THE DIAPASON JULY 2020

Pilgrim Lutheran Church Carmel, Indiana Cover feature on pages 18–20 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 BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS

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

JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄt®Äě٠THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 7, In this issue Whole No. 1328 Brian Gurley reports on the recent Conference of Roman JULY 2020 Catholic Cathedral Musicians gathering in Oakland, Califor- Established in 1909 nia. Our editor-at-large, Andrew Schaeffer, interviews Thomas Stephen Schnurr ISSN 0012-2378 Murray, recently retired from Yale University, yet still leading a 847/954-7989; [email protected] very active life. Thomas Murray, in turn, provides a tribute for www.TheDiapason.com An International Monthly Devoted to the Organ, the late Charles Krigbaum, who served for many years at Yale’s the Harpsichord, Carillon, and Church Music university organist and taught alongside Murray. Lutheran Church of Carmel, Indiana (Opus 45), and Central In “Harpsichord Notes,” Larry Palmer introduces the work United Methodist Church of Fayetteville, Arkansas (Opus 46). CONTENTS of composer Glenn Spring of Colorado. Gavin Black, in “On FEATURES Teaching,” muses on stories, conversation, and counterpoint. Spread the joy of learning. Conference of Roman Catholic Cathedral John Bishop, in “In the Wind . . .,” reports on how the novel As you enjoy this issue, please consider giving a gift subscrip- Musicians Conference XXXVII: coronavirus has affected teaching organ, including examples of tion for The Diapason to a colleague, student, or friend. If Oakland, California, January 6–9, 2020 by Brian F. Gurley 12 several teachers who have successfully transitioned to distance you know someone who would like a sample copy (digital or learning. Brian Swager relates several items of interest in the print) as a potential subscriber, please contact me. Our digital A tribute to Charles Krigbaum (March 31, 1929–April 30, 2020) “Carillon News” section of Here & There. subscription is a bargain at $35 for one year, and our student by Thomas Murray 14 Our cover feature this month spotlights two organs by rate is incredible at $20 for one year. Visit thediapason.com and An interview with Thomas Murray Buzard Pipe Organ Builders of Champaign, Illinois: Pilgrim click on subscribe or call 877/501-7540. Q by Andrew Schaeffer 15

NEWS & DEPARTMENTS Here & There Editor’s Notebook 3 Here & There 3 Appointments 3 Appointments and workshops for American Guild of Instruments for America 1700–1830 Nunc Dimittis 3 Organists chapters and Catholic dioceses (2013), are statements of enlightened Carillon News by Brian Swager 6 around the Midwest. He has been a fea- approaches to the conservation of musical On Teaching by Gavin Black 8 tured artist for national conventions of the instruments. He has been an international Harpsichord Notes by Larry Palmer 9 Organ Historical Society and the National advocate of restorative conservation, a In the wind . . . by John Bishop 10 Association for Pastoral Musicians. concept and approach he introduced. The American Institute for Conservation of REVIEWS Historic and Artistic Works honored him Book Reviews 21 with its Conservation Advocacy Award Choral Music 21 People New Organ Music 22 in 2016 “in recognition of his substantial New Handbell Music 23 efforts in public outreach and advocacy.” For information: amis.org. CALENDAR 24 RECITAL PROGRAMS 25 Nunc Dimittis CLASSIFIED ADVERTISING 26 David Jonies

THE David Jonies is appointed director DIAPASON of music and organist for Holy Name JULY 2020 Cathedral, Chicago, Illinois, where he will oversee four choirs and play the two Flentrop organs and the Casavant choir organ in liturgy and concert. Prior to his John Watson appointment he had served as associate director of music at Holy Name for 13 The American Musical Instrument years. Before coming to Chicago, he held Society has awarded John Watson its positions at St. Joseph & St. Patrick Par- 2020 Curt Sachs Award. The award, ish, Escanaba, Michigan; Westminster named for one of the founders of the

Pilgrim Lutheran Church Carmel, Indiana Cover feature on pages 18–20 Cathedral, London, UK; and the Chapel modern systematic study of musical Royal at Hampton Court Palace, UK. instruments, recognizes individuals who A native of Germany, he holds bachelor have made signifi cant lifetime contribu- COVER Buzard Pipe Organ Builders, Champaign, and master of music degrees from the tions to the goals of the society. Illinois; Pilgrim Lutheran Church, Carmel, Hochschule für Musik in Würzburg and Watson is an internationally respected Charles Krigbaum (photo courtesy: Yale In- Indiana; Central United Methodist Church, the performer’s certifi cate from the Royal builder and conservator of historical key- stitute of Sacred Music) Fayetteville, Arkansas 18 Academy of Music in London. His teach- board instruments. As a maker of early ers have included James O’Donnell, David keyboard reproductions from 1974 to Charles Russell Krigbaum, 91, Pro- Editorial Director STEPHEN SCHNURR Titterington, Gunther Kaunzinger, and 1995 and a conservator in private practice fessor Emeritus of Music at Yale Univer- and Publisher [email protected] Gerhard Weinberger. He was awarded from 1977 to 1995, he joined Colonial sity, New Haven, Connecticut, died at 847/954-7989 the fi rst prize at the 1999 Landau Inter- Williamsburg, Williamsburg, Virginia, in his home in Beverly, Massachusetts, on President RICK SCHWER national Organ Competition. Interna- 1988 as conservator of instruments and April 30. A remembrance of Krigbaum [email protected] tional concert appearances include Notre associate curator of musical instruments, by Thomas Murray may be found on 847/391-1048 Dame Cathedral in Paris; Westminster retiring in 2016. Since retirement, he has page 14 of this issue. Editor-at-Large ANDREW SCHAEFFER Abbey and the London Handel Festival continued his work as a private conserva- [email protected] in the UK; the Pusan Bach Festival in tor and scholar. Edward J. Sampson, Jr., 77, of South Korea; the cathedral at Buejovice The instruments he has conserved, North Andover, Massachusetts, died Sales Director JEROME BUTERA [email protected] in the Czech Republic; the Bluval Music restored, or built over his career have January 2. Born in Brockton, Mas- 608/634-6253 Festival and the cathedrals of Bamberg, revealed previously unexplored aspects sachusetts, he attended Northeastern Circulation/ Mainz, Passau, and Trier in Germany. In of historical design, construction, and University, where he received his Bach- Subscriptions THE DIAPASON P.O. Box 300 the United States, he has performed at performance. For example, closely elor of Science and Master of Science in Lincolnshire, IL. 60069-0300 Chicago’s Orchestra Hall with the Civic observing tool marks and other evidence, electrical engineering degrees. He then [email protected] Orchestra of Chicago; Marcus Center he has done path-breaking research on embarked on a fi fty-year career as a sys- Toll-Free: 877/501-7540 Local: 847/763-4933 with the Milwaukee Symphony Orches- the methods that historical instrument tems engineer at Raytheon Company in tra; Pine Mountain Music Festival, makers used. Bedford and Tewksbury, Massachusetts. Designer KIMBERLY PELLIKAN Michigan; Piccolo Spoleto Festival, South He has edited or written three books, In 2008, he was one of the fi rst recipi- [email protected] 847/391-1024 Carolina; at the Catholic cathedrals of 22 articles, and fi ve reviews. His books, ents of the Bishop Cheverus Award of Seattle, Washington, Helena, Montana, Organ Restoration Reconsidered (2005), the Catholic Archdiocese of Boston for Contributing Editors LARRY PALMER Houston, Texas, Pittsburgh, Pennsylvania, Artifacts in Use: The Paradox of Resto- his devotion to St. Patrick Parish, Law- Harpsichord Hartford, Connecticut, Sioux City, Iowa, ration and the Conservation of Organs rence, and the archdiocese. BRIAN SWAGER and Milwaukee, Wisconsin; and recitals (2010), and Changing Keys: Keyboard ³ page 4 Carillon

JOHN BISHOP 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 In the wind . . . 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. Subscriptions: 1 yr. $44; 2 yr. $81; 3 yr. $112 (United States and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. GAVIN BLACK Canada and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the On Teaching shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 3 yr. $112 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading Reviewers Joyce Johnson Robinson 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 Anne Krentz Organ Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the Charles W. Steele 60069-0300. validity of information supplied by contributors, vendors, Leon Nelson 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 2020 Q 3 Here & There

³ page 3 Publishers Randall M. Egan, Publisher of Recordings Music, Ltd., announces new choral publications: Soul of Christ (EC-462), by Michael McCabe, for SATB and organ; The Omaha Canticles (EC-446), also by Michael McCabe, for unison voices, optional divisi; Magnifi cat and Nunc Dimittis No. 2, The St. George’s Service (EC-319), for soprano solo, SATB, and organ, by Richard C. Baker; and Vidi Aquam (EC-399), by Marty Wheeler Burnett, soprano solo and SATB unaccompanied. For information: [email protected].

Once upon a time Edward J. Sampson, Jr. Brilliant Classics announces a Sampson had a lifelong passion for clas- new CD: Once upon a time (BC96134, sical organ music and since 1976 served as $9.99), featuring French organist Jean- president of the board of trustees of the Organ & Interpretation: the French École Baptiste Robin performing on the Methuen Memorial Music Hall, home Classique Rosales/Glatter-Götz organ at Walt of the world-famous “Great Organ,” the Disney Concert Hall, Los Angeles, longest tenure in the trustees’ history. Blockwerk Editiones announces a California. The recording, inspired by Over the ensuing years, he promoted the new book by Paolo Crivellaro, Organ & fairy tales and the magical world of Walt use of the hall’s organ for commercial Interpretation: the French École Clas- J. William Greene Disney, passes alternately from impro- recordings and played an active part in sique (978-3-9821872-0-4, $46.50). The visation to unpublished transcriptions planning and publicizing summer organ 368-page book is a study of French Clas- to Robin’s own compositions. The disc recitals and expanding off-season organ sic organ repertoire and contains 274 includes works by Chopin, Debussy, and “organ plus” programs. Seeing some musical examples and 27 illustrations, Dupré, Durufl é, Massenet, Ravel, and important needs from the outset, he examining historical context, period Tchaikovsky. Robin is represented by became an indefatigable fundraiser for instruments, and available musicologi- Phillip Truckenbrod Concert Artists the hall and its organ. During his tenure cal sources. For further details: organ- (concertartists.com). For information: major repairs to the building’s fabric were interpretation.com. The volume may be brilliantclassics.com or hbdirect.com. made, along with upgrades as basic as ordered from amazon.com. new restrooms and a handicap-accessible entrance, completed in 1996. An organ Breitkopf & Härtel announces new restoration fund was also established that publications: Mitteldeutsches Chorbuch: facilitated a complete upgrade of the fail- 112 Stücke für gemischten Chor a cap- ing combination action and renovation of pella, edited by Andreas Göpfert (ChB the console. In addition, Sampson had a 5365, €19.90), is a selection of sacred and very active interest in the history of the secular works from 500 years of musical hall and the organ, and one of his early and cultural history of choral singing projects was the revision of the outdated in Middle Germany; Sechs Suiten II/ visitor’s pamphlet describing the hall’s Six Suites for Harpsichord (Piano), by history, and later, a well-researched Georg Muffat, edited by Glen Wilson “timeline” plaque, produced for the 2009 (EB 9325, €26.90), is a fi rst edition of Unexpected and Mysterious: Hymn Ex- centenary of the former Boston Music six previously unknown suites, recently plorations for Organ Hall organ’s relocation in its specially discovered in Kiev, Ukraine. For infor- designed hall in Methuen, an event that mation: breitkopf.com. Sacred Music Press, a division of he took an active part in organizing. the Lorenz Company, announces a new L’Unique: Harpsichord Music of François Edward J. Sampson, Jr., is survived by MorningStar Music Publishers publication: Unexpected and Mysterious: Couperin his wife of 50 years, Kathleen; sister-in- announces new organ publications: Arise Hymn Explorations for Organ (70/2251) law and brother-in-law Honor and Bill and Shine: Ten Easy Hymn Settings for by J. William Greene, edited by Car- Cedille Records announces a new Jutila; and sister-in-law Nancy Crowley. Organ (10-465, $20), by Clay Chris- son Cooman. The collection contains recording: L’Unique: Harpsichord Music A wake was held at Methuen Memorial tiansen; Festive Classics: 15 Works for settings of six hymntunes and one free of François Couperin (CDR 90000 194). Music Hall on January 5, and a funeral Keyboard (10-299, $22), by Charles Cal- piece titled Bell Triptych, the movements Jory Vinikour performs solo works of Mass was celebrated on January 6 at St. lahan; Once in Royal David’s City: Four of which are “Hymn,” “Aria,” and “Caril- François Couperin, specifi cally, his Six- Patrick Parish, Lawrence. Memorial con- Carol Settings for Organ (10-182, $16), lon.” The hymntunes set include Jef- ième (Sixth), Septième (Seventh), and tributions may be made to the Methuen by Maureen Howell; and Something ferson; Jesu, meines Lebens Leben, Huitième (Eighth) Ordres. For informa- Memorial Music Hall, Inc., Post Offi ce Old, Something New: Wedding Music a tune formerly called Alle Menschen tion: www.cedillerecords.org. Box 463, Methuen, MA 01844-0463, or for Organ (10-462, $35), a compilation müssen sterben; Mendelssohn; to St. Patrick Parish, 118 South Broad- of previously published works by various Picardy; Stille Nacht; Wondrous Gothic announces new CDs. Bach: way, Lawrence, MA 01843-1427. composers. For additional information: Love; and Ein’ feste Burg. For infor- Lüneburg to Weimar (LRCD-1158, —Barbara Owen morningstarmusic.com. mation: www.lorenz.com. $18.98), features Roger W. Sherman

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³ page 4 recording features the 1710 Andreas Symphonic Organ) (ACD-3044, $16.98). off parts of the chapel’s roof, and much Silbermann organ at Abbaye Saint- Kensuke Ohira, organist, and Seda of the 61-rank instrument was soaked in Étienne, Marmoutier, France; an early Amir-Karayan, alto, perform works of the process. 18th-century harpsichord from Château Mendelssohn, Liszt, Mahler, and Bach. An agreement has been signed d’Assas, France; and a 1989 Philippe Ohira utilizes the organs of Hildesheim between the school and Orgues Humeau harpsichord, after Carl Con- Dom built in 2014 by Seifert of Kev- Létourneau for Opus 127’s com- rad Fleischer, c. 1720. For information: elaer—97 stops, 119 ranks in two organs: plete restoration, with the organ to be www.benjaminalard.net. one of four manuals organ and one of removed this summer for transportation two manuals, incorporating parts from to the company’s workshops in St-Hya- previous organs by Breil of 1960 and cinthe, Québec, Canada. Several of the Klais of 1989 and 2006. For information: windchests and most of the wind system ravencd.com. will be replaced as part of the refur- bishment, as will the oak casework and Bach: Lüneburg to Weimar the three-manual console. Most of the wooden pipes will be replaced, including the swollen 32′ Bourdon rank, while the metal pipes will be restored. Reinstalla- tion is planned for the summer of 2021. The organ was featured on the cover of the May 2015 issue. For information: letourneauorgans.com.

Carillon News Nordic Journey, Volume IX: Music from The Johan Franco Committee of Sweden the Guild of Carillonneurs in North Bach at St. Mark’s America has announced its 2021 Franco Pro Organo announces a new CD: Composition Contest. Two monetary performing on the Flentrop organ of Nordic Journey, Volume IX: Music from Two American Organ Symphonies—One prizes ($1,500 for fi rst place; $750 for St. Mark’s Episcopal Cathedral, Seattle, Sweden (7290, $17.98). James Hicks American Classic Organ second place) will be awarded. Additional Washington. The disc is part of a series performs on a three-manual Setterquist performance awards ($100 each) may be of concert recordings celebrating 50 organ, restored in 2013 by Åkerman & The Roy Perry American Classic made at the committee’s discretion. The years of the organ. This concert explores Lun, in Olaus Petri Church, Örebro. Organ Foundation announces a new GCNA will publish the fi rst and second works from Bach’s earliest days through New compositions by Gunnar Iden- CD: Two American Organ Sympho- place compositions, and performance the end of his time in Weimar. stam, Nils Lindberg, Fredrik Sixten, nies—One American Classic Organ ($20, award compositions will be given the Bach at St. Mark’s (LRCD-1157, and Anders Börjesson receive their fi rst postpaid). Christopher Marks plays option of publication. All compositions $18.98) is the fi nal recording in a series recordings here. Edward Shippen Barnes’s Symphony, op. awarded prizes and performance rec- marking the 50th anniversary of the The church’s choir organ by Fred- 37, and Leo Sowerby’s Symphony in G ognition will have the opportunity to be Flentrop organ at St. Mark’s Episcopal ericksburg Orgelbyggeri of Hillerød, Major on the 1959 Aeolian-Skinner Opus performed at the 2021 GCNA Congress. Cathedral, Seattle, Washington, with Denmark, is used in a concerto for 1308 at St. Mark’s Episcopal Cathedral, The competition is open to all. Com- Roger W. Sherman performing. For two organs by Gunnar Thyrestam, with Shreveport, Louisiana. For information: posers are asked to submit works fi ve to information: gothic-catalog.com. Mats Bertilsson at the smaller instru- easttexaspipeorganfestival.com. ten minutes in length. Submissions must ment. Also collaborating with Hicks is be original compositions, not arrange- soprano Helena Ek. They present a ments or transcriptions of existing works, new set of Swedish songs commissioned Organbuilders and each composer may submit only one from Lindberg. For information: work. The composition must be playable proorgano.com. by a solo carillonneur on a four-octave carillon: 48 bells (C, D, chromatic to C4 with low C# omitted) with a two-octave pedalboard (C, D, C2). Notating bells outside of this range is permitted provided that substitutions are given in the 48-bell range. Compositions that have been per- formed or published are ineligible. Public performance of any winning composition prior to the 2021 GCNA congress will be Létourneau organ, St. Mark’s School grounds for disqualifi cation. Johann Sebastian Bach, The Complete of Texas, Dallas (photo courtesy: St. Mark’s Submissions must be received by Works for Keyboard, Volume 3: In the School of Texas) November 1. Composers may submit French Style works via email (preferred) to Thomas Completed in late 2014, the Létour- Lee, [email protected]. If one cannot Harmonia Mundi announces a neau organ at St. Mark’s School of submit electronically, contact Lee via new CD/digital release: Johann Sebas- Urlicht: Symphonische Orgel Texas in Dallas was heavily damaged email for a mailing address. Submissions tian Bach, The Complete Works for last October when a tornado ripped will be anonymized for the jury. Do not Keyboard, Volume 3: In the French Raven announces availability of a through the neighborhood of North Dal- include information identifying the com- Style (3 CDs, HMM 902457.59), with new CD by Ambiente Audio: Urlicht: las. In addition to signifi cant destruction poser on the composition; separately Benjamin Alard performing. The Symphonische Orgel (Primal Light: The elsewhere on campus, the tornado tore include contact information.

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The seven voting members of the • At noon local time on May 21, 2020, a national bell ringing during the pan- to the pandemic as did the John Taylor Franco Committee serve as the jury in carillonneurs in thirteen countries on demic. Daily ringing for up to 15 min- & Co. Bell Foundry in Loughborough, this contest: Margaret Angelini, Wesley six continents collaborated to perform utes began at noon on April 13. Leicestershire, England. I was taken by Arai, Joey Brink, Amy Johansen, Alex a world premiere in an artistic response • Geert D’hollander, carillonneur the headline in The Art Newspaper that Johnson, Dave Johnson, and Tiffany Ng. to Covid-19. The composition Healing of Bok Tower Gardens, Lake Wales, notes, “The machinery was meticulously The jury will evaluate submissions based Bells was created by American carillon- Florida, organized a simultaneous caril- cleaned and oiled before workers turned on their effectiveness on the carillon, neur and composer Pamela Ruiter- lon tribute to front-line health care out the lights at Taylor’s Bell Foundry.” playability, originality, and general musi- Feenstra and Dutch journalist Jet professionals. Many carillonneurs played Many carillons have continued to ring cal interest. All prize-winning composi- Schouten. The collaboration was the “Amazing Grace” at 4:15 p.m. on April 15. out where possible, but others were tions will be announced March 1, 2021. result of refl ection on the ancient belief • Commemorations were held in silenced by their host institution or by For information: [email protected]. that bells can ward off disease and doom. many parts of the world this year to cel- local laws. Mayo Clinic carillonneur Aus- May 21 is the UNESCO Day for Cultural ebrate the 75th anniversary of the end tin Ferguson in Rochester, Minnesota, Bell and carillon solidarity Diversity, Dialogue, and Development. of the Second World War. The United reports that concerts are halted until Bell ringing and carillon playing Healing Bells opens with ominous- Nations will celebrate its 75th anniver- the stay-at-home order is lifted by the events are often scheduled concurrently sounding viral spirals. The carillonneur’s sary on October 24, 2020. For these governor. In response, he sent a compo- across the country or around the world hands move in a circular gesture over occasions, The International Network sition, Zumbro River Dance by Charles to mark special events. the keys similar to the shape of the of War Memorial and Peace Caril- Zettek, to members of the Guild of Car- • The National Park Service orga- coronavirus under a microscope. The lons presented a collection of Peace illonneurs in North America. Ferguson nized a commemoration of the 400th corona motif alternates with a haunt- Music for Carillon to carillonneurs had commissioned the piece in honor anniversary of the landing of the fi rst ing, lamentful Ukrainian folksong, Plyve around the world. The collection con- of his predecessor at Mayo Clinic, Jeff enslaved Africans in English-occupied Kacha. This folksong became an anthem tains arrangements and fantasies based Daehn, but was unable to premiere the North America in 1619. During the for many Ukrainians following the 2014 on music related to peace and com- piece in April as planned, so he invited multi-day event in August 2019, a four- crisis when dozens of people were killed memoration. Thirteen carillonneurs who other carillonneurs to play it if possible. minute bell ringing ceremony was held by snipers in Maidan, Kiev’s Indepen- play memorial or peace carillons in seven at Fort Monroe National Monument dence Square. The low, close, parallel countries contributed to this publication. Carillon recording in Hampton, Virginia, the site of the harmonies of Ukrainian folk singing fi nd The cities represented in the collection Joey Brink, carillonneur of the Rock- ship’s arrival. kinship in the deep resonance of bells. are: Rochester and Albany, New York, in efeller Memorial Chapel in Chicago, Other institutions were invited to As Healing Bells progresses, the virus the United States; Ypres and Leuven in Illinois (and a member of The Diapa- participate and were encouraged to gradually grows weaker as the song grows Belgium; Amsterdam, Bergen, Arnhem, son’s 20 Under 30 Class of 2015), was include the bell ringing in a larger edu- stronger. Then a heavy carillon bell kicks Waalre, and the Hague in the Nether- also unable to play but shared a new CD cational or commemorative program. At away the corona motif, one particle at a lands; Wellington, New Zealand; Sydney, of carillon music entitled Ripple Effects. the Netherlands Carillon, Arlington, time, eventually eradicating it. The piece Australia; Gdansk, Poland; and Ottawa Performers include Brink, Simone Virginia, which is also administered by concludes with a stately presentation of and Simcoe in Canada. Brown, Ellen Dickinson, Frans Haagen, the National Park System, a two-hour the folk tune lament. Tiffany Ng, and Michael Solotke on the program was presented featuring exhib- The premiere resounded in Australia, Pandemic and its effect on carillons Rockefeller carillon, with Riley Leitch, its geared toward an audience-centered Belgium, Brazil, Denmark, France, Ger- Most major carillon events have been trombone, and Silhao He (cello). The experience. The commemorative tolling many, the Netherlands, Norway, Poland, cancelled due to COVID-19 restrictions, selections had been presented at the of the bourdon bell was followed by a South Africa, South Korea, Spain, and notably the joint congress of the Guild Rockefeller Carillon New Music Festival 30-minute carillon recital of spirituals the United States. of Carillonneurs in North America and in 2018. The CD is available to stream, and music that refl ected the African- • City of Bells, a non-profi t orga- the World Carillon Federation that was free (with advertisements or accounts) at American experience. The Guild of Car- nization in Minnesota, is dedicated to scheduled for June at Longwood Gar- Spotify, Apple Music, and Amazon Music. illonneurs in North America spread the coordinating, restoring, and celebrating dens, Kennet Square, Pennsylvania, as Physical CDs will be available from the word to its members, and the Episcopal bronze bell installations. The organiza- well as the International Carillon Fes- chapel gift shop for $20 when it reopens. Church reached out with a video by Pre- tion invited churches and institutions tival in Springfi eld, Illinois. Many busi- For information: [email protected]. siding Bishop Michael Curry. with bells across the country to join in nesses around the world have closed due —Brian Swager PLAY ICONIC PIPE ORGANS FROM ALL OVER THE WORLD With the NEW Johannus LiVE 2T-A and 3T-A

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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2020 Q 7 On Teaching By Gavin Black

Stories and conversation In mid-March, when I last sat down to write a column, the current health crisis was at a relatively early and very uncer- tain stage. I wrote that I hoped that by Example 1 the time that column appeared in The Diapason things would be much better. I am not certain why this is. It may be music convincing is not necessarily very what we expect to do: it is a major con- I sit here writing now a week or two after partly a direct reaction to the sadness different from the parallel concerns with cept of the exercise. It is not necessarily that last column appeared, and this one and diffi culty of what is happening. If so, ensemble counterpoint. easy, and it is not necessarily something will not be read for nearly another six it is not necessarily entirely a depressive For the performer, one of the great at which we always fully succeed. It weeks. It seems accurate to say that the reaction or a reaction of feeling indiffer- strengths of conceptualizing counter- is almost certainly both common and situation remains dire and that the sense ent. I suspect that in the face of so much point as conversation is that it brings unproblematic for some of that follow- of uncertainty remains as high as it was tragedy right around me I am afraid that home the need to make each line in and ing to be subconscious or subliminal. then. While society is slowly starting to I will fi nd the music that I might normally of itself an effective piece of communi- People differ in the extent to which reopen, we will not know the effects of be playing too intense. That has been my cation—something that has “meaning” they are consciously, specifi cally aware this action for quite some time. This very reaction to the little bits of playing that I though not dictionary or visual-image of following and really parsing the sepa- morning there are hopeful headlines have done and also to much of the music based meaning. At a minimum this is rate lines of counterpoint as it goes by. about a vaccine, but we have no idea that I have heard. Also, I have always psychologically helpful, even inspiring, And, of course, different performances whether that hope will pan out or, if so, had better practice habits when I have for many performers. For me it serves of the same piece or passage can seem what sort of timeframe this will take. performances coming up. That impetus as a reminder to behave as if every note to make it easier or harder to follow in I still cannot consider it prudent to is gone for now. I do feel certain that the matters. In conversation every word that way. (And interestingly different schedule concerts. I wrote in my March motivation will come back. But the main matters, in that it can be heard by some- performances can seem different in that column (written in mid-January) that I point is this: that any such reaction is one and may affect that person. That respect to different listeners.) I think did not have any concerts scheduled at okay. I am overjoyed that so many of my does not mean that every word is seri- that it is a pitfall of the counterpoint-as- all, a fi rst in nearly thirty-fi ve years. I colleagues are, for example, posting vid- ous, solemn, or weighty. Some are funny, conversation idea that it can tempt us to stated that that was “odd: simultaneously eos of performances from their homes. light-hearted, rhetorical rather than try to make the analogy fi t even more peaceful and eerie.” Today it feels more That is generous and helpful. I have meaning-laden. But they are all there closely than it naturally does. This might eerie than peaceful: the latter has been been an avid viewer and listener, and and all have an effect. involve downplaying the signifi cance of partially replaced by impatience and that is helping me get through certain I have a few caveats about counter- the simultaneity of lines or even deny- the fear that it will never seem right to days. However, I believe it is important point as conversation. For one thing, it ing that following multiple lines at once schedule events. Looking back, as of a that no one feels pressure to cope in seems important to me to remember is possible. I have heard people suggest couple of weeks ago I have not played ways that are unnatural. In general get- that, as I just mentioned, music in that the way we listen to counterpoint in public for over a year. That arises out ting a lot done is more admired in society itself does not have dictionary mean- should fundamentally involve switching of a chain of mostly unrelated circum- than not getting anything done. And I ing, semantic, idea-based meaning, and focus from one line to another, as we stances: fi rst I kept my schedule clear for am confessing to embracing the latter, that it does not mean anything that can would presumably have to do if we were several months so that I could practice though just for now, and claiming that I be encapsulated in a visual image. It is trying to listen to two or more people for planned performances of J. S. Bach’s am within my rights to do so. liberating and powerful to accept that talk at the very same time. The Art of the Fugue; then I had to deal But if it is self-serving, it is not selfi sh Example 1 means exactly what it says Questions of how many lines we can with my shoulder surgery and recovery; since I hope very much to help persuade and nothing else. This freedom from listen to simultaneously are complex. then the current phase in the history everyone to give themselves the same word-like meaning gives a line of music Does it vary from one person to another? of the world set in. The last time that I leeway, as much as they need. Doing the the ability to do things that words cannot If so, is that somehow intrinsic—or of went more than a year without playing in things that we have to do is enough as far do and the fl exibility to be used in ways life-long standing—or does it arise spe- public was prior to 1980. as fulfi lling obligations is concerned. that words are not used. cifi cally from music-based training? Can Over the last several weeks there has At the same time, I have been think- Related to that is the fi rst major differ- almost everyone follow two voices? Can been a lot of discussion, much of it deeply ing about counterpoint and The Art of ence between verbal conversation and anyone really follow six? eight? forty? anguished, about choirs and choral sing- the Fugue. It feels like the odd times musical contrapuntal conversation. In Do people mainly listen to or notice the ing. This does not affect me directly at in which we live are encouraging me to the latter, we not only allow but expect beginnings of notes, or are the sustained this point in my life except as a listener, engage in ever more speculative think- material to be used multiple times. portions of notes important as well? though I know it is deeply affecting many ing. Rather than indulging in the techni- Although the essence of counterpoint is In counterpoint is one line ever more of my friends and colleagues. In fact, cal aspects of counterpoint, I have been found in two different things happening “important” than another, and, if so, it may be two years before widespread pondering more about images and ideas at the same time, it is habitual for identi- what does that mean and what should a choral singing will be possible again. around the concept of counterpoint. Ide- cal or similar things to happen at differ- performer do about it? Whatever these I hope very much that by the time you ally the images and ideas will inform the ent times. This can be recurrence, rep- questions are, I believe it is important are reading this that hypothesis will have way that I think about the technicalities. etition, echoing, answering, returning, not to let the speech analogy infl uence turned out to be overly pessimistic. One very powerful idea about coun- and so on. But all of these techniques our answers to them, or how we frame There is a lot of variation in how people terpoint is that it is related to conversa- play a minor role in anything like normal them, more than it should. react to this uncertainty when it comes to tion. If two musical entities are engaged conversation and a limited though some- Another concern about the conversa- the parts of their lives and daily activities with one another, doing different things times important role in poetry, drama, tion analogy is that musical conversa- that are subject to discretion. Some col- at the same time, it is natural for us to and literary narrative. They are pervasive tional counterpoint is mostly experienced leagues are using their extra free time to hear what is happening as analogous to and important in music. by listeners, whereas verbal conversation learn new music or new skills—the tech- human verbal conversation. This is not In verbal conversation, we do not is fundamentally experienced by those nique required to work on new and unfa- an idea of mine, but has been the subject expect many voices to be sounding at who participate in it. We who love coun- miliar repertoire or even a new instru- of articles and books as well as informal the same time. We expect them to take terpoint love playing it. It is interesting ment. Some are taking up new activities discussion. It is intuitively convincing. turns and occasionally overlap, which is to contemplate how much we function as or hobbies—perhaps ones that they have When counterpoint is being produced by fascinating in verbal conversation. Some- listeners while we play and how much of always meant to pursue. So far, I have separate instruments the conversational times, it functions to create continuity our experience is the pure experience of done none of the above. My reaction to aspect is enhanced by the visual and the and an overall arc. At times it is an inter- playing. But the vast majority of music the situation has been to put much of my conceptual: we see and are aware of a dif- ruption, which can be a sign of enthu- listening is done by listeners. Listening to motivation to tackling preexisting proj- ferent source for each musical line, just siasm and can constitute rudeness. It is a spoken conversation in which you have ects. I mentioned in my previous column as we see and are aware of each different common and normal for interruption to no part happens and is perfectly normal, that I needed “to take a deep breath.” At speaker in a conversation. In vocal coun- take the form of one person’s fi nishing but not the most usual or common. that point, early in this whole scenario, I terpoint, we see and hear something that another’s thought—not necessarily in The completely different model of felt that my students needed that as well, is remarkably similar to conversation, the way that the fi rst speaker would have counterpoint that has come to interest and that it was a good thing for all of us. down to the humanity of the sources fi nished it. It is not normal for two or or even preoccupy me over the last few Shortly after writing that, I did start to of the sound and the expressions and more people simply to talk steadily at the years is one that is harder to encapsu- offer various forms of remote lessons or gestures. At a keyboard instrument the same time as one another for a substan- late in words: counterpoint in music is consultations to my students. However, I conversational aspect is something that tial amount of time. This would cease to a model for the whole phenomenon of have not felt my own motivation return- presumably arises solely from the sound. be conversation. But it is the norm for the existence of the universe. This model ing, either to plunge back into practicing Visually, and often spatially, everything musical contrapuntal conversation. was suggested to me by some of my or to explore anything new. Most of what I comes from pretty much the same place. With words, we do not expect to be experience as a theater attendee. have been doing has been “comfort food,” The extent to which it is up to the per- able to follow even two let alone three Over the last several years I have as we have been baking a fair amount of former and to performance choices to or more lines of thought at the same attended quite a few theater events bread and cooking a bit more elaborately. make the conversational aspect of the time. With counterpoint, that is exactly that are organized in what amounts to

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8 Q THE DIAPASON Q JULY 2020 WWW.THEDIAPASON.COM Harpsichord Notes By Larry Palmer

Discovering Spring Other composition projects kept me this summer away from the harpsichord during the In his own words: 1990s, but in 1999, between larger works, composer Glenn Spring I decided to write something just for fun. As a young boy in the late 1940s I Trifl es, a suite of seven miniatures, was attended a piano recital at the studio born in short order, bridging a temporary of Q’Zella Oliver Jeffus in Fort Worth, move from Washington State to Denver, Texas. Her studio featured shiny black Colorado. History does repeat itself: side-by-side Mason & Hamlin grand Kraig Scott was the fi rst performer of the pianos, but people could not help notic- piece that became another Aliénor fi nal- ing a smaller instrument off to one ist, and Larry Palmer played the 2004 side, one that they did not recognize. SEHKS performance in Durham, North In response to questions, Jeffus gave a Carolina. Trifl es has since been adopted brief introduction to the harpsichord by pianists and organists as well, becom- and an impromptu performance of ing one of my most played compositions. Mozart’s Alla Turca. It was many years Fortunately for me, Palmer liked before I learned that “Turca” was a sta- my music well enough to have com- ple of harpsichord recitals at the time, missioned and premiered my next four and even longer before I found out that works for the instrument. Suite 3-D for Q’Zella’s instrument was a recent acqui- harpsichord four-hands was premiered sition built by the noted instrument in 2002 at the Washington, D.C., house Rancho di Chimayo, New Mexico, July 30, 2011: Clyde Putman, Larry Palmer, Kath- maker John Challis. concert featuring Charles and Susan leen Spring, and Glenn Spring Years later, as a young man I had my Mize’s new Richard Kingston “Millen- fi rst hands-on encounter with a harpsi- nium” harpsichord, with Palmer and available in PDF format for subscribers • Hommages, quoting the composer: chord: William Byrd’s Earle of Salisbury: Charles Mize at the keyboard. In 2003 at the website, www.thediapason.com.) His Pavane and Galliard was in place on the composer’s wife, violinist Kathleen The composer lists it at his website as a With the passage of time I become ever more aware of how much I have learned the rack. I was overwhelmed by both the Spring, joined Palmer for another house special order and does not quote a price. from those who went before. Hommages music and the sound of the instrument, so concert premiere, this time in Dallas, Warning: it is among the more techni- was composed in recognition of my per- much so that I could not stop playing it! Texas: Images from Wallace Stevens cally diffi cult pieces. sonal indebtedness to fi ve among many Such encounters were rare until 1982, for violin, harpsichord, and narrator. • Trifl es is “intended for the amateur composers whose works have contributed to the way I think as a composer. The fi ve when Walla Walla University, where I Hommages followed in 2006 as a com- harpsichordist” (I love to play them). movements are not intended as emulations was teaching at the time, took delivery missioned work for Southern Method- One-page: “A Start;” two-pages: “Blues of the various composers’ styles, but rather of a long-awaited powder blue William ist University’s harpsichord workshop for Two;” “Burlesque;” “Cantilena” (if as personal responses to the sound world Dowd French double. Sitting at that (number 17) in Denver, Colorado. you are feeling in need of sheer beauty of each. keyboard was déjà vu, so exploring the In Memoriam Georgia O’Keeffe was this one is highly recommended); one- technical and expressive potential of the fi rst heard in Santa Fe, New Mexico, page: “Habañerita” (great fun; I wish it “Fugue” (Schumann); “Teasing instrument struck me as something I during July 2008. Béla Bagatelles (not a were longer, but you can play it twice— Song” (Bartok); “Le soir dans la ruelle” must do. I had no clue for what to call commissioned piece) consists of six short or more); “Recitative;” which leads into (Debussy); “Hang On!” (Stravinsky); the six-minute piece that resulted from pieces, inspired by Bartók’s shorter piano the concluding one-page “Introspec- and, fi nally, “Sehnsucht” (Longing)—a those efforts, but a perceptive organist pieces and violin duets. Another Aliénor tion,” $15. heart-wrenching evocation of Gustav friend who was the fi rst to try it suggested fi nalist, the work received its premiere • Suite 3-D (Denver, Dallas, DC) is Mahler. I had long wished for a work by William Dowd: His Bleu. I recognized by Larry Palmer in Cincinnati, Ohio. for four-hands at one harpsichord. Five the great German Romantic, and here is the name immediately as “just right.” Though I am not really a keyboard- movements “covering a wide expressive one in tribute to him. I think he would His Bleu was selected as a fi nalist in the ist, and I do not own a harpsichord, I range,” $20. be deeply moved. It is diffi cult to play 1990 Aliénor Composition Competition continue to enjoy writing music for the • Images from Wallace Stevens is this piece without tears. Quite possibly Contest, and my colleague Dr. Kraig Scott instrument. I still think the harpsichord’s scored for violin and harpsichord with the best bargain of the lot, $15. performed it at the Southeastern Historic expressive capacity is underutilized! narration. There are seven short move- The composer’s directions on the list: Keyboard Society (SEHKS) conclave ments each introduced by verses from all prices in US$ include shipping within in Augusta, Georgia. That event put me Truly audience-friendly music the poet, $20. the United States. Order via email: in touch with the wider harpsichord fra- Glenn Spring’s beautiful music for • In Memoriam Georgia O’Keeffe: [email protected]. Just in case, ternity, spawning many new friendships harpsichord is all self-published in clear, “Prelude: Ghost Riders;” “Toccata: his mailing address: 9050 E. Cherry and performances in the ensuing years. readable sheet music, some of which Colors;” “Fugue-Fantasia: The Faraway Creek South Dr., Unit E, Denver, Colo- Larry Palmer went beyond performance features beautiful covers by his daughter, Nearby” (cover by Heidi Spring), musi- rado 80231. Q by selecting William Dowd: His Bleu California artist Heidi Spring. cal depictions of three of O’Keeffe’s most for publication as the centerfold in the • If one is a subscriber and a keeper beloved paintings, $30. Comments and questions are wel- February 1992 issue of The Diapason, of past issues, you will already have • Bela Bagatelles, Spring captures come. Address them to lpalmer@smu. a memorable tribute to Bill Dowd on the William Dowd: His Bleu in your Febru- the moods of Bartók. Fun to play, fun to edu or 10125 Cromwell Drive, Dallas, occasion of his seventieth birthday. ary 1992 magazine. (The issue is also hear, $15. Texas 75229. On Teaching contrapuntal layers: different parts of the At some point I realized that the story going on in different or overlapping experience of being at this sort of show spaces, perhaps threads sometimes com- reminded me strongly of closing my eyes ing together in one space or passing near and becoming totally absorbed in a piece one another, sometimes remaining sepa- of contrapuntal music. In such a piece of rate. Together they all add up to the com- music there might be only three or four plete story. Some such pieces that I have component lines; in a show such as the ones experienced are Sleep No More, Then She that I am talking about there might be any Fell, The Grand Paradise, Ghost Light, number of component storylines weaving Here, Seeing You, and versions of Hamlet their ways around one another. In the uni- and A Midsummer Night’s Dream. verse as a whole there are infi nite numbers. I was initially puzzled by why I found But the analogy still seems to hold. this sort of story-telling so powerful. This image neither contradicts nor Events of this sort seem very much like directly complements the conversation closed worlds: nothing from the outside analogy. It is simply another angle and gets in or interferes. This helps the one that I along with some of my stu- audience to concentrate and stay com- dents have found particularly interesting mitted. It also means that the world built and powerful. up inside the walls of the event has the It is my intention—uncertainties aside, chance to feel complete—it is temporar- for the moment—to return next month ily defi ned as being all that there is, and it to some nitty-gritty motivic analysis of is structured according to its own content. The Art of the Fugue, not without some I realized after a while that the struc- speculation about the role of memory in ture always felt, through a number of creating structure. Q different styles and each time with a dif- “superb musicianship, masterly technique and savvy programming … Archer’s ferent story, like an analogy to the “real” Gavin Black is director of the Princ- sweeping assurance and stamina enable you to hear the music behind the virtuosity.” world: layered and complex enough for eton Early Keyboard Center, Princeton, — GRAMOPHONE (JAN 2018) — that analogy to seem valid and emotion- New Jersey. He can be reached by email ally convincing. at [email protected]. MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2020 Q 9 In the wind...

Keep your distance. before spring break that the school was school’s administration has been shar- In both the May and June issues of closing and they needed to vacate their ing information openly with bi-weekly The Diapason, I wrote about watching dorm rooms. There was a fl urry of activ- video town hall meetings for the faculty, the world react to the spread of the novel ity as clothes, books, and personal items and the school’s IT department is help- coronavirus. I have told you how my were packed and parents came to help ing with information about available family and I left New York City for our ferry stuff home. There must have been resources and helping to get students place in Maine, leaving behind the hor- a shortage of cardboard boxes in town. online. Nicole is facing this disruption, ror of the spread of vicious contagion in Because Zoom and other video con- wondering how she can use the experi- a densely populated city. Individual bor- ferencing platforms can be shaky and ence to become a better teacher. She is oughs of the city have higher death tolls imprecise, Christa is using video record- fi nding the exchange of recordings to be than many countries, and our friends ings as a primary tool for private lessons. effective, and to a lesser extent, playing there tell of fear and loss. As I write in Students send recordings to her that she through Zoom. She added that external mid-May, there have been over 160,000 watches with scores and sends emails microphones for laptops make a big dif- cases confi rmed and over 13,500 deaths with comments referring to measure ference in the sound quality, especially in New York City. There have been thir- numbers. “It’s tedious progress, but it’s when using Zoom, and mentioned that teen cases and no deaths confi rmed in progress, and helpful for them to have the conservatory has provided micro- Lincoln County, Maine, where we live. my return email in hand for the next phones for the students. We left New York two days after practice session.” George Emblom teaches at the Broadway, Lincoln Center, and all the Christa is also sending weekly “Improv University of California at Berkeley museums of the city were closed, that Challenges” to her students by email. and is director of music at Saint Mark’s great engine of culture, those vibrant the- In an email before our conversation Episcopal Church in Berkeley. He Beckerath organ, St. Michael’s Episco- aters, those stately crowded buildings all she wrote, “I submit this with an audio started our conversation with the simple pal Church, New York City (photo credit: going dark at once. By that time, virtually fi le. I record myself improvising, for comment that this is unprecedented. NYC AGO Organ Project) every college and university had closed or example, a two-voice chorale prelude or No one expected this, and no one had was closing. Social media pages became a pedal cadenza or a fugal exposition in planned for it. With the campus and Katherine Johnson is a third-year clamors of teachers comparing notes three voices with a cadence, something church building closed, he has been able student of Christa Rakich at Oberlin. She about how to teach from a distance and contained and short. The email includes to secure access to instruments for his spoke of the shock of being told to vacate students facing unprecedented interrup- instructions on how I did it or perhaps a students, even in some cases through her dormitory just before spring break. tions in their education. I am particularly written sample. Students are challenged loans from members of the choir at Saint She is working hard to make the most of well connected on Facebook where my to send me back an audio fi le using the Mark’s where his students have their les- it and is fortunate to have a Hauptwerk community includes some three thou- same technique with a different tune.” sons on the Flentrop organ. instrument in a relatively private space at sand organ professionals, and I have been Early on, Christa experimented We are all learning and developing the home where she is working on the “self- impressed by the thoughtful interchange. with live playing over Zoom for studio art of distance teaching simultaneously, taught” piece she has chosen for her jury, I wrote a post asking colleagues if they class, but found that the platform was and George believes that some of the whenever that will be. In course work, she would be interested in talking about unstable, so she and her students have new techniques will continue to be useful notes that her fellow students are in dif- distance learning and, with a half dozen spent productive time together planning when we are able to return to teaching ferent time zones, which makes it diffi cult responses, spent more than ten hours future projects, working hard to keep private students face-to-face. He particu- to schedule class meetings online, but she last week on FaceTime, Zoom, and video a productive learning environment in larly mentioned shared video recordings, is generally impressed by how video plat- chat (and on the phone when the inter- place as much as possible. According to commenting that he is spending a lot of forms make distance learning possible. net got slow), conversing with friends Christa, the administration of the school time watching the pinwheel on his screen § and colleagues about how they were is encouraging students’ ideas for study as videos are downloading. Students send developing methods to cope with this projects and reading, supporting their videos to him through Google Drive, I am grateful to the six people who untenable situation, keeping the wheels creativity by giving credit—“everything and he shares his screen with them, spoke with me last week. Each spent an of learning turning. you do counts as work.” allowing student and teacher to watch hour or more with me and shared not Andrew Scanlon is assistant profes- together in real time. He has found that only how they are approaching the dif- Necessity is the mother sor of sacred music and organ perfor- students benefi t greatly from watching ferent acts of teaching and learning, but of invention. mance at East Carolina University and their performances, seeing their posture, also about their concerns for each other. The common opener was that it is organist at Saint Paul’s Episcopal Church hands and feet, and the motions of their All fi ve of the teachers echoed their nobody’s fi rst choice to close a campus in Greenville, North Carolina, where bodies, both useful and unnecessary. “At concern for the well-being of their stu- and send students home, there is no Andrew’s students are accustomed to measure 43, do you think you looked dents, many of whom have been shuttled precedent, and we had better fi gure having their lessons on the spectacular comfortable?” He intends to continue off campus into stressful situations of this out. The biggest variable is whether forty-fi ve-stop C. B. Fisk, Inc., organ using this tool in the future. crowded houses full of distance learners students have access to organs, pianos, (Opus 126, 2005). The university has George’s performance degrees are in and parents working from home. WiFi is or even cheap keyboards during the supplied the faculty with tutorial videos piano. Remembering that there were everything, and housemates are having closures. When away from campus, on distance learning helping Andrew to always two pianos in a teacher’s studio to negotiate for bandwidth. Students students live in a wide variety of circum- develop techniques for video teaching, so the teacher could demonstrate, he has who are strongly self-motivated are fi nd- stances. While some students go home and he has been able to fi nd access to been using the piano more extensively as ing rich new ways to learn, while others to luxury, others return to poverty where organs for all his students. He reports that a teaching tool and considers this another are struggling with the diffi culties and shortage of food is an issue, never mind the organ literature course he teaches has technique to be developed and used uncertainties of their situations and the whether there is a piano, let alone an been easiest to transfer, mostly by giving more in the future. He also reminded disruption of their education. organ. Before being able to establish lectures online. He is guiding students me that the concept of distance teaching As of this writing, none of the schools connections to continue teaching, some toward the AAGO exam and continuing for serious musicians is in its infancy. He involved has yet made announcements teachers have petitioned their schools to their improvisation training. is in conversation with colleagues around regarding the status of the fall semester. provide instruments, WiFi connections, Nicole Keller has been teaching the country comparing and assessing Jonathan Moyer mentioned that Oberlin and, in some cases, food. organ and harpsichord students at techniques and imagines that new and would be deciding by mid-June whether Christa Rakich teaches organ perfor- Baldwin-Wallace Conservatory of Music, more powerful platforms will be devel- to open the campus for the fall, perhaps mance at Oberlin Conservatory of Music, Berea, Ohio, for twenty years. During oped quickly. without large ensembles and with limited where students were informed a week our conversation, she spoke of how the Jonathan Moyer is assistant pro- class sizes. Different schools are consider- fessor of organ and chair of the organ ing having only single rooms in dormito- department at Oberlin and organist at ries and somehow staggering the semes- Saving organs throughout the Church of the Covenant in Cleve- ters, a scheme that falls apart in a hurry land, Ohio. He is teaching some private when you get to communal bathrooms. lessons with students sending him All of the teachers spoke of the spirit America....affordably! recordings followed by video confer- of camaraderie and cooperation among ences, usually on Zoom. But he is really students. Everyone I spoke with men- focused on fi nding new ways for students tioned fatigue, especially screen fatigue. to learn. Organ literature classes are pro- Even if you are used to spending hours in ductive as he can provide listening lists a practice room or teaching studio each on YouTube. Students “mute out” to lis- day, you are still moving around between ten, then return for discussion. He shares classrooms, offi ces, and dormitories. PowerPoint slides on Zoom and gives out Likewise, there was a lot of talk about reading assignments, some of which tem- maintaining energy, keeping things porarily take the place of performance. lively and inspiring in online discussions. Oberlin is well known for its extraordi- Teachers are spending lots of time just nary collection of more thirty organs, and talking with their students, helping them Jonathan feels that a big part of educa- redefi ne their dreams and ambitions tion there is being on campus with those while staying optimistic. 1-800-621-2624 instruments, sharing musical inspiration in person with students and teachers. He And what about church? Proud Member of APOBA foleybaker.com feels that most of his students have had All but one of the teachers I spoke with enough of the “video thing.” also serve as church musicians, and each

10 Q THE DIAPASON Q JULY 2020 WWW.THEDIAPASON.COM By John Bishop

COVID-19 and four died. The Ameri- will be in this longer than we have yet can Choral Directors Association has imagined. From our seclusion, it is impos- issued an announcement to its mem- sible to imagine when we might next enter bership stating that singers are “super a Broadway theater with twenty-inch wide spreaders” of the coronavirus because seats and endless lines for the restrooms. singers breathe more deeply than nor- Most organists are employed by mal and expel breath at great velocity. churches or universities. Although play- A group of people singing may as well ing the organ seriously is a solitary ven- be sneezing on each other. ture, both types of institutions depend Andrew Scanlon said the reason the on people working in groups. Seminars, choir at Saint Paul’s in Greenville sings classrooms, staff meetings, faculty meet- psalms so beautifully is that they do it all ings, and especially choirs are impor- the time. It is in their blood. Will choirs tant to the work of the organist. At the have to wait years before being able to moment, the challenge of setting up dis- gather again? How much interest, profi - tance learning and distance choral sing- ciency, and experience will be lost? ing is taking more time for many people (photo credit: Félix Müller) than the familiar weekday rehearsals and Lemonade Sunday services. time with Beethoven’s piano music? Or We have no idea how long this will last. Once you have mastered and admit it, you have always wanted to take My family and I came to Maine thinking improved the techniques, will you have the FAGO exam. Contact your chapter C. B. Fisk, Inc., Opus 116, Finney Cha- we would be here for a few weeks and more time for personal projects? Is this leadership and sign up. Maybe you were pel, Oberlin College, Oberlin, Ohio (photo have now been holding in place for over your chance fi nally to learn those last going to spend a week or two at conven- courtesy: C. B. Fisk, Inc.) eight weeks. Given our usual lifestyle eighteen pieces so you can say you have tions this summer. How often have with two homes and a signifi cant amount played all of Bach’s organ music? The you wished for a couple extra weeks to shared a little about how online worship of business travel, this is the most con- Vierne symphonies? How about some tackle something you have always won- is working. Very few church buildings secutive nights I have spent in one place of those pesky masterworks by Rachel dered about? Guess what, kids, now’s are open, so most are either sorting and in nearly twenty years. The statistics of Laurin or Jeanne Demessieux? Maybe the time. streaming recordings from years past, the epidemic as some states try opening it is time to fi nish and submit that article When we meet on the other side, let or recording preludes, postludes, and selected businesses may indicate that we to The Diapason? Spend some more me know how you did. Q hymns on whatever instrument they have at home. Last month we published a photo of John Cantrell, choirmaster and organ- ist at Saint Michael’s Episcopal Church NORTH AMERICA’S in Manhattan seated at the desk he has adapted for the production of the PREMIER PIPE ORGAN church’s video services. He described to me the challenge of creating an essence BUILDING, REBUILDING of worship for the congregation. He has AND SERVICE FIRMS always been interested in audio engi- neering, but “this video thing” is new, and he has been learning on the job. He and the clergy have been drawing on the example of Mr. Rogers and his legend- OUR MEMBERS ary ability to communicate on television WHY CHOOSE with children. How did Mr. Rogers draw children into the screen, suspending AN APOBA FIRM? their disbelief, and can we emulate that BUILDER MEMBERS: in online worship? For most people, purchasing a pipe organ is a once Andover Organ Company At Saint Michael’s, the organ scholar Bedient Pipe Organ Company records a prelude and postlude in the in a lifetime experience. It’s hard to know what Berghaus Pipe Organ Builders, Inc. empty church with John as the videog- questions to ask, let alone how to get the answers. Bond Organ Builders, Inc. rapher, allowing the congregants a rare APOBA provides a simple way for people to take Buzard Pipe Organ Builders, LLC glimpse of the organist who is normally advantage of the expertise of the top people in Casavant Frères hidden by the Rückpositiv of the great Ì iwi`]“>˜ÞœvÜ œ“LÀˆ˜}Ì iiÝ«iÀˆi˜Vi Dobson Pipe Organ Builders Beckerath organ. They also record at C.B. Fisk, Inc. least two hymns, generally one verse for of the several generations who preceded them. Foley-Baker, Inc. each, and show the text on the screen so APOBA has developed publications to help organ Paul Fritts & Co. Organ Garland Pipe Organs, Inc. “distance congregants” can sing along. committees make Goulding & Wood, Inc. John records a rehearsal track for an informed decisions Holtkamp Organ Company anthem that he sends to choir members and manage their Kegg Pipe Organ Builders who practice and record their part, and Létourneau Pipe Organs they send it back to John who stacks the pipe organ projects Muller Pipe Organ Company tracks, tweaking the early or late notes effectively, whether Patrick J. Murphy & Associates as needed, and mixes the whole thing purchasing an Parsons Pipe Organ Builders into a choir. This is far from perfect, Pasi Organbuilders, Inc. organ or planning Quimby Pipe Organs, Inc. and many people are unable to par- a program for ticipate, especially elderly parishioners Schoenstein & Co. with no internet skills. We can suppose renovation or service. Taylor & Boody Organbuilders A. Thompson-Allen that powerful apps will be developed making all this possible without the need for each music director to rein- OUR VISION SUPPLIER MEMBERS: vent the wheel. Integrated Organ Technologies, Inc. A common concern is the future OSI - Total Pipe Organ Resources of choirs. On April 29, The Guardian Our vision is focused on the organ effectively serving Peterson Electro-Musical Products reported that the German govern- the musical and liturgical needs of each congregation Solid State Organ Systems ment had met with church leaders and for generations to come. Syndyne Corporation agreed that when German churches open for worship in May, singing would Whether building a new organ or ensuring the be prohibited. The article noted that CONTACT US three quarters of the members of a longevity of your existing instrument, church choir in Mount Vernon, Wash- APOBAwÀ“Ã>Ài>ÌޜÕÀÃiÀۈVi° ington, fell ill and two died, and that fi fty-nine of seventy-eight singers in APOBA.com the choir of Berlin’s Protestant cathe- Call or email today for Please watch and share 800.473.5270 dral contracted the virus. On March 8, APOBA’s free 84+ page our short video at: the Amsterdam Gemengd Koor (mixed color prospectus! apoba.com/video 11804 Martin Road choir) gave a performance of J. S. Bach’s Saint John Passion in the Con- Waterford, PA 16441 certgebouw, the city’s famed concert hall. Of 130 singers, 102 contracted

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2020 Q 11 Conference report

Conference of Roman Catholic Cathedral Musicians Conference XXXVII: Oakland, California, January 6–9, 2020

By Brian F. Gurley Cathedral choirs in concert (photo credit: Brian F. Gurley) he Conference of Roman Catholic panels of rich Douglas fi r, which allow TCathedral Musicians (CRCCM) light to fi lter in gently throughout the for evangelization, community arts out- shared copies of the text of one of St. John met at the Cathedral of Christ the Light cathedral; and a stunning pixelated icon reach, and pedagogy. She presented a Paul II’s ad limina addresses to American in Oakland, California, for its thirty- of the Christus Pantocrator, a copy of map of the United States, pinpointing bishops, in which the pope discussed the seventh annual gathering. Rudy de Vos, an image from the Cathedral of Notre forty-three organ installations among nature of liturgical participation in light director of music, designed and directed Dame de Chartres, in France. The 193 Catholic cathedrals and drew con- of conciliar reforms. the gathering with John Renke, organ- Cathedral of Christ the Light is home nections to contemporary church docu- The afternoon sessions began with ist and director of cathedral operations; to the Conroy Memorial Organ, a four- ments and events relevant to liturgy and a talk, “Kinds of Liturgy and Kinds of Denise Kogler, cathedral event opera- manual, ninety-rank instrument built by music. Miller described organbuilding Music,” given by William Mahrt, presi- tions manager; and the CRCCM steer- Orgues Létourneau, Limitée, in 2010. projects as the musical monuments of dent of the Church Music Association of ing committee. After Vespers, the cathedral hosted cathedral musicians as a “community of America. Mahrt briefl y prefaced his talk a reception in the Events Center. Rudy practice,” drawing on the educational by mentioning various church documents Monday, January 6 de Vos welcomed everyone to Oakland; work of Étienne Wenger. She exhorted regarding music, as well as identifying The conference began with solemn Brian Luckner, chair of the CRCCM her colleagues to insist on the usage of types of sacred music that are not litur- Vespers at the cathedral with the Most steering committee, read the CRCCM the organ in the liturgy and the perfor- gical. He focused on Gregorian chant, Reverend Michael C. Barber, S.J., Statement of Purpose; and conference mance of organ repertoire, for the sake of highlighting the often-quoted statement Bishop of Oakland, presiding. Organ participants introduced themselves. exposing church goers to the instrument; from Sacrosanctum Concilium, giving music included La Nativité by Jean Lan- she advocated consistent incorporation Gregorian chant principum locum, or glais and Wie schön leuchtet der Mor- Tuesday, January 7 of congregational hymn singing in the “fi rst place” in the liturgy. Mahrt con- genstern, op. 67, no. 49, by Max Reger. On Tuesday morning at the cathedral, liturgy, for the sake of exposing church tended that the common English trans- Choral repertoire included Magnifi cat in following Morning Prayer, the Very goers to beautiful vernacular hymn lation “pride of place” falls short of the B-fl at Major by Philip Moore and Who Reverend Brandon Macadaeg, rector texts and common practice harmony; original Latin, suggesting that “fi rst place” Comes by Leo Nestor. of the cathedral, gave a brief tour and she called for new organ projects in recognizes the paradigmatic quality of The Cathedral of Christ the Light outlined the history of the cathedral and southern cathedrals, including a process Gregorian chant in the Roman Rite. He was constructed in 2008 in the late the Diocese of Oakland. The morning copy instrument refl ecting the rich organ contextualized his discussion of chant in twentieth-century abstract style by Craig itinerary continued with a presentation building tradition of Latin America; and light of its special suitability to liturgy, its W. Hartman of the San Francisco-based by Crista Miller, director of music at she called for an increase in the voices of ability to draw the mind and heart of the architecture fi rm Skidmore, Owens, and the Co-Cathedral of the Sacred Heart women and minorities in the community. listener to contemplate eternal verities. Merrill. Notable architectural features in Houston, Texas, titled “Held in High Following a coffee break, Bishop Bar- Gregorian chant is “unambiguously of the cathedral include its footprint of Esteem: Cathedral Pipe Organs of the ber delivered his address, “The Urban sacred” to the point of sounding strange a vesica piscis (a shape formed by the 21st Century and a Brief Survey of Their Cathedral in the 21st Century.” Bishop when divorced from the liturgy, such as intersection of two circles of the same Community Impact.” Miller expounded Barber touched on the challenges of in a concert setting; “it is not strongly radius), which evokes the ichthys, a secret on the general liturgical responsibilities of fi nancing and constructing a modern metrical, and so does not represent symbol of the early church; overlapping cathedral musicians, their opportunities cathedral, making mention of services something tied down to the passage of such as the Malta Medical Clinic and the time, rather it has the ability to evoke Pope Francis Legal Clinic; these demon- something of the eternal, because of that strate assistance to the poor while com- kind of rhythm.” Mahrt highlighted Gre- mitting signifi cant fi nancial resources gorian chant, arguing that its formal fl ex- to new construction. He articulated ibility and ability to set appointed liturgi-

his understanding of the mission of the cal texts made it particularly well suited Catholic Church: to create a place where to liturgies. Examples of this fl exibility people can encounter Jesus Christ, and would be the more syllabic and neumatic where Jesus Christ can meet His people. antiphons for processions or the largely For Bishop Barber, this plays out melismatic chants for the graduals. through three practical priorities: the Regarding the graduals, Mahrt ref- Sunday experience (including beautiful erenced Justus ut palma, in which fi nal sacred music, intelligent preaching, and unaccented syllables of words are treated sincere fellowship), carrying out corporal with extended melismas, so “the music, and spiritual works of mercy, and the for- in some sense, departs from the text itself mation of missionary disciples. He under- the most meditative possible way,” fulfi ll- scored that the most important of these ing the psalm meditation articulated in Proud builders of the pipe organ kit practices is the Sunday experience, the the General Instruction of the Roman Mass, because it is “the place par excel- Missal in a more compelling fashion. He lence where we encounter Jesus Christ called for serious attempts to cultivate in the spoken Word, but especially in the sung Masses consistently, in order that follow Holy Communion, the Holy Eucharist; the musical commentary given by chant us on facebook! and people won’t even know there’s might better accomplish the solemn and something spiritual going on there unless beautiful celebration of the liturgy, in you create that atmosphere, that place contrast to the practice of progressive Photo courtesy of Eric Harrison where they’re drawn in, and they feel solemnity, which often entails quantita- uplifted in heart and soul.” Bishop Barber tive changes in the sung elements. also addressed the widely debated term In addition to his service to the 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA “active participation,” advocating a both/ Church Music Association of America, t 800 625-7473 [email protected] and approach to liturgical music, includ- Mahrt is associate professor of music at Visit our website at www.letourneauorgans.com ing congregational hymns and refrains Stanford University and director of the as well as choral music that engages the Saint Anne Choir at Saint Thomas Aqui- listening dimension of participation. He nas Parish in Palo Alto, California. The

12 Q THE DIAPASON Q JULY 2020 WWW.THEDIAPASON.COM CRCCM conference participants (photo credit: Brian F. Gurley) Masterclass with David Briggs (photo credit: Brian F. Gurley) choir specializes in Gregorian chant and correspond, there we fi nd truth.” He of his work. The concert was under the programs. After describing the challenges Renaissance polyphony. proceeded to analyze his setting of O direction of Rudy de Vos, and all three faced by clergy and musicians, he pro- The fi rst of two CRCCM business Magnum Mysterium textually, theologi- composers were present for the concert. posed regular communication to cultivate meetings followed the address. The cally, and musically, and he described the a deeper sense of collaboration and trust. afternoon events continued with a com- unique application of musical symbolism Thursday, January 9 Following the talk, Fr. Moore demon- posers reading session, during which in this motet, infl uenced by his study of The Wednesday itinerary began with strated the chapel organ, a two-manual, conference participants had the oppor- musical symbolism in the music of Johann Morning Prayer at Saint Albert’s Priory, at twenty-two-stop instrument, Opus 36, of tunity to sing through new compositions Sebastian Bach. La Rocca is composer-in- the Dominican House of Studies for the Paul Fritts & Company Organ Builders, from their colleagues. residence at the Benedict XVI Institute Western Province. Following Morning Tacoma, Washington, built in 2013. The That evening, David Briggs per- for Sacred Music and Divine Liturgy. Prayer, Reverend James Moore, O.P., Reverend James Moore, O.P., is Vicar formed an organ concert in the cathe- After the presentation, conference addressed conference participants in a Provincial for Advancement for the West- dral. The program consisted of Briggs’s participants attended daily Mass in the talk titled, “The Relationship between ern Province of Dominicans. own transcription of the “Final” from cathedral with Fr. Macadaeg, celebrant. Cathedral Rector and Cathedral Musi- The closing banquet of the conference Symphony No. 3 by Camille Saint-Saëns; Choral repertoire included “Kyrie” from cian.” Fr. Moore—a trained musician was held at the Mockingbird Restaurant Liebster Jesu, wir sind hier, BWV 731, Missa Quinti toni by Orlando di Lasso, himself—demonstrated wisdom and in Oakland. Well-deserved apprecia- and Pièce d’orgue, BWV 572, by Johann Magi veniunt ab oriente by Clemens non credibility on this delicate topic, and he tion was extended to Rudy de Vos, John Sebastian Bach; “Andante sostenuto” Papa, Ubi caritas by Peter Mathews, and drew on experiences as a musician and Renke, Denise Kogler, Fr. Brandon from Symphonie Gothique, op. 70, by the mode I Gregorian Communion anti- as a priest. Regarding the formation of Macadaeg, the cathedral’s administrative Charles-Marie Widor; Symphonie II, phon Manducaverunt. Organ voluntaries clergy, he discussed with candor the staff, and the CRCCM steering commit- op. 26, by Marcel Dupré; and an original included “Desseins éternels” from La challenges of seminary formation, as well tee for organizing such a successful and Tryptique Symphonique Improvisée on Nativité by Olivier Messiaen and Toccata as how a priest’s formation in seminary enjoyable gathering. The 2021 meeting two submitted themes. on “Antioch” by Craig Phillips. (even experiences and formation before of the CRCCM will take place in Orange, David Briggs is an internationally The second of the two business meet- and after) might infl uence his interactions California, hosted by Christ Cathedral. Q renowned organist, maintaining a per- ings followed, during which nominations with staff in problematic ways. Fr. Moore formance schedule of over sixty concerts were made for elections to the steering also challenged musicians who struggle Brian F. Gurley is the choirmaster per year. He currently serves as artist-in- committee, per CRCCM bylaws. Brian with detachment, encouraging them not and director of music at the Cathe- residence at the Cathedral of Saint John Luckner discussed revisions to the bylaws to determine their self worth and per- dral of the Immaculate Conception in the Divine in New York City. as prepared by the steering committee, sonal dignity on the success of their music Albany, New York. and electronic voting opened during Wednesday, January 8 the conference. Marc Cerisier, acting Following Morning Prayer at the CRCCM treasurer, was recognized for cathedral, David Briggs taught a mas- his contributions to the organization, terclass on improvisation. Organists who namely the maintenance of the CRCCM participated in the masterclass were website; development of a membership Sebastián Modarelli, music director database to streamline renewals and the and organist, Co-Cathedral of Saint publication of a directory; and his atten- John the Evangelist, Rochester, Min- tion to administrative tasks. nesota; Chris Ganza, choir director and The afternoon sessions continued with organist at the Cathedral of Saint Paul, a roundtable discussion on chorister for- Saint Paul, Minnesota; Thomas Field- mation. Teri Larson and John Romeri ing, director of music and liturgy at were the principal presenters, describing Saint Augustine Cathedral, Kalamazoo, approaches to chorister training in their Michigan; and Daniel Sañez, director cathedrals. Larson described a parish- of music and liturgy at the Cathedral of based program that incorporates young the Sacred Heart, Richmond, Virginia. singers into an intergenerational choral Following the masterclass, Frank La program. She made special mention of Rocca delivered a presentation titled, the training of young cantors, who enjoy “The Apologetics of Beauty: A Musi- serving with experienced adult cantors cal Theology of the Incarnation.” La in liturgies at the Basilica of Saint Mary. Rocca discussed his creative processes Romeri described the diocesan-based as a composer of sacred music, and he model that he has established in his referenced his setting of the antiphon O posts throughout his career. His dioc- Magnum Mysterium to demonstrate cer- esan model allows for recruitment of tain compositional techniques. La Rocca choristers from parishes throughout a addressed that the apologetics of beauty given diocese, who rehearse together in “appeals to the human person’s innate preparation for major diocesan liturgies. sense of the universal, of the mysterious, The roundtable discussion concluded of the [spiritual]. A sense that is pre- with a question and answer session and rational, or perhaps super-rational, and allowed other colleagues to share their therefore capable of being reached more experiences and ideas from their own directly, because it bypasses the skeptical chorister training programs. intellect.” As a commissioned composer Conference participants returned of sacred works intended for the concert to the cathedral for an evening choral setting, La Rocca refl ected on his role of concert. The choirs of the cathedral pre- evangelization through beautiful music, sented a program titled, “21st Century even outside the liturgy. “Even in cultural Music in a 21st Century Cathedral.” The contexts where relativism rules the day, Cathedral Camerata and John Renke, and where people may not be responsive organist, performed Missa Brevis (2019) to appeals to truth or moral goodness, I by John Karl Hirten and Ave Maria am convinced they can nevertheless be (2009) by Frank La Rocca. The Cathedral engaged by the power of beauty. Because Choir of Men and Boys, featuring the beauty is the visible form of the good, just Pacifi c Boychoir Academy, performed as the good is the metaphysical condition Requiem (2003) by David Briggs. Briggs of beauty. And where these two things served as organist for the performance

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2020 Q 13 In memoriam

A tribute to Charles Krigbaum (March 31, 1929–April 30, 2020)

By Thomas Murray Charles Krigbaum at the Newberry Memorial Organ, Woolsey Hall, Yale University, New Haven, Connecticut (photo courtesy: Yale Institute of Sacred Music) n April 30, 2020, Yale Professor to Yale, bringing Robert Fountain as the OEmeritus Charles Russell Krig- head of an entirely new choral program. baum died at the age of 91 in Beverly, Charles’s time with the University Massachusetts. To generations of Yale Choir extended into the period when University students he was a much- Yale became coeducational, necessitat- beloved teacher. His thirty-six years of ing the building of a new choral library, service on the School of Music faculty an important responsibility that he spanned the regimes of four deans and undertook with keen personal interest. fi ve Yale University presidents. His per- William Sloane Coffi n, then university formances, lectures, and masterclasses chaplain, was a great lover of fi ne music took him throughout the United States, and supported the University Choir in to Europe, Japan, and the Far East. performing the Saint John Passion of J. S. Charles Krigbaum was born on March Bach one year on Good Friday. Works 31, 1929, in Seattle, Washington, and commissioned during Charles’s regime spent his youthful years in New Jersey, included a choral Mass by Richard where he studied piano with Margaret Donovan for unison men’s voices, with Maass and organ with Margaret McPher- optional trumpet and tympani. “A very son Dubocq. He earned his Bachelor of fi ne piece,” Charles recalled. Donovan’s Arts (1950) and his Master of Fine Arts Magnifi cat (TTBB voices) and his organ (1952) degrees from Princeton Univer- piece Antiphon and Chorale were later sity, where he was a pupil of Carl Wein- recorded in Battell Chapel for CRI. Charles Krigbaum (center) with daughters Mary, Ruth (l to r), and son John in the rich. Following his completion of Naval Professor Krigbaum was instrumental foreground, c. 1964 Offi cer Candidate School and three and in the design of the H. Frank Bozyan a half years active duty he received a Ful- Memorial Organ, a signifi cant legacy from not to mention the 1985 premiere of his live performance at the Organ bright grant to study at the Hochschule his tenure at Yale. Bozyan (”Uncle Frank”) (shared with John Ferris of Harvard) Historical Society’s 1975 convention was für Musik and the Goethe University in was university organist and a long-time of Bach’s youthful chorale preludes issued on a two-disc set, An Evening at Frankfurt during 1956–1958; Helmut member of the organ faculty who retired in the Neumeister Collection. Among Woolsey Hall. Walcha and André Marchal were his in June of 1965. Within a few years gifts lighter moments was the visit of the Charles Krigbaum retired from Yale European teachers for organ. from Bozyan’s family, colleagues, and Dalai Lama, when Charles had to in 1995. In 2007 a new three-manual He joined the Yale faculty in 1958 when admirers made it possible to commission locate a copy of the Tibetan national Taylor & Boody instrument in the gallery there was a need for a junior instructor in the Rudolf von Beckerath organ in Dwight anthem. He obtained one from John of Marquand Chapel, commissioned by organ and a desire to have professional Memorial Chapel, a distinctive addition Fenstermaker at Grace Cathedral in the Yale Institute of Sacred Music, was leadership for music in Marquand Chapel to Yale’s collection that has had a notable San Francisco (where the Dalai Lama inaugurated and named the Krigbaum at the Divinity School. The choir fl owered infl uence on Yale students for nearly a half had appeared some time previously). Organ in his honor. under his well-organized management; century. Charles recalled the arrival of the In Charles’s words: “the written music In contemplating deep musical ques- with membership established at twenty- organ: “Beckerath had suffered through is indeed something to see—a melody tions, he mused: “You know, the art of four voices, there was soon a waiting list. a very diffi cult time installing an organ in for the right hand and a drone note for organ playing requires total commitment. Concerts in churches where alumni were New York City only a few months earlier. the left. I played the right hand on the Artistic growth is diffi cult to achieve ministers gave added interest to the work I was determined to make everything as Schalmei with a few other odds and without that.” Along with many, he had of the singers, and within a few years his happy for him and his crew as possible, ends. It seemed the sound of an exotic great concern about the direction of success led to an appointment as conduc- and I believe it shows in the result. We wooden instrument might work best. church music. “We are seeing so much tor of the University Choir in Battell Cha- gave them feasts of corn-on-the-cob, But, of course, there are only the two democratization. Democratization in pel, a position he held from 1961 to 1973, blackberry cobbler, plenty of beer, and notes at a time, and the lower one never itself—certainly the ideal of simplicity—is when the Institute of Sacred Music came some trips to the seashore near Newport. moves!” At the end, the Dalai Lama not bad. But for better or worse America John Mander, who now presides over the returned his appreciation with a rever- sets the fashion in popular culture—in London fi rm established by his father ential bow directed to Krigbaum in the music, clothing, movies. And when we see A. E. Schlueter Pipe Organ Co. Noel, was an apprentice with Beckerath at gallery. Charles hastily faced him and a popular, market-driven style of music the time and part of the installation team.” returned the courtesy. It was the cause taking over in the church, especially (Mr. Mander is now retired.) of some good-natured chuckles. where there is carelessness and a casual Charles played the dedication recital In teaching, Charles always sought approach, it makes me wonder: how deep and fi ve all-Bach programs. During its to foster well-roundedness. “Universal- is the faith? How much of this is the work fi rst year the organ was played by a num- ity” was his word for it. “A student who of a true artist with deep belief?” ber of well-known visitors, but later the knows the Romantics should also be well Charles Krigbaum is survived by his funding for guest performers dried up. acquainted with Scheidt and Couperin. children Ruth (Herb) Rich and Mary Charles, ever eager to bring stimulating If the earlier repertoire is what they Krigbaum of Beverly, and John Krig- artists to Yale, was known to offer his ser- bring from their past experience, they baum (Denise), of Gainesville, Florida. vices gratis to organists at other universi- should come to love Widor and Messiaen He is also survived by four grandchildren ties in exchange for their appearance in just as much.” It is well known that Widor Sam Rich, of Brooklyn, New York, Ben New Haven. This circumstance accounts and Messiaen were two of Charles’s Rich, of Boston, Massachusetts, Jennie  New Instruments  Tonal Additions for a memorable comment from Aubrey keenest interests. He became a staunch Krigbaum of Beverly, and Clara Krig-  Rebuilding  Maintenance Thompson-Allen, curator of organs dur- advocate for the renowned Newberry baum, of Gainesville. Q  New Consoles  Tuning ing those years, who was overheard one Memorial Organ in Yale’s Woolsey Hall day making the wry observation: “Krig as a persuasive vehicle for their music, Thomas Murray, now Professor Emer- How can we help you? pro quo!” recording much of Messaien’s organ itus of organ at Yale, taught alongside Many events are recalled with plea- music on LPs and later recording the Charles Krigbaum from 1981 to 1995 800-836-2726 sure—symposia on the Romantic organ, complete organ works of Charles-Marie and succeeded him as the designated Yale www.pipe-organ.com on Buxtehude, Widor, and Guilmant, Widor for AFKA. An unedited recording University Organist.

14 Q THE DIAPASON Q JULY 2020 WWW.THEDIAPASON.COM Interview

An interview with Thomas Murray

By Andrew Schaeffer

Andrew Schaeffer: Let’s begin by pedagogue that you know of who hearing a little bit about your forma- embodies his style today? tive years in California. I studied with him prior to the rise Thomas Murray: I must begin with of performance practice as a dominant the single most important thing, which is orthodoxy. Mader stressed making the Thomas Murray at Suntory Hall, Tokyo, Japan that my mother and father were unspar- best musical use of whatever instru- ingly supportive of my musical interests. ment one was playing for those there Speaking of organs, what were some I had piano lessons early and was fortu- “in the present” to listen. He was deeply of the fi rst ones you were exposed to nate to be a member of the Pasadena infl uenced by his teacher, Lynnwood in Los Angeles, and did any of them Boy Choristers when it was still directed Farnam, but was also “tuned in” to many cultivate your love of the symphonic by its founder, Dr. John Henry Lyons. of the contemporary composers of that style of building? When it came time to think about time. I am certain he was disappointed O yes! When I was growing up in Los a career, my parents were fully aware in me because I had an aversion to much Angeles, there were still fi ne pre-World of the risk of trying to make a living contemporary music of that period. I War I instruments built by Murray M. in classical music. American culture can embrace dissonance when it has an Harris, and there were E. M. Skinners, doesn’t support that at all well! I was a expressive purpose, but too much music Kimballs, and pre-World War II Casavants keen organ student during high school of the late twentieth century I found as well. Harris’s organs were character- years with a dream of being a performer acerbic and irritating. Dissonance is ized by English-type ensembles and a few both in concerts and in the church. My wonderful as a “spice,” but not when it had imported Tuba stops from England. family wanted me to have a liberal arts becomes the “main course.” All Saints Church, Pasadena, and Second education, in part to act as a safety net in When I studied with Mader he was Church of Christ, Scientist, Los Angeles, case my passion for playing burned out! not performing much, except on Sunday are two that I was familiar with. Thomas Murray and Andrew Schaeffer Very wise! Fortunately I was admitted to mornings at Immanuel Presbyterian And there were some romantically Occidental College in Los Angeles—a Church. He had discovered that he trained organists who were really inspir- waste a general for the hymns!) During perfect choice, because that’s where loved teaching—just loved it—once ing to watch and hear. I had the pleasure the invocation she reset them to accom- Clarence Mader taught organ! He was telling me he had taught ten lessons in of knowing Anita Priest who played at pany the professional quartet or the one of the very fi nest teachers of his a day without a break! He was a gifted First Methodist in Pasadena on their choir. Following that, she would reset time, especially in the West. It’s impor- and avid composer, and I regret that four-manual 1923 Skinner. Like many them during the scripture readings in tant to note that, as a liberal arts institu- the 2004 American Guild of Organists Skinners of his early period, it only had preparation for the offering, and fi nally tion, Occidental was not a place where national convention in Los Angeles did three general pistons, but Anita magi- reset them once more for the postlude. you had the option of living in a practice not make a special effort to feature his cally coaxed twelve out of the instru- Presto! Twelve generals! room ten hours a day. But I was insepa- music, because that year was the centen- ment! How? When she played a service, The choir occasionally did major rable from music, and to be honest, I’m nial of his birth. she could start with three generals for choral works, one of which was an not sure if my aptitudes would have led the prelude. (No one in those days would abridged version of Elijah. There was no me successfully down any other path. What instruments were available to you during your time at Occidental? Where did you land after your years Did they make an impact on you? at Occidental? The Schlicker in Herrick Chapel was When I was preparing to graduate, installed after I graduated, so my time Mader asked me where I hoped to go to was spent on the 1930 Skinner organ in graduate school. I didn’t want to move Thorne Hall. It was built for a Method- on directly to graduate study, at least not ist Church in San Francisco that was right away. I yearned to be active in the forced into bankruptcy during the Great profession, have a church and develop Depression. Occidental acquired it in my ability in choral conducting. I have a 1938, installing it with the pipes in the feeling he privately shook his head with back in a space probably intended for dismay, because the prevailing thought balcony seating and a projection booth. back in 1965 was that graduate degrees The console was located in an orchestra acted as secure passports to great jobs. pit at the front. As you can imagine, it What we didn’t know at the time was just was not a comfortable arrangement, and how saturated the church music fi eld additionally, reverberation was, and still would become with people who had is, non-existent. That organ, Skinner’s advanced degrees. Opus 819, fell into disuse but has now The single most important thing was been removed and will be restored for that my parents did not try to prevent me the Episcopal High School in Belaire from pursuing my dream. As far as events (Houston), Texas. are concerned, a pivotal one occurred in Occidental had a fi ne reputation for 1966, when I was awarded fi rst place in high caliber organ instruction. Not many what is now referred to as NYACOP. The remember now that David Craighead judges that year were Mildred Andrews taught there for several years before his of the University of Oklahoma, Vernon appointment at Eastman in about 1955. de Tar of Julliard, and my future senior It was Craighead who encouraged Occi- teaching colleague at Yale, Dr. Robert dental to hire Mader to succeed him. Baker. A small world! When the administration noted Mader’s lack of any college degree, Craighead, www.ruffatti.com Tell me a bit about Clarence Mader as to his everlasting credit, told them “that a teacher. Is there any contemporary doesn’t matter!”

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2020 Q 15 Interview orchestra involved, but Anita manipu- One other thing to note—E. Power Biggs lated the organ so creatively that the had produced a disc on Columbia called music sounded thoroughly satisfying The Organ in America with various light and natural. In the 1950s and 1960s, pieces by early American composers. But I witnessed the tail end of that style of I believe our Franck recording made at accompanying, and in later years her Immaculate Conception can claim to style nearly became a lost art. be the fi rst commercial recording of any major works on a signifi cant nineteenth- Now back to your career trajectory. century American organ, and a magnifi - After Occidental, where did you go? cent instrument it was, too. Clarence Mader, who had been at Immanuel Presbyterian for nearly forty So, when did you fi nally “bite the bul- years, felt increasingly that he wanted let” and make the move to Boston? to have his Sunday mornings free. I was I left Immanuel Presbyterian in 1973 enormously fortunate that he recom- and was appointed interim organist- The choir of Saint Paul’s Episcopal Cathedral, Boston, Massachusetts, on the front mended me to follow him, and fortunate choirmaster at Saint Paul’s Episcopal steps of the cathedral that the church acted on his suggestion. Cathedral in Boston. The Dean, the Very This led to my playing my fi rst service Reverend Charles Henry Buck, had re- there in January of 1966. established a choir of boys and men a few After some years, however, there years before. I was appointed interim appeared new incentives to think of a because the choirmaster was suffering move from California. The fi rst was the from poor health and recruitment for the discovery—through the Organ Historical choir had lapsed. Developing and main- Society—of the old nineteenth-century taining a choir of men and boys with only Boston-built organs, especially those after-school rehearsal time is work, as of E. & G. G. Hook. I was determined anyone who has done it will tell you! But to experience New England fi rst hand the dean supported the work of rebuild- and was discouraged by the overdevel- ing the choir, and in due time I was opment, congestion, and smog in Los appointed to the permanent position. Angeles. The idea of being surrounded Things then changed considerably in with so much history and living in a brisk the year after Dean Buck retired in 1978, four-season climate was irresistible. because the new clergy “management” During my fi rst trip to Boston, I did not want to continue the choir and Martin Jean, Thomas Murray, organ curators Nate and Zach Ventrella, Joseph Dze- became acquainted with the Hook organs yet was unwilling to spend money on da, and Nicholas Thompson-Allen at a retirement reception for Murray in October at Immaculate Conception on Harrison starting a choir for girls. But during my 2018. Taken together the curators represent well over a century of service to Yale. Avenue, the Cathedral of the Holy Cross, years there, before conditions became and others, and I also met Barbara Owen, unfavorable, it was a really exhilarating Hook organ at the Unitarian Church in by Rheinberger, Hindemith, and Elgar. one of the great advocates of saving these time for us all! Jamaica Plain. Because of the enormous It must have left a favorable impression amazing instruments. After that trip, I We managed to take the choir on tour frequency range of organ sound and the with both Charles and Robert, because was convinced that New England, with in 1978 to England. I wanted them to power of organ bass, one disc allowed late in 1980, Charles called me to say that its four seasons and historical riches, was hear the best English choirs, so we went only about twenty-four distortion-free Yale was creating a junior instructor posi- where I wanted to live. the last week of July, which afforded the minutes per side in those days. Sonatas tion in organ and that the search com- opportunity to hear some fi ne London 1, 3, and 4 were on that fi rst disc. The mittee would welcome an application! You recorded on the organ at choirs for a week before beginning our acoustics in the church were so dry So I applied and was interviewed Immaculate Conception shortly own residency at Saint Alban’s Cathedral. that we carried out the pew cushions for that in the spring of 1981, playing a after that trip, correct? We also sang services at Saint Paul’s, Lon- and stacked them in the narthex. I also lecture-recital on the Beckerath organ in Yes—in 1971, before leaving Califor- don, Christ Church Cathedral, Oxford, brought two blankets from home and Dwight Chapel. I was enormously for- nia. The fi rst was a recording of Franck’s and, because we were from Boston, we built a tent on a 2 x 4 framework so they tunate, yet again, that the audition was Grand Pièce Symphonique and the traveled by coach to Boston in Lincoln- could be draped behind and above the well received, resulting in the invitation Fantaisie in A. Immaculate Concep- shire to sing choral Evensong in the console to keep the clatter of the worn to teach at Yale in the fall of that year. tion, which had originally stood in a splendid medieval parish church there. key action out of the recording. It is a In retrospect, I suspect the new junior very Irish neighborhood, was run by We shouldn’t leave this subject with- fascinating instrument that has recently position was planned in preparation for the Jesuits who founded Boston College out noting that one of the boy trebles in received fi ne conservative restoration Robert Baker’s retirement, because he adjoining the church. That organ was so that choir was Jonathan Ambrosino, now work by Scot Huntington. taught only a few years after that. fantastic—almost French in nature, with very well-known as an organ consultant To complete all six of the sonatas, we When I started, my job consisted of bright chorus reeds, singing Diapasons, and writer on all things organistical, and recorded a companion album with num- teaching a few organ students, direct- and delicious fl utes, all in sumptuous that Jonathan was infl uenced by the 1952 bers 2, 5, and 6 on the 1857 William B. D. ing the Marquand Chapel Choir at acoustics! It’s in storage now, but all of us Aeolian-Skinner organ at Saint Paul’s, Simmons organ at Most Holy Redeemer the Divinity School and playing some who knew it pray it will be heard again in Opus 1207, another organ that has now Catholic Church in East Boston, another weekday services there. A little later on a noble building like the one it left. been removed to make room for an rare survival among our pre-Civil War Charles Krigbaum stepped away from As a complete beginner in the recording elevator. One of the men of the choir on organs. The adventure there was dodg- playing at the University Church (Battell fi eld, there was no assurance whatsoever that trip was Stephen Kowalyshyn, inven- ing the noise from the Boston airport! Chapel), and I assumed those responsi- of releasing any recording on a commer- tor of the “Kowalyshyn Servo-Pneumatic bilities as well. Around the same time, cial label, so I hired recording engineers Lever” used on large mechanical-action So, how were these instruments Fenno Heath, the revered long-time Stephen Fassett and David Griesinger, instruments, and another notable name perceived when the recordings were director of the Yale Glee Club decided paid for the editing, and afterward mar- from the organ world is Robert Newton, released? Were they in fashion? Out to give up the Battell Choir so I took that keted it myself to Sheffi eld Records in for decades the head of Andover Organ of fashion? Or simply forgotten? on for about fi ve years. When Charles California. They had previously released Company’s restoration department—he Most of them had been forgotten Krigbaum decided to retire from Yale a disc of Anthony Newman’s (it may have was a fi ne bass with us at Saint Paul’s. except among Organ Historical Society in 1995, I left all choral commitments to been his fi rst), so I fi gured they were not people. And as I said before, the only focus on the organ department. averse to organ music! Thanks to great I know that you were making record- comparable record had been made by I remain enormously grateful, not only good fortune, they liked it and released it ings during your time at Saint Paul’s. E. Power Biggs with his album of early to Charles Krigbaum and Robert Baker, to a favorable reception. By the way, I’ve Tell us about some of those projects. American keyboard pieces. For that but to Martin Jean, who came to join always been grateful to Robert Schun- Soon after moving in the summer of reason, I am confi dent these early discs me on the faculty in 1997. Martin, now eman, then editor of The Diapason, for 1973, I made the fi rst of two LPs of Men- of ours broke entirely new ground in director of the Institute of Sacred Music, a very favorable review of that fi rst disc. delssohn sonatas on the 1854 E. & G. G. establishing the integrity of our Ameri- though under great pressure in his can instruments. administrative role, has been a cherished colleague, an outstanding coach for his 0LOQDU2UJDQ&RPSDQ\ Through your recordings and work students, an excellent advocate for the at St. Paul’s, you were fi rmly estab- organ here, and a dear friend.

lishing yourself in the New England 1HZRUJDQVUHQRYDWLRQVWXQLQJV organ scene. How did your associa- When you arrived in 1981, the ([FHOOHQWXVHGSLSHV tion with Yale come about? Romantic School of organbuilding 0RGHUDWHVFDOHVDQGZLQGSUHVVXUHV Charles Krigbaum invited me to do and playing was still largely out of 9HU\FOHDQOLNHQHZ WRFRVWRIQHZSLSHV a program in Woolsey Hall in about fashion, and I recall hearing that 6SHFLILFDWLRQVDQGSKRWRVDYDLODEOH 1976. Not long before, Robert Baker the organ in Woolsey Hall was not -- had left the Union Seminary School of universally appreciated. Could you GHQQLV#PLOQDURUJDQFRP Sacred Music to be the fi rst director of provide some insight into that? ZZZPLOQDURUJDQFRP the newly established Yale Institute of That’s true. For several decades, espe- Sacred Music. I remember devoting that cially after the arrival of the Holtkamp fi rst program to three sonatas, one each organ in Battell Chapel in 1951, the organ

16 Q THE DIAPASON Q JULY 2020 WWW.THEDIAPASON.COM work and every bit as wonderful as Elgar’s One fi nal question. As you look at the original Organ Sonata, opus 28. It was profession, what are the challenges, released by Joe Vitacco on JAV Record- concerns, and opportunities you see ings, no longer available on a “physical” moving forward. CD, but can be downloaded from i-Tunes. While there is certainly reason to be Just look for Elgar’s Severn Suite, and you pessimistic about many trends we see can have it for 99 cents per movement! in church music, I remain hopeful for a future that continues to support the In addition to your work as an educa- music we love, music that nourishes tor and recording artist, you’ve been because it is enduring! Churches sup- a prolifi c recitalist all across the porting organ and choral music will not globe. Care to share some highlights? disappear, but they are becoming fewer I’ve been grateful for many invitations and resources are diminishing. Too many to play programs over the years, many think of “traditional” music and cer- for American Guild of Organists and emonial as something stuck in the past. Organ Historical Society conventions. “Museum Church” they sometimes call In fact, there was a time when I was it. People need to see that it really means receiving an OHS invitation nearly every being in the tradition—being a part of an year, which led me to worry about folks ever-continuing creation of music and art becoming weary of me! There is such a that enriches the human spirit. My advice Thomas Murray, Luther Noss, and Charles Krigbaum in front of Woolsey Hall, Yale thing as “too much of a good thing!” to students is to make sure they spare no University, New Haven, Connecticut I’ve been fortunate to do many perfor- effort to become as fi ne a musician as mances in North America and Western possible. If you’re among the best, you in Woolsey, properly known as the New- Back to recordings. So far, we’ve Europe. An especially memorable tour will have a far greater chance for success. berry Memorial Organ, was dismissed by focused on your early work, record- was to Buenos Aires, organized by my for- Also, if you’re an Episcopalian or many as a decadent, categorically fl awed ing historic instruments in Boston. mer student Ezequiel Menéndez. From Roman Catholic, don’t be lured into instrument from a “bad period.” Some I’d like to hear more about your Australia came an invitation to play one thinking that the best jobs are in cathe- give me credit for raising awareness of recordings of orchestral transcrip- recital in Sydney and two in Melbourne, drals! Good parishes are often better the worth of this wonderful instrument, tions. I think its safe to say that you and there was a recital at Suntory Hall in motivated and better equipped to sup- but it was really Charles Krigbaum who were one of the fi rst to champion Tokyo when their Rieger organ was new. port robust music programs. laid the groundwork for its return to favor. transcription playing. My recital activity has been far from Beyond that, we must learn to be far Though he played a wide variety of litera- Well yes—and you could say I took all consuming, though, and entering more effective at being advocates for ture and believed in being a “universalist” risks in doing that, but I don’t think retirement, I’m happy to retreat a bit what we do, for its enormous worth in about repertoire, Charles had a particular I could have resisted the temptation! from that aspect of my activity. There are society. I wish more academic profes- fondness for Widor and the music of Mes- There are responsibilities we can’t ignore so many talented students I’ve had the sional programs would provide students siaen. He recognized the organ in Woolsey when playing original literature, particu- pleasure of coaching. Not all have their with the strategies—the tools for advo- as a persuasive vehicle for that music, and larly where composers are specifi c about heart set on concert playing, but for cacy! Every branch of music education, he recorded much of it there—including registration. With transcriptions, it’s not those who do I’d like to see them getting especially the “classical” branch, must all ten Widor symphonies! that way. The philosophical question a opportunities I had earlier. rise to meet this need in our time. So, interest was already brewing by the player faces is whether to be faithful to time I arrived. We should all be thankful arrangements as devised and published Though you’ve stepped away some- Thank you so much for your time, that during the “dark years” when there by a transcriber or to be as faithful as what from your recital career, you and best wishes for a tranquil was a lack of interest among the students, possible in translating the original score. continue to serve as a church musi- retirement! the organ was conserved in its original I take the second approach, in part cian. Tell us about your responsibili- Hearty thanks to you for this oppor- form by Aubrey Thompson-Allen, the because the organs we have now offer ties at Christ Church, New Haven. tunity—my pleasure! But “tranquil?” I Yale Curator of Organs. Our current fl exibility and versatility not dreamed For twelve years now I have been don’t anticipate that! It’s more a transition senior curators Nick Thompson-Allen of in Edwin H. Lemare’s day. So I don’t artist in residence and principal organist from employment to “self-employment,” and Joseph Dzeda, and now the younger take published transcriptions, even those there, enjoying the spacious acoustics happily with more freedom to enjoy many members of their staff, Nate and Zach written by Lemare, to be “holy writ,” and playing a very satisfying English- things, extra-musical and musical alike. Q Ventrella, keep that legacy alive. Interest- though existing arrangements can often sounding instrument. I’ve also mentored ingly, as a student at Kent State Univer- be useful as a “working score.” organ students from the Institute of Andrew Schaeffer holds degrees from sity, Joe Dzeda had a framed photo of the Over the years, I’ve adapted several Sacred Music who serve as organ schol- St. Olaf College, Yale University, where Woolsey instrument in his dorm room! piano pieces for the organ. I really ars. Christ Church adjoins Yale’s campus he was a student of Thomas Murray, and enjoy trying to get into the mind of the and is one of America’s fi nest examples University of Oklahoma. He currently Little did he know that his name composer and posing the question: if I of Gothic Revival architecture anywhere. serves as the director of music at Luther would eventually be synonymous were Liszt, how would I orchestrate this In my time we have had two fi ne rectors Memorial Church in downtown Madi- with its care! piece? Do the fi gurations on the key- and a very appreciative congregation. It son, Wisconsin, and as editor-at-large of Exactly! He’s admitted that during board suggest an orchestral color? There is a very happy association. The Diapason. college, he wondered if he’d ever get may be no single right or wrong answer, the opportunity to see the instrument in but we must make a piece sound as con- person! Not only has he spent his career vincing as possible in the new medium, Scattered leaves ... from our Sketchbook in it, but upon his demise, he will rest in the organ. There are two CD anthologies the Grove Street Cemetery across the of transcriptions from Woolsey Hall: The street, as he says, “to keep an eye on Symphonic Organist and The Tran- ‘The Newberry’!” scriber’s Art. One is on the Gothic label and the other on Priory. It’s the style of Speaking of Woolsey’s care, it must playing that I love, more than the fact be gratifying, at the end of your time that such pieces are transcribed ones. Of at Yale, to see the organ completely course, there is original organ music that restored. Tell us about that process. invites the same approach as well. Yes, over many decades, the curators made timely repairs to the instrument to Do you generally write your own keep it in reliable working condition. But transcriptions? as years passed by repairs became more I’ve done only one transcription “from frequent and more urgent. In 2006, Mar- scratch” worth mentioning. Elgar wrote tin Jean and I decided that the time was a major piece in the late 1920s, com- right to press for the fi rst-ever compre- missioned as a band competition piece hensive restoration, to be funded entirely called Severn Suite. No surprise that it’s by the Institute of Sacred Music. Read- in B-fl at major! He must have sanctioned ers may be surprised to learn that, until a proposed organ version by Ivor Atkins, recent years, many of the 1915 Steere his friend and Worcester Cathedral chests and 1928 Skinner chests were still organist. That was published as the operating on original leather! Due to the Second Sonata but, regrettably, Atkins magnitude of the project, it was decided eliminated a whole movement—the to undertake the work in stages over “Minuet”—adding an entire page of his seven years, a division at a time during own music in its place! the summer months, to keep the organ Later on Elgar rewrote the piece for Schoenstein & Co. in use during the academic year. The full orchestra and transposed it to C result is magnifi cent, and we are greatly major. I decided that I wanted to play Established in San Francisco š 1877 relieved now that Skinner Opus 722 is this version—the defi nitive one—in the www.schoenstein.com ❧ (707) 747-5858 poised for another century of service. worst way! It is a superb multi-movement

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

Buzard Pipe Organ Builders, Champaign, Illinois Pilgrim Lutheran Church, Carmel, Indiana, Opus 45, 2017 Central United Methodist Church, Fayetteville, Arkansas, Opus 46, 2018–19

Opus 45 “What have you done here!?,” asked Todd Wilson as he leapt off the organ bench to greet me the day before Opus 45’s dedication. Hoping this was a friendly question, I asked to what exactly he was referring. “This organ just about plays itself!” Yes, it was a very friendly question and a complimentary one— even better. What Mr. Wilson was referring to speaks to the heart of our organs’ play- ing mechanisms. Opus 45 was the fi rst of our new organs in which our proprietary “Pallet Unit Chests” were used alongside our electrically operated slider and pallet windchests. More about this later. Pilgrim Lutheran Church’s new long- Unit and slider chest pull-down magnets hoped-for campus became a reality upon sale of their previous facility, the land being needed for a new entrance ramp to I-465. Early during their planning process, the organ committee selected Buzard Pipe Organ Builders for the instrument, and their architect, Jack Munson of Indianapolis, Indiana, asked us for dimensional and acoustical specifi - cations. Imagine my delight and surprise when nearly ten years later Pilgrim Church’s cantor, Sarah Gran-Williams, called to tell me they were “ready for the Opus 45 console, Pilgrim Lutheran Church, Carmel, Indiana organ!” And, imagine my further delight to discover Jack Munson had followed all a room located away from the sanctuary. differ one from another in execution, of our recommendations, producing an The upper façade comprises polished tin but an unmistakable musical thread runs intimate but lofty room, featuring four pipes from the Great 8′ Open Diapason; through every Buzard pipe organ. The seconds of even reverberation, a nearly the copper Festival Trumpets bisect the stop names are consistent from organ to silent HVAC system and a perfect space case in its center; the lower façade and organ, but the scaling and voicing of each for the organ case, choir, piano, and two towers feature pipes from the Pedal is entirely determined by the specifi c organ console! 16′ Open Diapason beginning at low E circumstances that impact the creation. The instrument at Pilgrim Lutheran (low C through D# are made of wood In this way, Buzard organs are works of English Horn in European style reed Church in Carmel, Indiana is the 45th and lie horizontally behind the case) and functional art, designed and crafted to racking system new pipe organ built by Buzard Pipe the 8′ Pedal Principal. each and every client’s identity, while Organ Builders of Champaign, Illinois. It We housed the color stops of the at the same time demonstrating a con- sophisticated tonal results and stable comprises 31 independent speaking stops Great division in an expression box to sistent personality of tone quality and tuning. Beginning with Opus 45, our and 37 ranks of pipes, distributed across provide additional expressive quality and artistic style. organs’ unit stops (stops which play in two manual keyboards and the pedal accompanimental fl exibility to this two- This instrument honors its Lutheran multiple locations or at multiple pitches) keyboard. The instrument is housed in manual organ. Throughout our history patrimony by a slightly brighter outlook in and Pedal stops are played on actions a free-standing case made of poplar, red we have tried to be “Traditional Visionar- the Principal choruses, inclusion of a Ger- identical to the slider chests—but with- oak, and walnut measuring 24 feet wide, ies” in situations in which space or fi nan- man Romantic Clarinet and Oboe, and out the slider stop actions. Our “Pallet 12 feet deep, and 35 feet tall. It was cial resources were limited, resulting in the slightly lighter 16′ Pedal registers. But Unit Chests” provide a key-channel designed in concert with the building’s subdivided Swell and Great divisions. it is a Buzard organ through and through expansion chamber for the wind for Prairie style architecture; every shape, This technique, originally utilized to in the enveloping warmth and majesty of every pipe, just as the main slider chests, line, and element of the room’s design is overcome limitations, is becoming more Full Organ, its delicacy and sensitivity of and they utilize identical magnets as the present in the organ case. a hallmark of our tonal style, in which tone in softer registrations, and its thrill- slider chests to open the unit chests’ The Great and Pedal divisions are equal emphasis is placed upon musical ing Swell reed battery. It has been called pallets, giving the unit stops the exact located in the top level of the case. The rendering of solo literature, accompany- “a cathedral organ in a parish church.” same speech and repetition character- Swell division is placed in the center ing, and congregational singing. Back to Mr. Wilson’s observation istics as the main slider chests. We are above the impost. The lower level con- Buzard organs are custom designed, of the playing actions. Buzard organs pioneers in the development of sensitive tains the winding and mechanical sys- scaled, and voiced for each individual use electrically operated slider and and responsive electric key actions. One tems and the Pedal 16′ Trombone. The congregation’s musical tradition and pallet windchests to eliminate leather, can truly feel the difference; the musical blower and static reservoir are installed in acoustical environment. This means they providing an action that encourages result is palpable.

Buzard Pipe Organ Builders, Opus 45 Pilgrim Lutheran Church, Carmel, Indiana

31 independent speaking stops, 37 ranks SWELL (expressive) – 3¾″ wind PEDAL - various pressures 8′ Open Diapason 16′ Open Diapason (wood and façade) GREAT – 3½″ wind 8′ Stopped Diapason (wood) 16′ Bourdon (wood) enclosed stops in red 8′ Salicional 16′ Lieblich Gedeckt (Gt) 16′ Lieblich Gedeckt (wood) 8′ Voix Celeste (TC) 8′ Principal (façade) 8′ Open Diapason (façade) 4′ Principal 8′ Bass Flute (ext 16′ Bourdon) 8′ Flûte à Bibéron 4′ Harmonic Flute (round mouths) 8′ Gedeckt Flute (Gt) 2 8′ Gedeckt Flute (ext 16′ Gedeckt) 2⁄3′ Nazard 4′ Choral Bass (ext 8′ Principal) 8′ Viola da Gamba 2′ Octavin (harmonic) 4′ Open Flute (ext 16′ Bourdon) 3 4′ Principal 1⁄5′ Tierce 16′ Trombone (wood) 2 4′ Spire Flute 2⁄3′ Grave Mixture II 16′ Bassoon (Sw) 2 2⁄3′ Twelfth 1′ Plein Jeu III 8′ Trumpet 2′ Fifteenth 16′ Bassoon 4′ Clarion (ext Sw 16′) 1 1⁄3′ Fourniture IV 8′ Trompette 8′ Festival Trumpets (Gt) 16′ English Horn 8′ Oboe 8′ Minor Trumpet (ext Sw 16′ Bassoon) 4′ Clarion (ext 16′ Bassoon) 8′ Clarinet Tremulant Tremulant 8′ Festival Trumpets (Gt) Cymbalstern (14 bells) 8′ Festival Trumpets (copper, chamade) Buzard Tremulant actions

18 Q THE DIAPASON Q JULY 2020 WWW.THEDIAPASON.COM Façade and Festival Trumpets Buzard Opus 46, Central United Methodist Church, Fayetteville, Arkansas

Our pipes are made of thick, high tin- silent in their operation and extremely We build all of our organs in sound be, in light of our practice of enclosing content pipe metal (as well as wood and effective in both fl ue and reed stops. refl ective and protective cases, even a substantial portion of the Great. More copper) rather than zinc. We support Expression shutters are made of when the organs are installed in cham- than half of the Great is enclosed in an them in felt-lined traces and European 2-inch-thick poplar, laminated to prevent bers, as you will see we did in the second independent expression box with its racking systems that prevent the pipes warpage during seasonal changes, with organ featured in this article for our Opus own slider windchest. This allows the from collapsing and further fi rms the heavily felted sound traps. Our expres- 46 organ at Central United Methodist Enclosed Great to couple to any location tone produced. Additional support for sion boxes’ walls and ceilings are made of Church in Fayetteville, Arkansas. We we want and at any pitch. The Enclosed the large façade pipes is provided by lin- 1-inch MDF (the equivalent of 2 inches do this to provide excellent projection Great includes a fl ute chorus, a string, ing the interior of the feet with copper. of solid hardwood) with 1½-inch-thick of sound into the room especially when and four colorful reeds, so it can function Although far more expensive than the poplar stiles and rails, to produce an chambers are located off the axis of the like the unison basis of a Choir division. metal zinc, we believe traditional tin-rich extremely effective swell expression. The room (as in Opus 46) and to protect the Additionally, by modifying and adding pipe-metal produces better tone and is shutters are moved by adjustable electric organ from severe temperature fl uctua- to the inhabitants of the Swell division’s more in keeping with the permanent servo-motors. tions and potential building failure such Principal chorus, the Swell can serve as a nature of a pipe organ investment. Buzard organ consoles are intui- as leaking roofs. Positiv division in the context of the clas- We regulate our wind supply using tive in their layout and solidly built to Cantor Sarah Gran-Williams said it sic secondary foil to the Great Diapason single-rise reservoirs, schwimmer regula- last for generations. Their proprietary best: “Buzard Organs sing, and they help Chorus—as well as the enclosed power- tors, and concussion bellows to deliver a ergonomics of manual-to-pedal align- us sing!” And, as Todd Wilson said: “This house of the organ. copious and steady wind supply, with a ment allow for many playing hours organ just about plays itself!” Therefore, with an enclosed portion fi ne degree of fl exibility. Our Tremulant without fatigue. The logical layout of of the Great, and suitable treatment of actions send an adjustable timed-pulse to drawknobs and couplers, toe-studs and Opus 46 the Swell, we were free to consider a dif- electric solenoids under the schwimmers, expression pedals, encourages both In our Opus 46 organ at Central ferent way to approach the third manual which both push and pull on the schwim- technical accuracy and musical play- United Methodist Church in Fayette- division. This Solo division is loaded with mer plate to provide a perfect sine wave ing. Keyboards are plated in thick bone ville, Arkansas, we were given the won- tone colors at both higher and lower much like the human voice singing with and ebony; the cabinets are made of derful opportunity to explore the nature volume levels than the Great or Swell, “vibrato.” These actions are absolutely 1½-inch-thick hardwoods. of what a third manual keyboard could so it can be a material contributor on

Buzard Pipe Organ Builders, Opus 46 Central United Methodist Church, Fayetteville, Arkansas

43 independent speaking stops, 49 ranks Chimes (Walker) 4′ Clarion PEDAL – 5″ wind 8′ Tromba (Ped 16′ Trombone) Tremulant 32′ Double Open Diapason (Walker) GREAT – 5″ wind 4′ Tromba Clarion (ext 8′ Tromba) 8′ Tromba 32′ Subbass (Walker) enclosed stops in red 8′ Major Tuba (Solo) 8′ Major Tuba (Solo) 32′ Lieblich Gedeckt (Walker) 16′ Lieblich Gedeckt 16′ Open Diapason (Walker) 8′ Open Diapason (façade) SWELL (expressive) – 6″ wind SOLO (expressive) – 7″ wind 16′ Bourdon 8′ Flûte à Bibéron 8′ English Open Diapason 8′ Grand Open Diapason 16′ Lieblich Gedeckt (Gt) 8′ Gedeckt Flute (ext 16′) 8′ Stopped Diapason (double mouths) 8′ Principal (façade) 8′ Viola da Gamba 8′ Salicional 8′ Harmonic Flute 8′ Bourdon (ext 16′) 4′ Principal 8′ Voix Celeste (CC) 8′ Viola da Gamba (E. M. Skinner style) 8′ Gedeckt Flute (Gt) 4′ Spire Flute 4′ Principal 8′ Gamba Celeste (CC) 8′ Spire Flute 2 2⁄3′ Twelfth 4′ Harmonic Flute (E. M. Skinner style) 4′ Choral Bass (ext 8′ Principal) 2 2′ Fifteenth 2⁄3′ Nazard 8′ Flûte Cœlestis (double mouth, wood) 4′ Open Flute (ext 8′ Bourdon) 1 1⁄3′ Mixture IV 2′ Doublette 4′ Principal Forte 32′ Contra Trombone (Walker) 16′ English Horn 2′ Octavin (harmonic) 4′ Flûte 16′ Trombone (7″ wind) 3 8′ Trumpet 1⁄5′ Tierce Tremulant 16′ Bassoon (Sw) 2 8′ Clarinet 2⁄3′ Grave Mixture II 8′ Major Tuba (15″ wind pressure) 8′ Tromba (ext 16′ Trombone) 8′ Vox Humana 1′ Plein Jeu III 8′ Harp (Walker) 8′ Trumpet Tremulant 16′ Bassoon 4′ Celesta (Walker) 4′ Clarion (ext 16′ Trombone) Tremulant 8′ Trompette 8′ Chimes (Walker) 8′ Major Tuba (Solo) Cymbalstern (Walker) 8′ Oboe 8′ Chimes (Walker)

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

Flûte à Bibéron

Pallet unit Pedal chest

Opus 46 console the pianissimo and fortissimo ends of a opening voluntary and Sumsion for the provided by a comprehensive sanctuary seamless crescendo/diminuendo. When closing voluntary, each with the effects renovation project—gave the organ the Enclosed Swell reeds approached with this idea, organist Scott the composer intended. And, because the best chance of success. Montgomery embraced this vision—our instrument speaks clearly to the listeners When Scott Montgomery heard the next logical step in the evolution of the in the nave—even though installed in organ’s fi rst sounds as the organ came to “Buzard Sound” and contemporary off-axis chambers—the entire organ has life, all his fears concerning the off-axis American organbuilding. Because the an uncanny single voice, no matter how installation were dispelled. He knew this Enclosed Great and the Swell can move soft or loud it is registered. would be a very special and important everywhere independently, Scott began In addition to exercising our evolving organ in the American lexicon. We rise to dream and consider the manifold uses tonal style, Tonal Director Brian Davis to challenges and consider them oppor- to which such a tonal scheme could be and Production Director and Chief tunities to learn and improve. We’d love used. Accompanying receives the fi rst Engineer Charles Eames overcame for you to visit this organ! Just call ahead! consideration of importance, because what had seemed an impossible off-axis —John-Paul Buzard the rich choral program under Dr. installation situation. Special scaling Founder, President, and Artistic Director Frode Gundersen’s direction regularly and voicing techniques, the addition Buzard Pipe Organ Builders performs literature from literally every of refl ective panels above the pipes tradition. The organ can accompany the in the chambers, siting the divisions Builder’s website: buzardorgans.com/ entire body of choral literature, and it can strategically for their best projection, Pilgrim Lutheran Church: support hymnody and musically render constructing the organ in solid cases pilgrimindy.org/ just about any piece ever written for the within the building’s chambers, utiliz- Central United Methodist Church: organ. This is our goal. You can accom- ing slightly higher wind pressures and centraltolife.com/ pany Stanford and then play Vierne suc- other techniques—and the tremendous cessfully; you can play Sweelinck for the improvement in the church’s acoustics Photo credit: John-Paul Buzard A Haskelled Pedal Trombone pipe

20 Q THE DIAPASON Q JULY 2020 WWW.THEDIAPASON.COM Reviews Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN Book Reviews who discusses her return to Catholicism, Park Ridge, IL GRACE CHURCH as well as her works that “tried to express Pickle Piano & Church Organ Systems NEW YORK the sensation of having sacred music as Bloomingdale, IL an integral part of a specifi c religious service.” Robin Dunbar, professor of psy- chology, studies the behavioral, cognitive, and other mechanisms involved in social Christopher Babcock Michael J. Batcho bonding; he notes that music, especially choral singing, has an important role in Director of Music how we relate to others—“social sing- St. Andrew’s by the Sea, ing triggers the release of endorphins Hyannis Port CATHEDRAL OF ST. JOHN in the brain.” For church musicians, MILWAUKEE the chapters in the book’s third section may resonate the most, as the interviews deal with how music communicates the Gospel, the relationship between music Dean W. Billmeyer and God, and the nature of music in a liturgical context. University of Minnesota Jonathan Arnold has presented a sub- Minneapolis 55455 • [email protected] stantial and interesting compilation of history and the experience of faith and music. Wide ranging in scope, this book offers much historical background and unusually varied insights into aspects of GAVIN BLACK Byron L. Blackmore Music and Faith: Conversations in a music and faith. For those with a deep Princeton Early Keyboard Center Crown of Life Lutheran Church Post-Secular Age interest in how these relate, particularly 732/599-0392 Sun City West, Arizona in British life, it is highly recommended. www.pekc.org Music and Faith: Conversations in —Joyce Johnson Robinson 623/214-4903 a Post-Secular Age, by Jonathan Niles, Illinois Arnold. Boydell Press, ISBN 9781 78327 2600, 2019, 288 pages, 8 color illustrations, $39.95. Available from: Choral Music THOMAS BROWN Carson Cooman boydellandbrewer.com. Psalm singing is at the heart of wor- CHAPEL HILL, NORTH CAROLINA Composer and Concert Organist This book is for “anyone concerned ship. The psalms express every human Harvard University with the nature of faith and its relation- emotion from sorrow, regret, and ThomasBrownMusic.com www.carsoncooman.com ship, in the post-modern West, to music.” lament, to hope, joy, and praise. Choirs It contains a collection of interviews and congregations sing the psalms in that deal with the experience of faith, a variety of ways, including formulaic religion, spirituality, agnosticism, and chanting; responsorial settings, in which Your professional card atheism, as these relate to theology and the congregation is invited to sing a DELBERT DISSELHORST music within the “post-secular” world. refrain and a choir or cantor sings the could appear here! Its references extend beyond music to verses of the psalm; metrical para- Professor Emeritus Contact: [email protected] the visual arts as well. Author Jonathan phrases set to hymntunes; and choral University of Iowa–Iowa City or 608/634-6253 Arnold, a priest, professional singer, and anthems based on the psalms. Follow- Dean of Divinity and Fellow of Mag- ing is a selection of resources, many of dalen College, Oxford, UK, previously which include the congregation. wrote Sacred Music in Secular Society STEVEN EGLER (2014). Like its predecessor, this book is Psalm Settings for the Church Year: JOHN FENSTERMAKER Central Michigan University largely a compilation of interviews, but Revised Common Lectionary. Augs- the interviewees are “non-professional burg Fortress, 9780800678562, 412 School of Music TRINITY-BY-THE-COVE listeners,” and include atheists as well pages, $59.95, augsburgfortress.org. Mt. Pleasant, MI 48859 as laity and clergy. The interviewees are Twenty-six composers and many dif- [email protected] NAPLES, FLORIDA almost all British, as is the book’s vantage ferent styles of music are represented point, and many references are as well. in this collection of responsorial psalms. Norberto Following an introduction concern- The Revised Common Lectionary identi- ing faith, belief, and post-secularism, fi es a psalm for each Sunday and festival there are three sections, each containing over a three-year cycle. Congregational Susan Goodson Guinaldo three chapters; concluding the book refrains are included for reproduction in Emanuel United Church of Christ His Music are notes, a bibliography, and index. worship folders. Choir scores are avail- Manchester, Michigan See—Listen—Buy The fi rst section, “Medievalism to Post- able for download from www.augsburg- www.GuinaldoPublications.com Secularism,” outlines history and values fortress.org/psalmsettings. beginning with Pythagoras, covering psalms, hymns, and spiritual songs, and The People’s Psalter, by Hal H. Hop- A Professional Card in includes a discussion with artist Janet son. MorningStar Music, 80-786, STEPHEN HAMILTON Boulton about her “Eye Music” project, $38, morningstarmusic.com. The Diapason which Arnold fi nds “beautifully captures This is a collection of responsorial For rates and digital specifi cations, recitalist–clinician–educator the relationship between music and psalms that makes exclusive use of folk contact Jerome Butera www.stephenjonhamilton.com faith.” The section is followed by an tunes and folk-like melodies. It includes 608/634-6253; [email protected] “interlude”—“O Sisters Too: Reviving all the psalms appointed in the three- the Medieval in Post-Secular Britain”— year lectionary. Reproducible congrega- which includes illustrations of artwork tional refrains and reproducible parts for and also a labyrinth. instrumentalists are included. David Herman The second section, “The Human Mind and Society,” examines music as The Selah Psalter, edited by Rich- Trustees Distinguished Professor Emeritus of Music and University Organist it relates to human evolution, faith and ard Leach and David Schaap. Selah the brain, and faith under persecution Publishing Co., 125-301, $17.50, The University of Delaware Q [email protected] (focusing on Russia and Soviet Hun- selahpub.com. gary). It too is followed by an interlude— Forty-seven of the 150 psalms are “An Echo of the Spheres in the Shires: included in this collection, with multiple The Enduring Appeal of Sacred Music settings of sixteen of the more com- Gail Archer at the Three Choirs Festival.” The fi nal monly used psalms. Some are responso- organist section, “Belief and Unbelief,” considers rial settings, while others are metrical music and faith as they relate to atheism, paraphrases. Music and texts represent www.gailarcher.com Lorraine Brugh, Ph.D. Anglican clergy, and the laity. a wide variety of authors and composers. Professor of Music Arnold’s interviews deal with these Vassar College Barnard College, Columbia University University Organist numerous topics. The twelve interview- Psalms for All Seasons: A Complete [email protected] Valparaiso, Ind. ees feature clergy, academics, and others Psalter for Worship. Calvin Institute (212) 854-5096 working in the arts and in counseling. of Worship, Faith Alive Christian valpo.edu Among these are visual artist Janet Boul- Resources, and Brazos Press, a divi- Promotion 219.464.5084 ton (whose work appears on the front and sion of Baker Publishing Group, SOZO Media [email protected] back covers of the book’s dust jacket), ³ page 22 [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2020 Q 21 WILL HEADLEE ANDREW HENDERSON, DMA Reviews 1650 James Street Madison Avenue Presbyterian Church New York, NY ³ page 21 composed, and eight existing hymn- Syracuse, NY 13203-2816 9781587433160, $40, bakerpub- tunes. Most have options for singing in (315) 471-8451 www.andrewhenderson.net lishinggroup.com. harmony, although all could be done All 150 psalms are included in this with melody alone. hymnal, many with multiple settings, along with responsive readings and Ten Psalms from the “Becker Psal- Richard Barrick Hoskins Brian Jones prayers. This is a rich, comprehensive ter,” by Heinrich Schütz, edited and Director of Music & Organist resource including a delightful diversity translated by Robert E. Wunderlich. Director of Music Emeritus St. Chrysostom's Church of styles and composers. Concordia Publishing House, Chicago TRINITY CHURCH 976303POD, $13, cph.org. [email protected] BOSTON Celtic Psalms: Musical Resource for These psalm settings for choir only Meditation and Worship, volumes 1 are gloriously satisfying to sing. Schütz and 2, arr. Kiran Young Wimberly took the metrical psalm translations of and the McGraths. For solo, assem- Leipzig theologian Cornelius Becker, set KIM R. KASLING JAMES KIBBIE bly, piano, guitar, with optional C them for four-part choir, and published D.M.A. The University of Michigan instrument and cello, GIA Publica- them in 1628. Ann Arbor, MI 48109-2085 tions, Inc., G-9353, $6.50 (volume 1), —Anne Krentz Organ St. John’s University G-9354, $6.75 (volume 2), Park Ridge, Illinois 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 giamusic.com. email: [email protected] Each volume contains ten different psalm settings, with no overlap. The New Organ Music David K. Lamb, D.Mus. songs, using traditional Irish and Scottish On Christmas Night: Five Preludes Karen Schneider Kirner tunes, are set primarily in strophic form, for Organ, by Kenneth T. Kosche. Director of Music having the same music for all the verses. MorningStar Music Publishers (a Director, Notre Dame Handbell Choir Trinity United Methodist Church There is great fl exibility in performance: division of ECS Publishing Group), Assistant Director, Notre Dame Folk Choir New Albany, Indiana any verse may be sung melody only, MSM-10-098, 2019, $13. Available University of Notre Dame 812/944-2229 by a cantor or choir section, or in any from: morningstarmusic.com. combination with harmony and instru- Kenneth T. Kosche is emeritus profes- mentation. These settings may be most sor of music at Concordia University, successful with choir alone, allowing the Mequon, Wisconsin. At Concordia, congregation to pray by listening. Kosche directed choirs, taught conduct-

A.S.C.A.P. ing, choral literature, and composing FELLOW, AMERICAN GUILD OF ORGANISTS The Lyric Psalter: Revised Grail Lec- and arranging. He holds degrees from

345 SADDLE LAKE DRIVE tionary Psalms, by Tony Alonso and the University of Illinois (Urbana-Cham- ROSWELL-ATLANTA, GEORGIA 30076 Marty Haugen. GIA Publications, paign) and the University of Washington. (770) 594-0949 Inc., G-8351, $25 (Year A), G-8352, Now retired, Kosche resides in Billings, $25 (Year B), G-8353, $26 (Year C), Montana, where he serves as the organist G-8350, $20 (Solemnities, Feasts, at Trinity Lutheran Church. and Other Occasions), Throughout his life and career, Kosche ANDREW PAUL MOORE LEON NELSON giamusic.com. has been associated with the Lutheran Director of Traditional Music CHRIST CHURCH There are four volumes, one each Church–Missouri Synod. Thus, the fi ve Southminster Presbyterian Church for Lectionary Years A, B, and C, and tunes used in this collection are all found SHORT HILLS Arlington Heights, IL 60005 a volume for “Solemnities, Feasts, and in the Lutheran Service Book, the wor- Other Occasions.” Each responsorial ship resource and hymnal for congrega- psalm contains a two-part refrain as well tions of the Missouri Synod. However, as parts for one or two C instruments. A three of the tunes, Forest Green, cantor or choir sings the verses. For many Sussex Carol, and Veni Emmanuel, PHILIP CROZIER LARRY PALMER of the more widely used psalms, separate are common to fi ve mainline denomina- octavo editions are available for choir tional hymns: Celebrating Grace, Glory CONCERT ORGANIST Harpsichord – Organ and fuller instrumental arrangements. to God (Presbyterian Church USA), The ACCOMPANIST Hymnal 1982, The United Methodist Professor of Music, Emeritus Cry Out with Joy: Responsorial Hymnal, and Evangelical Lutheran Wor- 3355 Queen Mary Road, Apt 424 Psalms, Gospel Acclamations, and ship (ELCA). They may also be found in Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Universal Prayers for the Liturgy of various other hymnals and collections. Canada the Word, by David Haas, Kathleen Of the two additional tunes in this set of (514) 739-8696 Recitals — Lectures — Consultancies Harmon, Stephen Pishner, Paul Tate, preludes, Fröhlich soll mein Herze and Lori True. GIA Publications, springen and Gottes Sohn ist kom- [email protected] Inc., G-8481, $33 (Year A), G-8482, men, the latter is also included in The [email protected] + 214.350-3628 $33 (Year B), G-8483, $33 (Year C), Hymnal 1982. G-8480, $33 (Christmas, Triduum, In these carol settings, which range Solemnities, and Other Festivities), in length from one to fi ve pages, giamusic.com. Kosche uses a variety of compositional The sta@ of THE DIAPASON congratulates In addition to psalm settings, these techniques that makes each chorale volumes contain formational material for prelude unique. Sussex Carol is cast Alexander Meszler as the winner of the inaugural cantors and music ministers, prayers, and in an A-B-A form. Sparkling arpeggiated Gruenstein Award. brief refl ections about the meaning of material of a Baroque fl avor, played on each psalm in the context of the Liturgy a 4′ fl ute, is reminiscent of the opening of the Word in which it is sung. Each of Bach’s Pièce d’Orgue, BWV 572. After volume has an accompanying CD with all a four-measure introduction, the melody refrains and sample verses to assist the enters in the left hand on a light reed cantor in learning the various settings. stop. The beginning of the B section Refrains may be downloaded online. coincides with a change of registration to A gift subscription to a fl ute celeste, with the texture expand- Psalms of Patience, Protest, and ing to four- and fi ve-part harmony. The Praise, by John Bell. GIA Publica- melody appears in the soprano, and a The Diapason tions, Inc., G-4047, $10.50, limited pedal part provides tonal sup- The perfect gift for giamusic.com. port. The A section returns, followed by John Bell is a minister, hymn writer, a coda that recalls material from the A + organist colleagues + choir directors and liturgist, a member of the Iona Com- and B sections. + students + organ builders munity, and leader of the Wild Goose Gottes Sohn ist kommen is a one- + teachers + clergy Worship Group. The Iona Community page bicinium for manuals alone. The is an ecumenical community of men and chorale melody appears in the left hand, Each month your gift will keep on giving by providing the women founded in Scotland in 1938. The paired with a Baroque-style accompani- important news of the organ and church music fi eld. Know that main tenets of the community are peace ment in the right hand. Registration sug- your gift will be just right. and justice, work and a new economic gestions by the composer indicate that For information, The Diapason, P.O. Box 300, Lincolnshire, IL order, and community and celebration. the chorale melody is to be played on an ′ 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: Today the community is led by men and 8 Trompette stop with a combination of women who reside primarily in Britain, 8′ and 2′ stops in the right hand. 847/763-4933. Or visit www.thediapason.com and click “subscribe.” but also throughout the world. Veni Emmanuel begins with a pat- $44 one year USA; $35 one year digital; $20 one year student Bell’s collection of twenty-four psalms tern of parallel chords in the left hand includes sixteen of his own tunes, newly played on a suggested registration of a

22 Q THE DIAPASON Q JULY 2020 WWW.THEDIAPASON.COM A Professional Card in Reviews The Diapason DEREK E. NICKELS, DMA Church of the Holy Comforter For rates and digital specifi cations, Kenilworth, IL 60043 fl ute celeste. After eight measures, the New Handbell Music contact Jerome Butera chorale tune enters in the right hand on a Poor Wayfaring Stranger, arranged 608/634-6253; [email protected] (847) 251-6120 • [email protected] 4′ fl ute, while a pedal line provides a tonal for 3, 4, or 5 octaves of handbells foundation. A short burst of rhythmic with optional 3 octaves of hand- activity occurs in the manuals at the point chimes and cello or bassoon, by John in the text where the words “Rejoice, Atteberry. GIA Publications, Inc., GREGORY PETERSON Rejoice” appear. The prelude concludes G-9447, Level 2 (M+), $5.50. ANDREW PETERS in a style similar to how it began. This nineteenth-century American Organ Recitals – Silent Movies – Hymn Festivals Professor of Music In several hymnals, Forest Green folksong is creatively arranged with sev- and College Organist is an alternate tune to use with the text eral rhythmic and melodic challenges. www.AndrewJPeters.com Luther College, Decorah, Iowa “O Little Town of Bethlehem,” provid- While handbells could stand alone in ing a contrast to the traditional tune, St. ringing this piece, the addition of hand- Louis; however, Kosche’s setting will chimes weaving their way through along be useful at other seasons of the church with a cello or bassoon would make this ANDREW SCHAEFFER Jeffrey Schleff, Ed.D. year as well, since the tune is often chestnut even more challenging. Luther Memorial Church (ELCA) Organist/Director of Music paired with other texts. The introduc- Madison, Wisconsin tion begins with musical material that Christ Is Risen, He Is Risen Indeed!, First Presbyterian Church is incorporated as accompaniment to arranged for 2–3 octaves of hand- [email protected] Gainesville, Texas the tune and as ritornello-type material bells, by Linda Scholes. Agape (a divi- Recitals — Hymn Festivals [email protected] between sections of the hymntune. The sion of Hope Publishing Company), ritornello material is then recalled in the Code No. 2868, Level 1 (E), $5.25. coda. To highlight the melody, the sug- This newer Easter piece written by Ed gested registration for the piece is an 8′ Cash, Keith Getty, and Kristyn Getty is STEPHEN SCHNURR solo reed accompanied by a plenum. dynamic and fi lled with the spirit of this Saint Paul Catholic Church Fröhlich soll mein Herze special day. It is simply written, yet effec- Organogenesis Artists LLC springen is composed in a Baroque trio tive, using only quarter, half, and dotted Valparaiso, Indiana [email protected] style. Kosche presents the chorale tune half notes. in a straightforward manner in the left hand against eighth- and sixteenth-note Dona Nobis Pacem, for 3–5 octaves motivic material in the right hand. The of handbells with 3–5 octaves of ROBERT L. pedal part, the most active of any in optional handchimes, fl ute, and the fi ve settings, provides a strong tonal three-part any combination of SIMPSON Mark Steinbach foundation for the piece. The composer voices, arranged by Brenda E. Aus- Christ Church Cathedral Brown University demonstrates fi ne contrapuntal writing tin. Agape (a division of Hope Pub- 1117 Texas Avenue in this chorale setting. lishing Company), Code No. 2894, Houston, Texas 77002 For churches accustomed to creative Level 2 (M-), $5.25. hymn introductions, several of the This arrangement brings with it an

] pieces lend themselves to that type of opportunity to maximize the potential HOMAS HOMAS use. The A section of Sussex Carol, that is possible with the options provided. T R. T Joe Utterback Organist/Choirmaster the A section of Forest Green, and The lovely call for peace uses an eighth-

]] ] Veni Emmanuel are easily adapt- note pattern throughout incorporating St. Luke’s Episcopal Church www.jazzmuze.com able as hymn introductions. If Veni the familiar melody. Here is a perfect Live Oak, Florida 32064 203 386 9992 Emmanuel is used as an introduction piece for worship during the Christmas [email protected] to singing the hymn, the organist should season or anytime during the year. remember to omit the Picardy third at the cadence. New Day, arranged for 2 or 3 octaves This collection can be an excellent of handbells, by Brenda E. Austin. Kevin Walters resource for a student who is new or rel- Choristers Guild, CGB1053, Level 1 David Wagner atively new to organ study. Three of the (E), $4.95. DMA M.A., F.A.G.O. pieces have easy pedal parts, one piece is The composer has provided a delight- www.davewagner.net for manuals alone, and one of the pieces fully melodic piece, easily learned, Rye, New York requires a slightly more advanced pedal with all quarter and half notes and lots technique. All in all, this small collection of special techniques including echo, will be an excellent resource for many thumb damp, and martelatto. There is organists during the busy Advent and also a compatible edition written for 3–5 Alan G Woolley PhD KARL WATSON Christmas seasons. octaves, CGB1054. Musical Instrument Research

—Charles W. Steele —Leon Nelson FIRST PRESBYTERIAN CHURCH Edinburgh

Pisgah Forest, North Carolina Vernon Hills, Illinois WOODBRIDGE, NJ [email protected]

DIAPASON Student Rate RONALD WYATT $20 one year Trinity Church 847/954-7989 Galveston WOW! [email protected]

2027 - Virtuous Virtual Virtuosos (I) . . . gathering in large groups may be inadvisable but, if you join in, these unique J A two-inch Professional Card in The Diapason U concert performances still can reach a huge audience. L 2028 - Virtuous Virtual Virtuosos (II) . . . another set of For information on rates and specifi cations, contact Jerome Butera: Y singular concert performances from the Pipedreams Archive. [email protected] 608/634-6253 2029 - At Large With Gordon Stewart . . . illuminating 2 conversation and performances featuring organs in South ArtistArtist Spotlights Spotlightspotlight s 0 Africa, Virginia, and England. 2 2030 - Organ Crawl . . . from Durham to Gdansk, we check in Artist Spotlights 0 on some new instruments in a wide variety of styles, each are available on Your professional card engaging in its own unique manner. The Diapason website and could appear here! 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 2020 Q 23 Calendar

9 AUGUST Chase Olson, Vierne, Symphony I; Ca- 31 JULY This calendar runs from the 15th of the month James Wetzel; St. Paul Catholic Cathe- thedral of St. Mary of the Assumption, San Martin Sturm; Stifftskirche, Stuttgart, of issue through the following month. The deadline dral, Pittsburgh, PA 3:30 pm Francisco, CA 4 pm Germany 6:30 pm is the fi rst of the preceding month (Jan. 1 for Klaus Geitner; Cathedral, Lausanne, Feb. issue). All events are assumed to be organ 12 AUGUST 16 AUGUST Switzerland 8 pm recitals unless otherwise indicated and are grouped Mitchell Crawford; Methuen Memo- Ricardo Ramirez within each date north-south and east-west. •=AGO ; Cathedral of St. Mary rial Music Hall, Methuen, MA 7:30 pm 2 AUGUST chapter event, • •=RCCO centre event, +=new organ of the Assumption, San Francisco, CA 4 pm (livestream) Christina Struta, Thomas Vodzak & dedication, ++= OHS event. David Jonies; Cathedral of St. John the Lorenzo Zaggia; Cathedral, Lausanne, Information cannot be accepted unless it 21 AUGUST specifi es artist name, date, location, and hour in Evangelist, Milwaukee, WI 12:15 pm Dana Robinson; Christ Episcopal, Ta- Switzerland 5 pm writing. Multiple listings should be in chronological coma, WA 12:10 pm 13 AUGUST 5 AUGUST order; please do not send duplicate listings. David Jonies; Holy Name Chapel, Madi- Stephen Hamilton; Kreuzkirche, Dres- THE DIAPASON regrets that it cannot assume 23 AUGUST son, WI 7 pm responsibility for the accuracy of calendar entries. Jin Kyung Lim, Vierne, Symphony IV; den, Germany 8 pm Cathedral of St. Mary of the Assumption, 16 AUGUST San Francisco, CA 4 pm 7 AUGUST UNITED STATES Hazel Eaton; St. Paul Catholic Cathe- Bálint Karosi; Stifftskirche, Stuttgart, East of the Mississippi dral, Pittsburgh, PA 3:30 pm 30 AUGUST Germany 6:30 pm Christoph Tietze; Cathedral of St. Mary Stephen Hamilton; St. Matthäus 19 AUGUST of the Assumption, San Francisco, CA 4 pm Church, Munich, Germany 7 pm 15 JULY Bruce Adami; Methuen Memorial Music Giampaolo di Rosa, works of Sarah Johnson; Methuen Memorial Mu- Hall, Methuen, MA 7:30 pm (livestream) Beethoven; Cathedral, Lausanne, Switzer- INTERNATIONAL sic Hall, Methuen, MA 7:30 pm (livestream) land 8 pm 26 AUGUST 19 JULY Rhonda Sider Edgington; Methuen 15 JULY 9 AUGUST Benjamin LaPrairie; St. Paul Catholic Memorial Music Hall, Methuen, MA 7:30 Wolfgang Kapek; Frauenkirche, Dres- Ennio Cominetti; Cathedral, Lausanne, Cathedral, Pittsburgh, PA 3:30 pm pm (livestream) den, Germany 8 pm Switzerland 5 pm Nicholas Schmelter; Basilica of the Na- tional Shrine of the Immaculate Concep- UNITED STATES 17 JULY 14 AUGUST tion, Washington, DC 6 pm West of the Mississippi Monica Melcova; Stifftskirche, Stuttgart, Laurens de Man; Stifftskirche, Stuttgart, Germany 6:30 pm Germany 6:30 pm Thomas Ospital; Cathedral, Lausanne, Silvia Martinelli & Andrea Trovato; Ca- 26 JULY 17 JULY Switzerland 8 pm thedral, Lausanne, Switzerland 8 pm Rev. Ugo Patti; St. Paul Catholic Cathe- Sheila Bristow, with trumpet; Christ dral, Pittsburgh, PA 3:30 pm Episcopal, Tacoma, WA 12:10 pm 20 JULY 16 AUGUST David Quinn; Reading Town Hall, Read- Andreas Meisner; Cathedral, Laus- 29 JULY 19 JULY ing, UK 1 pm anne, Switzerland 5 pm Mark Campbell; Methuen Memorial Mu- Christopher Houlihan; Aspen Commu- sic Hall, Methuen, MA 7:30 pm (livestream) nity United Methodist, Aspen, CO 7 pm 21 JULY 19 AUGUST Jin Kyung Lim; Cathedral of St. Mary of Martin Baker; Selby Abbey, Selby, UK Ben van Oosten; Frauenkirche, Dres- 2 AUGUST the Assumption, San Francisco, CA 4 pm 12:30 pm den, Germany 8 pm Brendan Lowery; St. Paul Catholic Ca- thedral, Pittsburgh, PA 3:30 pm 20 JULY 24 JULY 21 AUGUST Alcee Chriss; Balboa Park, San Diego, Jean-Baptiste Monat; Stifftskirche, Mami Nagata; Stifftskirche, Stuttgart, 4 AUGUST CA 7:30 pm Stuttgart, Germany 6:30 pm Germany 6:30 pm Sarah Simko; Cathedral Church of St. Martine Reymond; Cathedral, Laus- Antonio Garcia; Cathedral, Lausanne, 26 JULY Paul, Detroit, MI 12:10 pm anne, Switzerland 5 pm Switzerland 8 pm Jordan Prescott, Vierne, Symphonie V; 5 AUGUST Cathedral of St. Mary of the Assumption, 25 JULY 23 AUGUST San Francisco, CA 4 pm Steven Young; Methuen Memorial Mu- Katelyn Emerson; St. John the Evange- Andrea Albertin; Cathedral, Lausanne, list, Islington, UK 7:30 pm Switzerland 8 pm sic Hall, Methuen, MA 7:30 pm (livestream) 2 AUGUST David Briggs; Peachtree Road United Christoph Tietze ; Cathedral of St. Mary 26 JULY 26 AUGUST Methodist, Atlanta, GA 7:30 pm of the Assumption, San Francisco, CA 4 pm Roland Marie Stangier; Cathedral, Lau- Andrew Lucas; Kreuzkirche, Dresden, sanne, Switzerland 5 pm 7 AUGUST 9 AUGUST Germany 8 pm Simon Pick; First Presbyterian, Evans- Gregory Zelek; Aspen Community Unit- 28 JULY 28 AUGUST ville, IN 7 pm ed Methodist, Aspen, CO 7 pm James O’Donnell; Selby Abbey, Selby, Kay Johannsen; Stifftskirche, Stuttgart, UK 12:30 pm Germany 6:30 pm Johannes Skudlik; Cathedral, Laus- 29 JULY anne, Switzerland 8 pm Stephen Hamilton; Cathedral, Trier, Germany 7:30 pm 30 AUGUST Isabelle Demers; Frauenkirche, Dres- Nicolas Viatte; Cathedral, Lausanne, den, Germany 8 pm Switzerland 5 pm

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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

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

BRENDAN CONNER, St. Francis in ruhen alle Wälder, van Oortmerssen; d’Aquin; Choral sur In dulci jubilo, La AVI STEIN, St. Thomas Church Fifth the Fields Episcopal Church, Harrods Symphonie III in f-sharp, op. 28, Vierne. Nativité (Poèmes Évangéliques) Langlais; Avenue, New York, NY, January 26: Or- Creek, KY, February 2: Sonata on the Partita for English Horn and Organ, op. gan Solo (Glagolitic Mass), Janácek; 94th Psalm, Reubke. SUE MITCHELL-WALLACE, Ca- 41, no. 1, Koetsier; Carillon de Westmin- Deuxième Fantaisie, JA 117, Alain; Al- thedral of St. Philip, Atlanta, GA, Janu- ster (Pièces de fantaisie, Troisième suite, legro (Symphonie VI in g, op. 42, no. CRAIG CRAMER, Reyes Hall, Notre ary 26: Allegro vivace (Symphonie V in op. 54, no. 6), Vierne. 2), Widor; Andantino (String Quartet in Dame University, South Bend, IN, Feb- f, op. 42, no. 1), Widor; Pastorale, Weg- g, op. 10), Debussy, transcr. Guilmant; ruary 5: Toccata in D, BuxWV 155, Bux- gelaar; Cortège et Litanie, op. 19, no. 2, ANDREW SCANLON, First United Prélude et Fugue sur le nom d’Alain, op. tehude; Ricercare in D, Canzone Fran- Dupré; Sinfonia (Cantata 29), Bach. Methodist Church, Wilson, NC, Janu- 7, Durufl é. cese in F, Sonata in C, Pasquini; Tiento ary 24: Épiphanie, Litaize; Prelude sur tercer tono, Tiento de falsas de 4o tono, CHAD PITTMAN & MARK l’introït sur l’Épiphanie, op. 13, Durufl é; KENT TRITLE, Church of the Re- Toccata de mà esquerra, Tiento lleno THEWES, Bethesda-by-the-Sea Epis- Chorale Fantasia on Wie schön leuchtet deemer Episcopal, Sarasota, FL, Janu- de 1o tono, Cabanilles; Passacaglia in c, copal Church, Palm Beach, FL, Febru- der Morgenstern, BuxWV 223, Buxte- ary 19: Pièce d’orgue, BWV 572, Bach; BWV 582, Bach. ary 2: Entrada Festiva, Wood, transcr. hude; Christ, unser Herr, zum Jordan Cantabile (Trois Pièces pour grand Thewes; Intermezzo (Cavalleria Rusti- kam, BWV 684, Sonata in e, BWV 528, orgue), FW 36, Choral No. 3 in a, FW LYNNE DAVIS, Wichita State Uni- cana), Mascagni; Two Waltzes for Pedal Bach; Wondrous Love: Variations on a 40, Franck; Adagio, Final (Symphonie versity, Wichita, KS, February 5: Pré- Duet, Strauss, arr. Michel; Old Hun- Shape-note Hymn, Barber; Lotus Blos- III in e, op. 28), Vierne. lude, Tiento, Acclamations (Suite dredth Psalm Tune, Vaughan Williams, som, Strayhorn, transcr. Wyton; Postlude Cathedral of St. John the Divine, Médiévale), Langlais; Prelude and Fugue transcr. Thewes; Pie Jesu (Requiem), in D, Smart. New York, NY, January 28: Praeludium in b, BWV 544, Bach. Webber, transcr. Thewes; Variations on Parish Church of St. Helena, Beau- in e, Bruhns; Adagio (Sonata in C, BWV Veni Creator, Briggs. fort, SC, January 31: Chorale Fantasia 529), Pièce d’orgue, BWV 572, Bach; JILLIAN GARDNER, Advent Lu- on Wie schön leuchtet der Morgenstern, Cantabile, FW 36, Pièce Héroïque, FW theran Church, Melbourne, FL, Feb- NICHOLAS QUARDOKUS, St. BuxWV 223, Buxtehude; Vater unser im 37 (Trois Pièces), Franck; Cantilène, ruary 2: Prelude and Fugue in A, BWV Thomas Church Fifth Avenue, New Himmelreich, Böhm; Christ, unser Herr, Adagio, Final (Symphonie III in e, op. 536, Bach; La Fille aux Cheveux de York, NY, February 23: Toccata, op. 9, zum Jordan kam, BWV 684, Sonata in e, 28), Vierne. Lin, Ballet (Douze Pièces pour Orgue), Guillou; Choral, Scherzo, Cantabile BWV 528, Bach; Uppon la mi re, anony- Debussy, transcr. Roques; Introduction (Symphonie II in e, op. 20), Vierne; Pag- mous; Piece No. 7 in d, Worgan; Postlude ANTHONY WILLIAMS, Cathedral and Passacaglia in d, Reger; Scherzo eant, Sowerby. in D, Smart. of St. Philip, Atlanta, GA, January 19: (Sonata Chromatique), Barnes; Fan- taisie in C, Franck; Variations on a JACOB REED, Cathedral of St. Phil- DAVID SCHRADER, harpsichord Toccata on How Firm a Foundation, Theme of Paganini, Thalben-Ball; Ada- ip, Atlanta, GA, February 16: Six Stud- and organ, Grace Episcopal Church, Phillips; Three Organ Pieces, Fax; Pas- gio, Allegro (Symphonie VI in g, op. 42, ies in Canonic Form, op. 56, Schumann; Hinsdale, IL, February 16: Partita in a, torale, op. 19 (Six pièces pour grande no. 2), Widor. Adagio and Allegro in f, K. 594, Mozart. BWV 827, Aria with 30 Variations, BWV orgue), Franck; Carillon de Westminster Zion Lutheran Church, Perrysburg, 988, Concerto nach Italienischen Gusto, (Pièces de fantaisie, Troisième Suite, op. OH, February 21: Prelude and Fugue KIRK MICHAEL RICH, St. John the BWV 971, Ouvertüre nach Französisch- 54, no. 6), Vierne. in D, BWV 532, Bach; Variations on a Evangelist Episcopal Church, St. Paul, er Art, BWV 831, Fugue in E-fl at, BWV Theme of Paganini, Thalben-Ball; Lar- MN, January 26: Épiphanie, Litaize; 552ii, Bach. TODD WILSON, Texas Christian go (Symphony No. 9, op. 95), Dvorák, Offertoire sur deux Noëls, op. 19, Guil- University, Landreth Auditorium, Fort transcr. Lemare, Gardner; Allegro con mant; Noël–Grand Jeu et duo, d’Aquin; JOHN W. W. SHERER, Fourth Pres- Worth, TX, January 24: Passacaglia in c, fuoco (Symphony No. 9, op. 95), Dvorák, Prelude and Fugue in C, BWV 547, byterian Church, Chicago, IL, January BWV 582, Ach bleib bei uns, Herr Jesu transcr. Ennis; Fountain Reverie, Fletch- Bach; Ciaccona, Storace; Sonata II in 31: The Emperor’s Fanfare, Soler, arr. Christ, BWV 649, Meine Seele erhebt er; Scherzetto (Sonata in c), Whitlock; c, op. 65, no. 2, Mendelssohn; La Vallée Biggs; Adagio in g, Albinoni, transcr. den Herren, BWV 648, Kommst du nun, Adagio for Strings, Barber, transcr. En- du Béhorléguy, au matin (Paysages eus- Wolff; Toccata and Fugue in F, Bux- Jesu, vom Himmel herunter, BWV 650, nis; Allegro (Symphonie VI in g, op. 42, kariens), Bonnal; Allegro (Symphonie VI tehude; You Tune Me With Gladness, Bach; Variations on an American Hymn no. 2), Widor. in g, op. 42, no. 2), Widor. Janca; Be Thou My Vision, Gárdonyi; Tune, Young; Fantasy on Themes from The King of Love My Shepherd Is, Stan- Carmen, Bizet, arr. Lemare; Allegretto SIMON JOHNSON, St. John’s Epis- JAMES RIGHTMYER & Trevor ford; Fanfare, Lemmens; Méditation grazioso (Sonata in G), Bennett; Solilo- copal Church, West Hartford, CT, Johnson, oboe/English horn, St. Francis- (Suite Médiévale), Langlais; Spiegel im quy, Conte; Allegro vivace (Symphonie February 21: Fantasia and Fugue in G, in-the-Fields Episcopal Church, Har- Spiegel, Pärt; Crown Imperial, Walton, V in f, op. 42, no. 1), Widor, with pedal Parry; Five Short Pieces, Whitlock; Nun rods Creek, KY, January 5: Noël Suisse, transcr. Murrill. cadenza, Swinnen; Improvisation.

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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]

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2020 Q 25 Classifi ed Advertising

PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS POSITIONS AVAILABLE

Raven imports for sale in America Esoteric Elgar—The beautiful “Canto The new Nordic Journey series of CD Wanted: Organists visiting Maui. the CD recordings of British harpsi- Popolare” from In the South and the recordings reveals premiere record- Lahaina’s Holy Innocents Episcopal chordist and builder Colin Booth, on formal Coronation March” (1911) are ings of symphonic organ music—much Church invites visiting organists to play his Soundboard CD label. His most presented in quality transcriptions by of it still unpublished—from Nordic its Beckerath Positiv organ at Sunday recent release is a 2-CD set of Book 2 Herbert Brewer. michaelsmusicser- composers, played by American services. Built in 1972 by Rudolf von of Bach’s Well-Tempered Clavier, fol- vice.com 704/567-1066 organist James Hicks on a variety of Beckerath and then-apprentice Hans- lowing on the release in 2019 of Book 1, recently restored Swedish organs. It’s Ulrich Erbslöh for Honolulu’s Lutheran also in a 2-CD set. Both have received From Fruhauf Music Publications— a little bit like Widor, Reger and Karg- Church, the 408-pipe Shrankpositiv outstanding reviews in the early music a prelude on the hymn tune, Hyfrydol. Elert, but with a Nordic twist. Check it has a 54-note “split” manual, 30-note pedal, 11 stops, 8 ranks, and 6 press. He plays a 2-manual harpsichord Written for organ, it is modeled after out at www.proorgano.com and search he built in 2016 as based on the design registers. Holy Innocents acquired Baroque cantus fi rmus compositions in for the term “Nordic Journey.” of an instrument of 1661 and signed by which the pedal voice (tenor range in the instrument in 1977 and moved Nicholas Celini, but with an extended this instance) presents the hymn tune it to Maui where it has been played compass. Booth had restored the origi- in elongated note values. The treble clef The Organ Historical Society by parish musicians such as Carol nal Celini harpsichord in 2013. Celini offers a two-voice duet in light imitative e-shoppe offers a new DVD by Fugue Monaghan and visiting artists includ- was working in Narbonne in southern counterpoint, and the bass clef plays State Films, The English Organ, a ing Angus Sinclair of Canada and France when the original instrument the part of an active basso continuo three-part documentary presented by Dalibor Miklavcic of Slovenia. The was built. Booth observes that the voice. Please visit www.frumuspub. Daniel Moult. In addition to three hours instrument is extremely responsive instrument “has strong similarities to net’s home page bulletin board for a of documentary, almost eight hours of and fi lls the worship space beautifully. some German instruments, such as link to the complimentary PDF score music is presented on DVD or CD (in The parish community is “exemplary those by Mietke, but is of a rather more and booklet. both stereo and surround). More than in its hospitality to all visitors,” and that intimate character.” The 2-CD sets thirty organs have been fi lmed and especially includes visiting organists. For information: 808/661-4202; holy- include an extensive essay by Booth on Certified appraisals—Collections of recorded, including Christ Church Spit- the works, temperament, performance imaui.org. organ books, recordings, and music, alfi elds, Truro Cathedral, Sydney Town considerations, etc., and are SBCD- for divorce, estate, gift, and tax pur- Hall, St. George’s Hall Liverpool, St. 218 WTC Book 1, and SBCD-219 WTC poses. Stephen L. Pinel, Appraiser. Paul’s Cathedral Melbourne, and King’s HARPSICHORDS/CLAVICHORDS Book 2, each 2-CD set sold for $16.98 629 Edison Drive, East Windsor, NJ postpaid in the U.S. from RavenCD. College. The set is available for $98. 08520-5205; phone: 609/448-8427; Zuckermann one-manual harpsi- com 804/355-6386. For information: https://ohscatalog.org. email: [email protected]. chord from a kit for sale. Good condi- tion. 57 keys starting on low A. Outside CLASSIFIED AD OPTIONS Consoliere Classic Series for Organ: Raven has published a 32-page dimensions 64″ x 36-1/2″ x 10-1/2″. Complete Set of Six Books. An out- catalog of CD recordings and DVD The company sent a jack conversion standing collection compiled from videos, mostly produced by Raven but The Diapason offers print and digital kit, which must still be cut and installed. World Library Publication’s extensive with a few items produced by Fugue website versions of classifi ed ads. All materials and instructions are organ library. A must for any church State Films and others. The catalog Reach out to the world by contacting included. $300 or best offer. Located organist. 003067, $54.00, 800/566- is free upon request to RavenCD@ Jerome Butera: [email protected] in Newcastle, Maine. Buyer to remove. 6150, Wlpmusic.com. RavenCD.com or 804/355-6386. or 608/634-6253. Jay Zoller, 207/380-5949.

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Schoenstein Opus 7, 1891. The Recent studio or antiphonal organ Zoller home pipe organ (1985) for Releathering all types of pipe great 1906 San Francisco Earthquake (2008), 2/6 + Mixture. Beautiful custom sale. One manual and fl at pedal- organ actions and mechanisms. destroyed most of Felix F. Schoen- pipework, OSI chests, Peterson relay, board, cherry case with doors, and Highest quality materials and work- stein’s life work. This two-manual, additions available $5,000. André CT bench. Six stops divided at middle C: manship. Reasonable rates. Colum- 24-rank mechanical-action instrument 860/664-0046 [email protected] 8′ Stopped Diapason, 8′ Krummhorn, bia Organ Leathers 800/423-7003. in the German Romantic style is the 4′ Flute; 2-2/3′ Nazard, 2′ Principal, www.columbiaorgan.com/col. 1-3/5′ Tierce (no pipes). $15,000 or only remaining example. It is cur- Bosch Opus 518 (1968) for sale. rently in the care of A. David Moore of best offer, buyer to remove, located Tracker action, 16 ranks, 12 stops, Aeolian/Robert Morton-style Pomfret, VT, who states, “A wonder- Newcastle, Maine. For information and Hauptwerk, Schwellwerk (expressive), ful example of Nineteenth Century photos: 207/563-5679. maroon leather is now available Pedal. Excellent condition. Detached organ building infl uenced from earlier from Columbia Organ Leathers! console. Buyer to remove from Seattle, times—Full principal chorus on the Highest quality. 800/423-7003, Washington by 2/26/21. Best offer. MISCELLANEOUS FOR SALE Great with the correct balance of www.columbiaorgan.com. Contact for pictures and details: How- upperwork, a diverse selection of 8′s ard Wolvington, [email protected], 1918 Casavant 38 ranks of pipework and 4′s and a 2′ in the Swell.” His fi rm ANNOUNCEMENTS 425/761-4729. for sale. Some Skinner pipes, 3 key- is prepared to renovate and install it. boards and pedalboard with blower. The organ is offered free of charge Stored, specifi cation and photos avail- THE DIAPASON E-Newsletters are along with a starter grant to the institu- Two-manual, 11-rank pipe organ with able. Sold to highest bidder, owner to e-mailed monthly to subscribers who tion providing its new home. Full infor- unit chests; also mixture III and aeoline approve bid. Contact Levsenorg@aol. sign up to receive them. Don’t miss the mation: [email protected]. (no chests). Wicks console, blower, com for information. latest news, featured artists, and classi- reservoir. Some casework. $5,000. fi ed ads—all with photos—some before Includes trumpet, oboe, waldhorn Exceptional original Baroque organ SERVICES / SUPPLIES they appear in print! Visit www.The- reeds. Roller relay board. Extra Reisner case with elegant carvings (18th Diapason.com and click on Subscribe magnets. Denver area. Buyer removes. century) containing a well-conserved to our newsletter. For assistance, con- [email protected] Complete Pipe Organ Services from Romantic Belgian organ (19th or the Organ Clearing House: 450 vintage tact Stephen Schnurr, 847/954-7989, 20th century) by Pierre Schyven. Two pipe organs available, renovation, [email protected]. manuals and pedal; 17 stops, 18 ranks. Pfeffer and Debierre organs. Circa tuning, consultation. Other services Manual/pedal key compass 56/30. 1860 Pfeffer eight-rank organ, available include transportation, cleaning and Postal regulations require that mail to THE Depth 10.5′; height 15.5′; width 15.3′. rebuilt and custom fi nished. Also 1884 renovation of carvings, reredos, litur- DIAPASON include a suite number to assure For sale, with installation available. choir organ by Louis Debierre. Both are gical furnishings. Call John Bishop at delivery. Please send all correspondence to: THE DIAPASON, 3030 W. Salt Creek Lane, Suite Inquiries: [email protected]. pictured on the Redman website: www. 617/688-9290. john@organclearing- 201, Arlington Heights, IL 60005. Tel. 00 34 629 30 17 18. redmanpipeorgans.com. house.com.

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

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WICKS ORGAN LLC www.Facebook.com/ www. wicksorgan.com TheDiapason 618-654-2191

3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 CLASSIFIED THE DIAPASON 608/634-6253 • [email protected] ADVERTISING RATES

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

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

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Stephen Buzard Chelsea Chen Aaron Tan 2018 AGO National Competition Winner Available 2018-2021

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

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

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

Choirs Available

Christ Church Cathedral Oxford, United Kingdom (April 2021)

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

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