psalm Prelude, Phillips; Prelude on Hyfrydol, Miller, fl ute, St. Paul’s Episcopal Church, Flint, illon, Sowerby; Deux Noëls, Bédard. Lyric Rhapsody, Wright; Pavane pour une in- Willan; Deuxième Fantaisie, Variations sur MI, January 27: Shenandoah, McTee; Sonata fante défunte, Ravel, transcr. Cavalli; Sonata I l’hymne Lucis Creator, Alain; Adagio, Final in E, BWV 1035, Bach; Méditation (Trois Im- CHRISTOPHER YOUNG, St. Francis in d, op. 42, Guilmant. (Symphonie III in f-sharp, op. 28), Vierne. provisations), Vierne; Pièce V, Franck; Deux in the Fields Episcopal Church, Harrods Arabesques, Debussy; Elégie, Widor; Prelude Creek, KY, January 6: Prélude sur l’introït de JOHN COLLINS, St. Nicholas Church, STEPHEN HAMILTON, St. Mark’s Epis- and Fugue in G, BWV 541, Bach; Psalms for l’Epiphanie, op. 13, Fugue sur le thème du car- Brighton, UK, January 9: Puer Natus in Beth- copal Cathedral, Minneapolis, MN, Janu- Flute and Organ, Set 2, Albrecht. illon des heures de la Cathèdrale de Soissons, lehem, Steenwick; Der Tag, der ist so freud- ary 26: Toccata, Villancico y Fuga, op. 18, op. 12, Durufl é; Star Rising, Santos; Phantaisie enreich, Vom Himmel hoch der komm ich Ginastera; Prelude and Fugue in c, BWV 546, BENJAMIN SHEEN, St. Thomas Church, über den Choral Wie schön leuchtet der Mor- her, Pachelbel; Pastorale (Concerto VIII), Bach; Homage à Messiaen, Robinson; Choral Fifth Avenue, New York, NY, January 19: Al- genstern, op. 25, Reimann.
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Don’t just tell people what you _ have for sale. Show them! Own a piece of history! The cover of the 100th Anniversary www.thediapason.com Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]
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Wanted: Organists visiting Maui. Lahaina’s Organa Europae calendars featuring famous Raven has released the CD, Tell of His Love, Ed Nowak, Chicago-area composer, arranger, Holy Innocents Episcopal Church invites visit- pipe organs of Europe; years 1969 to 1977. Raven OAR-144, featuring the musicians of the and church musician, announces his new web- ing organists to play its Beckerath Positiv organ $10.00 each. 219/662-0677, [email protected]. Cathedral of St. John, Albuquerque, New Mexico. site, featuring Nowak’s original choral works, at Sunday services. Built in 1972 by Rudolf von The Choirs of the Cathedral of St. John, Maxine hymn concertatos, chamber and orchestral Beckerath and then-apprentice Hans-Ulrich Thévenot, Director and Organist, and Edmund works, organ hymn accompaniments, organ In A Monastery Garden by Albert W. Ketèlbey, Erbslöh for Honolulu’s Lutheran Church, the 408- Connolly, Assistant Organist, perform the Mag- and piano pieces, electronic music, and psalm arranged for organ in 1915. Other great old pipe Shrankpositiv has a 54-note “split” manual, nifi cat and Nunc Dimittis by Aaron David Miller; settings. The website offers scores and recorded organ music now back in print by Buck, Thayer, 30-note pedal, 11 stops, 8 ranks, and 6 registers. examples that are easy to sample and can be Kinder, others. Biographical and music com- Andrew Carter’s setting of “Consider the Lillies”; Holy Innocents acquired the instrument in 1977 purchased in downloaded (PDF and MP3) or mentary included. michaelsmusicservice.com; settings of O sacrum convivium and Haec Dies and moved it to Maui where it has been played printed form. Visit ednowakmusic.com. 704/567-1066. by McNeil Robinson; and other choral works by by parish musicians such as Carol Monaghan Philip Moore, Ola Gjeilo, Fauré, Samuel Wesley, and visiting artists including Angus Sinclair of Casals, Cabena, Lindley, DeLong, Dyson, Gibson, Raven has released a new recording by Canada and Dalibor Miklavcic of Slovenia. The Consoliere Classic Series for Organ: Complete and Stephanie Martin. Thévenot plays Variations Jeremy Filsell, Gaston Litaize, Music pour instrument is extremely responsive and fi lls the set of six books. An outstanding collection com- on Ubi Caritas by Denis Bédard and Robinson’s orgue (OAR-147). Filsell plays the 64-rank worship space beautifully. The parish community piled from World Library Publication’s extensive Chorale Prelude on Llanfair. Edmund Connolly Aeolian-Skinner at the Church of the Epiphany, is “exemplary in its hospitality to all visitors,” and organ library. A must for any church organist. plays Fanfare by Kenneth Leighton. Raven OAR- Washington, D.C., where he is Director of Music that especially includes visiting organists. For 003067, $54.00, 800/566-6150, Wlpmusic.com. 144, RavenCD.com, $15.98 postpaid. information: 808/661-4202; holyimaui.org. and Organist. Works include Final from Messe pour tous le temps; Variations sur un Noël The Organ Historical Society e-shoppe is tak- Pipe Organs of the Keweenaw by Anita Angevin; Final; Arches; Épiphanie; Prèlude et PUBLICATIONS / RECORDINGS ing orders for a new DVD by Fugue State Films, Campbell and Jan Dalquist, contains his- Danse Fugée; Reges Tharsis; Final from Messe The English Organ, a three-part documentary tories, stoplists, and photos of some of pour Toussaint; and eight of the 24 Préludes presented by Daniel Moult. In addition to three A Whispered Prayer, for unison voices with organ the historic organs of the Keweenaw Pen- Liturgiques. $15.98 postpaid worldwide from hours of documentary, almost eight hours of accompaniment, is the third of a trio of compli- insula, the northernmost tip of Michigan’s RavenCD.com. music is presented on DVD or CD (in both mentary hymn anthems to be offered by Fruhauf Upper Peninsula. Organs include an 1899 stereo and surround). More than thirty organs Barckhoff and an 1882 Felgemaker. The booklet Music Publications in the course of 2018–19. have been fi lmed and recorded, including Christ ($8.00 per copy, which includes postage) is PIPE ORGANS FOR SALE Available in May, the hymn text is omni-seasonal. Church Spitalfi elds, Truro Cathedral, Sydney available from the Isle Royale and Keweenaw The setting provides three unison verses and a Town Hall, St. George’s Hall Liverpool, St. Paul’s Parks Association, 49445 US Hwy 41, Hancock, 1962 Möller Artiste, 4 ranks: Diapason, Viola, brief transition, followed by a unison fourth verse Cathedral Melbourne, and King’s College. The Michigan 49930. For information: 800/678-6925. that features a free accompaniment and des- set can be preordered for $98, and orders will Gedeckt, and Trumpet. This is the traditional cant. A visit to FMP’s home page bulletin board ship directly from the UK by Christmas. For infor- Artiste with wood bass pipes and rigid metal at www.frumuspub.net will provide a link to the pipes. Always well cared for. California environ- mation: https://ohscatalog.org. The Tracker—The Organ Historical Society letter-sized PDF booklet fi le’s download page, ment. Cleaned, inspected, and tested. Leather quarterly journal includes news and articles along with access to the other two anthems being in good condition. Ready to install. $19,875 about the organ and its history, organ builders, featured this year. The new Nordic Journey series of CD record- prepared to load. [email protected] ings reveals premiere recordings of symphonic exemplary organs, and regional surveys of 707/747-5858. organ music—much of it still unpublished—from instruments. Both American and European organ Certified appraisals—Collections of organ Nordic composers, played by American organist topics are discussed, and most issues run 32 books, recordings, and music, for divorce, James Hicks on a variety of recently restored pages with many illustrations and photographs. Wicks pipe organ; 2 manuals, 3-rank unit: estate, gift, and tax purposes. Stephen L. Swedish organs. It’s a little bit like Widor, Reger Membership in the OHS includes a subscrip- Diapason, Viole, Flute; in case. In need of Pinel, Appraiser. 629 Edison Drive, East Wind- and Karg-Elert, but with a Nordic twist. Check it tion to The Tracker. Visit the OHS Web site for rebuilding. Has been disassembled. Make an sor, NJ 08520-5205; phone: 609/448-8427; out at www.proorgano.com and search for the subscription and membership information: www. offer. Platteville, Wisconsin. Contact Pastor Joel email: [email protected]. term “Nordic Journey.” organsociety.org. Kluender, 724/810-1813 (cell).
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Each month your gift will keep on giving by providing the important news TOTAL PIPE ORGAN RESOURCES of the organ and church music fi eld. Know that your gift will be just right. For information, contact Rose Geritano, 847/391-1030; rgeritano@ 2320 West 50th Street * Erie, PA 16505-0325 sgcmail.com. Or visit www.thediapason.com and click “subscribe.” (814) 835-2244 * www.organsupply.com $43 one year USA; $35 one year digital; $20 one year student
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Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]
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26-rank Casavant pipe organ for sale. Orgues Aeolian Duo-Art Pipe Organ, Opus 1560. Wicks Organ, Op. 1210—$12K. Restored, Létourneau is offering a 22-stop Casavant Three manuals: Great, Swell, Choir, w/expres- 61-key Great and Swell manuals plus 32-key Consider a gift subscription to THE DIAPA- Frères pipe organ (Opus 2295 from 1955) for sion, and Pedal; 48 ranks, Harp and Chimes, pedal; 16′ Bourdon, 16′ Lieb-Ged, 8′ Diapason, SON for all your friends who love the organ, harpsichord, carillon, and church music. Your sale. This electro-pneumatic instrument is cur- all stops 73-pipes, 61-note manuals, 32-note 8′ Salicional, 8′ Melodia, 8′ Flute, 4′ Vox Celeste, rently in storage at the Létourneau shops and pedals. Electro-pneumatic chests; 176-note gift will be remembered throughout the year. Deagan Chimes (20), Swell shades. Located in (And don’t forget our special bargain for stu- is available for purchase in “as is” condition for roll-player in console; includes 20 Aeolian rolls. Albuquerque, NM. [email protected], www.thedia- dents at $20!) Visit www.thediapason.com USD $45,000 with its original three-manual con- $40,000. Restored by Dave Junchen; profes- pason.com/classifi ed/wicks-op-1210-pipe-organ. and click on “subscribe.” sole. Likewise, Létourneau would be pleased to sionally removed from California Institute of provide a proposal to rebuild this instrument, Technology, Pasadena, by Organ Clearing taking into account any desired changes to the House and American Organ Institute. Organ MISCELLANEOUS FOR SALE THE DIAPASON’S new website has an increased stoplist as well as installation costs, voicing, in safe/secure climate controlled storage, San capacity for new videos. Go to www.thediapa- casework as required, and rebuilding the three- Antonio, Texas. Contact Mr. Crockett; 214/991- son.com and click on videos to see what you’ve manual console with a new solid-state switch- 1009; [email protected] Consoles, pipes and numerous miscellaneous missed! Visit www.thediapason.com often and ing system. The organ requires approximately parts. Let us know what you are looking for. keep up to date with all the news items. 360 sq. ft. with 15′ ceilings. For more details, E-mail [email protected] (not comcast), visit www.letourneauorgans.com, email info@ 1968 Schantz, opus 890, III manual, 5 divisions. phone 215/353-0286 or 215/788-3423. letourneauorgans.com or call Andrew Forrest at Organ is in good condition, console converted to THE DIAPASON E-Newsletters are e-mailed 450/774-2698. solid-state, several additions to original stoplist, monthly to subscribers who sign up to organ to be removed professionally by new SERVICES / SUPPLIES receive them. Don’t miss the latest news, owner prior to new organ installation. Best offer. featured artists, and classifi ed ads—all with Wicks Op. 5118 (1970). Two manuals, fi ve ranks, photos—some before they appear in print! 1980 Milnar organ, 11 ranks on II manuals and Releathering all types of pipe organ actions 365 pipes; equipped with four separate wind Visit www.TheDiapason.com and click on pedal. Currently in climate-controlled storage. and mechanisms. Highest quality materi- regulators; includes crescendo pedal. Voiced in Subscribe to our newsletter. For assistance, $16,500 or best offer. Small Wicks practice als and workmanship. Reasonable rates. contact Stephen Schnurr, 847/954-7989, the North German Baroque tradition. Principal, organ, $5,000 obo. Two beautiful Trumpet En Columbia Organ Leathers 800/423-7003. [email protected]. Gedackt, Gemshorn, Quint, Regal. Approxi- Chamades. Contact Milnar Organ Company www.columbiaorgan.com/col. mately 10 ft. high, 9 ft. wide, and 8 ft. deep; in for more information. www.milnarorgan.com or Nixa, Missouri. $8,000. Contact: Jeanne Hanf, 615/274-6400. THE DIAPASON’s website (www.thediapason. 417/840-5389, [email protected] Do you have a pipe organ that you would com) features an ever-increasing number of PDFs of vintage issues. Search the website Pfeffer and Debierre organs. Circa 1860 Pfeffer like to interface with an electronic or digital organ? We can interface any digital organ or now for selected issues, as most are avail- Aeolian-Skinner Opus 1244, built in 1953. eight-rank organ, available rebuilt and custom fi n- able from 1944–1945, 1966–1993, and 2005 PRICE REDUCED. Two manuals both under ished. Also 1884 choir organ by Louis Debierre. any organ console with any pipe organ. For more to the present! expression, 14 ranks, 13 stops. Tilting tablet Both are pictured on the Redman website: www. information e-mail [email protected] (not console, keyboards in excellent condition. Organ redmanpipeorgans.com. Comcast) or call 215/353-0286. professionally removed and packed, pipework is Postal regulations require that mail to THE original and unaltered and in very good shape. DIAPASON include a suite number to assure Have full removal pictures, chamber pictures and Aeolian-Skinner opus 1480. 2 manuals, 20 Aeolian/Robert Morton-style maroon delivery. Please send all correspondence to: digital recording made when we pulled the organ. ranks, 4 divisions, enclosed and unenclosed leather is now available from Columbia Organ THE DIAPASON, 3030 W. Salt Creek Lane, Suite $15,000. Contact Bruce Case at the Case Organ Great. Price reduced signifi cantly to $99,000. Leathers! Highest quality. 800/423-7003, 201, Arlington Heights, IL 60005. Co. 608/215-3776; [email protected] Details: [email protected]. www.columbiaorgan.com.
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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2019 Q 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com
George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020
Chelsea Chen Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois*
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