THE DIAPASO N AN INTEEINATIONAL MONTHLY DEVOTED TO THE ORGAN AND THE INTERESTS OF ORGANISTS

SIXI, .tllird Y~dr, No. 5 - Wllole No. 74i FEBRUARY, 19i2 Subscriptions $4.00 II 'Year - 40 cents a copy

80STON AGO CHAPTER, DREW CONFERENCE TO HARVARD UNIVERSITY PREMJERE DUTCH WORK SPONSOR COMPETITION Drew University's nineteenth annual The Boston Chapler AGO and Har· Church Music Conference 10 be held in vard Unh'c::uity are jointly sponsoring Madison, N.J., on May 6, will present a Young Artists Competition (or organ· the American premiere of Mariw Mon· ists under 30. Contestants must not have nikcndam's Vi II Sacre. This new multi· n:3chm their 30th birlhdar. by May 7. media work has already had several im­ J972. The winner, who will receive a portant European perronnances includ· cash rrize of $500, will he presented in mg one at the cathedral in Rrugge. Bel­ reclta as pout of the 1972·75 season 3t gium. Scored for two choiTS, an adult Harvard University. This series has in SATB choir and a un lson boy's choir the past included recitals by such noted located at opposite ends of the church. organiats a.J Anton HeilleT. E. Power the work is divided into a series of Biggs, Gustav Leonhardt, Marie·Claire fourteen meditation!! on Christ's Pill­ Alain, and David Cr.lighead. sion. Each section begins with the boy's AU contelllan15 1111151 submit a tape choir singing \'erses from Vexitla Regis reoording of their playing, to be re· and Stabat Mater. rollowed by :I. two ceived not later than MomJay. April 10. minute (unstructuTed) meditallon (rom T he tape (mono or stCrl'O al 7~.! i.p.s.) the pulpit. and concluding with an rnust include the FatJt(fsi(f tIIul Fugue m SAT8 chorus accompanied by organ C ",ino,., BWV 5-12. by j . S. Bach and amI a batte ry of percussion. Acoom­ two pieces of the contestant's own pan)ing each meditation are pictures chOOling: (a) a major composition of of art works projected on a screen in the Romantic Period; and (b) a COIl­ (ront of the congregation. This first performance of the English edition will temporary work by il recognized com· poser. The final competition of no be prescntct.l by lhe Choirs of the Pres­ more than four and no IC5lI than three byterian Church, Madi.son, N.j., under finalial3 will be 1lC!ld Sunday. May i the dircction of Lcster Bcrcnbroick, al Memorial Church. Harvard Univer· member of lhe Drew faCUlty and direc­ sity, C:unbridge. MaS$., on the 4-manu:d tor of the Drew Church Music Conrer. Fisk organ. Those inlcrested in enter­ ence. ing the competition should write to the Olher events of the day include an Chairman of the Competition Commit, experimental worship service led by the 1«, Mr. john Ferris, Memorial Church, )lluth choirs of the United Methodist Han'ard University. Cambridge. Mass. Church, Chatham. under the leadership 02138, for an application bfank and of Leola Anderson; a choral reading romplcte set of rules. The other mel11 - session conducted by William Simon, ben of thc committee are Barbar.t choral director at Bloomfield College Owen and Brian Jones, and org.m ist-choir director of the Church on the G~n , Bloomfield. Philip Dieuerich, minister of mUlic at the United l\.IctlJOdist Church, West­ field , and member of the faculty of the MINI·WORKSHOP FOR School of Sacred Music. Union Theo. MINISTERS AND MUSICIANS logical Seminary, will Jead a session on SLATED AT WESTMINSTER "Inventing Anthems whh Children and Adults" in which he will draw upon the techniques of Carl Orff and Mur­ ..\ one.day workshop for musicians ray Scitarer. And finally, james Litton, ~nd ministers. with emphasis on music choinnaster of Trinity Church, Prince­ ror the small and medlum·size church, ton, and member of the b.culty of West· will be held at WestminiJler Choir Cot· minster Choir College, will dl.SCW.S and lege. Princeton. N,J. on Saturday, Feb­ demonstrate. with tlte :mistance of the ruary 26. The workshop will include choir of boys' and men from Trinity three choral repertoire sessions dealinF, Church, tbe possibilities of wing elec­ wilh "New Sounds from Old Music. ' Th. Milan CathHiral organs. L.ftl the Gospel organ of 1552 by Gian Giacomo Antegnati. tronic tape in the music of the church. "New Sounds from Music of Today," Right: the Epistle organ built in 1583·1610 by Crlstofori Valvauori. The Bresclan cases have and an introduction to "New Songs for been retained, new organs built Into them. (5 .. arlide on Italian organ music, page 22.) Liturgy" and "More Hymns and Spiri. tual Son8'," ANOTHER HISTORIC The opening addros, delivered by James Litton, head of the department ORGAN IN DANGER of church music at the Choir College, New York City Church Gets New Schantz Organ is entitled "The New Life of the Another hi!loric baroque organ in Church and Music." Thi5 will be rol ­ Gennany is in danger of being lost as Plein Jeu IV 244 pipes lowed by :I. session on "The Orxan The Schantz Organ Company has a result of modern comforts. AI a re­ and Organ Music for the Smaller completed the installation of a 3·man­ Contra-Fasotfo 16 ft. 73 pipa sult of the installation of a hot· air ual organ in the Park Avenue Metho· TrompeUe 8 ft. 61 pipes Church" p~nted by Joan Lippincott. Fagotto 8 ft. hC3t ing system in the church, the Ber­ head of the organ department at West· dist Church, New York City. Dr. Robert Hautbois-Clarion .. fl. 61 pipes endt Huess organ (1009-73) in the minster. and Eugene Roan, pro­ Baker, consultant for the church. drew TremuJant Church of St. Cosmae, Stade, West Ger. fessor of organ. The day'. activ­ up the specifications in collaboration many has been damaged JO badly that ities will abo include a panel dis­ with Lyndon Woodside. organist of the CHOIR it is no longer playable, and it con­ cussion concerning the responsibflities church. It W21 the desir~ of the con­ Hohftlhe 8 ft. 61 pipes tinues to worsen. The St. Cosmae ot­ of ministers and mwician. to the future gregation that th~ original screen be Flaulo Dokc 8 ft. 61 pipa g3n is the famoul Vincent LObect or. worship of the murch, and a aervice ~tained over the unenclosed Great Fhlte Celate (TC) 8 It. .9 pipes gnn. The present music direcw r of the of readings and music. and Proal division opening. Negotia. Gcrmhom .. ft. 61 pipes dHlrch has protested in her own way: tions for the new msUUmcnt were Waldngte 2 ft . 61 pipes Other participants will be Dr. Alec Larisot (TC) 1~ ft. 49 pipes on June 16, 1971, In an evening con· Wyton; Dr. Lee H. Brislol Jr., editor handled by D. R . Salisbury. New York Mixture III 2 ft. 183 pipes errt. ahe Jed 48 members o[ her church of "New Hymns and Spirilual Songs"; representative for the Schantz company. Cromome 8 ft. 61 pipes choir with 48 pipes of the organ in the Dr. Ray Robinson, president of the Trompete 8 ft. (Great) chorale "Wcmn wir in h&hsten N~ten Choir College; Steven Sharp, dlTector of GREAT Tremulant scin." Quintaton 16 fl. 61 pipes church relations at Westminster; and Principal 8 h . 61 pipes Dr. Donald Meisel. minister of the RghrllOte 8 ft. 61 pipes LUDWIG ALTMAN', rcdUiI at Temple First Presbyterian Church. Princeton. Octave .. ft. 61 pipes PE.DAL Emanu-El, San FranciKo, Dec, 28 d~w a SpitdlOte .. It. 61 pipcs ltaIultant 3! ft, crowd of oYer liDO. The prosntru featured Super Octavc 2: It. 61 pl~ Priacipal 16 (C . " pipel the fint U.S. pcrlonnancc 01 a yet uDpubiiahed A ONE MILLION DOLLAR CHRISTMAS foum:tuR IV 2:44 pipa QuintatOD 16 h . (GrMt) GIIT was presented to SWJIrthmo~ CDllqe by " Orpn Sonata" fralUXDl by Arnold Schoen. Tnnnpcte 8 h. n pipcs (Ped.1 Dl. ) HohbonJun 16 It. (Swell) Eu~ ne M. u.ns or New York City to launch be,. (l9fl). Mr. AltmaD pedonntd the work Principal 8 ft. with the permiaion of the com.pote,.'. son. Q. $.f,SOO,1lOD campaign toward ItrenJlhenin, SWELL Spitzflote 8 IL 56 pipes the fadlitIes and prolJl'1llru ror the pufonniDS The recital waI ,pensorcd by the San Fran­ HobbonJUD 16 ft. 73 pipes Holzbordun 8 fL (Swell) cif.co Goethe Instilule and Consreption artl at the coIlese. The sirt wiU be UICId to HohbordWl 8 It. Prinapal .. It. heir build a new ruudc buildlnl. Emanu-El. Newapaper Rviewl or the t»ncert Viol. 8 It. 61 pipes Spltzflote .. It. wen: nKIIt ellthtlliutic. Viola Celesta 8 It. 61 pipes Spitzllate 2 II. HENRY FUSNER direded the choin, 1010- Principel .. It. 61 pipes Mixture ]11 2 It.. 96 plpes istl and members or the Nuhvillc Symphony KoppeInote .. It. 61 pipes PosaUDe 16 It. 32 pipes LUDWIG DOERR, orpnHt of Speyer, Ger­ Orc~tra at Fint Pnsbyteri.n Church. Nash­ N... rd (TC) ~ ft. -19 pipes Contn-Fa,octo 16 It. (Swell) many. has bHn appointed prolalOr 01 Of"pn ville, Tenn., Dec. 12 in a pedorl:tWlCl! of Weitpriruipal 2 ft. 61 pipes POIaUU a It. at the 5lau Comen'atory of Muaie, Frciburs "Hodic" by Vaucban W.uiaml. Tierce ITC) l!i It. "" pipes C-. • ,. (CIooic) I/Dr.. Gcrm.aar. New Casavant Organ to Hendersonville, N. Carolina

Casavant F~n:5, Limit~, St. Hya­ cinthe, Quebec, hil! been ~Iected 10 huild a new 3·manual org:an for the First United Methodln Church, Hender­ sonville, Nonh DroHna. The organ will he 1000tcd l>chind the pulpit. in front of the choir. and will speak di­ rectly into the sanctu3f),. l...:lwrcnce l. Phelps. president and tonal director EASTER MUSIC SUGGESTIONS of Casa\'ant Freres. desigtll'tl the instru· melll. Negotiations were hnndlcd b)' BACH. J. S. - Easler Concerto (Komml, eilet und laufet). Charlcs M. Schleich. district representa. 2 Violin., Plano (P263) ...... $3.00 tive. Mrs. Suc Nichol~m is organist of the church. BRUCKNER - Je.u" Red ..mer, our Loving Saviour. GR£AT High Voice, Orgon (Plano' (P6310) ...... 90 Quintaden 16 (t. 61 pipes -Same. Low Voice, Organ (Plano) (P6311 ) ...... 90 Prinzipal 8 It. 61 pipes RohrfliSle 8 ft. 61 pipa CHAPMAN - Fe •• IYGI Overtule. Orgon (P636.5) ...... 1.30 Olr.tav .. fl. 61 pipes WaldnSle 4 ft. 6t pipes Flachnote 2 ft . 61 pipes HORST, ANTHON VAN DER - Variation. on lach'. Sinfonia to the Contalo MixCur .. ranu 2+1 pipes "Ch,I.1 lag In Tod •• bond ••," Op, 6< (O'go.) (059) _ ...... 1.50 Terrill Builds New Organ Trompett: 8 It. 61 pipes Chima KEE, PIET - Two Piece, for O'Gan (fantasia; Passion from Old Steere &: Turner Chorale) (H81Ob) ... _ .... ~ ...... _ 1.50 The Terrill Organ Company. Con· POSITIV m"•• N.H . has n.-ccnlly oompletl'tl a 2- Ged.dt 8 It. (;1 pipes MARKS. GUENTHER - Jew, ..tne freude. Choral Partito for Prindpal of It. 61 pipes manilla) organ ill5l.3nt'tl in tJlC BJiluon Hom ol\d Orgon ( 13-008) .. _. __ ...... _ ..... ____...... 3.00 KOpPeln6te I ~ ft . 61 pipes Rl'Cilal Hall. Paul Fine Arts Center. Nasat 2Yi It. 61 pipa Unh'crsily of New Hampshire in Dur­ Bloc1llOle 2 ft. 61 pipes NYSTEDT - Porti'a on the NDlWeglan Folktune " In HeQYen is ham, New H;unpshirc. l'ortions of the Ten I"; ft. 61 pipes Joy:' Op. 044. Organ (LY.563 ) ...... ,..... _._.~. __ ._.. _____ .... 1.50 15-510P organ werc from an 18i2 SIt.'Crc Quinlnale I ~ II. 61 pipa and Turner organ of 9 stops which the Scharf 4 r..nu 2.... pipes PEETERS, FLOR - Entra'a fe.tlva. Processional and RltCIIssional. Organ, 2 Unh'ersity obtained through the Or· Krummham 8 It. 61 pipes Trumpets, 2 Trombone., (TI mpani, Uni",n Chorus ad lib). Score and Port. •. . 3.50 gan Clearing House. The painted pine exira Choral Score. (P6l.59d). each $.15 (a'ic. which surrounds the original black SWELL Salmonal 8 ft. 61 pipes - Hymn Prelude. for Lent and Ea.ter. from Op. 100. Organ (P6402) . . _ 2.50 ",allillt console. I~ S fc..'CI. 2 inches deep. VOJI: coelestb 8 ft. So4 pipes The stop action b mechanical. as is Bordun 8 ft. 61 pipa SCHUETZ - 0 God, my heart I. ready (Paratum cor meum). Aria from the tlle self·adjusting key action. Facade Spitdlote .. ft. 61 pipet SymphonToe .acreae (1 629, for Voice, 2 Violin., Plano (HlBl) ._• ••• _...... 2.50 Prinzipal 2 ft. 61 pipes pipt.'S arc the basses of the Great Prin­ - 3 Short Sacred ConcertOil (Engllah). Voice, Organ (Piano) (66030) ...... 2.00 cipal 8'. which is one of the thrre or­ Zimbel .!I romu 183 pipet igiml) tiluk.s, and the Great Octa\'e 4'. Oboe 8 fl. 61 pipc:ll Klarine .. ft. 61 pipes TCHEREPNIN, A. - Processional and Recessional. Organ (P6839) ..... ~ __ ... _...... 1.25 The instfument \\'3... designed and ron­ structed by Dudley Terrill assisted by TremulllDt Jeremy Cooper. The manual key com­ PEDAL pass is 58 noU.", the pedal !2 notes. Subbau 16 ft. 32 pipH C. F. PETERS CORPORATION QuintaMn 16 ft. ' (ruM Great) GREAT Priruipalb:ui 8 ft . 31 pipes Princiva1 8 fl, (old) Gcdacklpomm~r 8 Ie. 32 plpa 373 PARK AVENUE SOUTH NEW YORK, N. Y. 10016 Chimn~y Flute 4 h . Chonlbau 4 h. l2 Pil1U Octa\'e 4 h . Mia'ur .. rom'" 128 pipes (212) 686-4147 Fiftunth 2 h . Potaune 16 re. l2 pipes Mixlure II ~h . Schalmei 4 It. 32 pipes Tnlm~1 B ft. hUTII",~I )

IRUSlWERK Stopped Diap»e>n B (t. (old) Stopped Flute .. h . Spit,nute 2 ft. Quint I ~ h. Se5quialter.l 11 iTF) PEABODY Krummhom 8 h. PEDAL Subbau Hi h. (old) PomUl~r 8 (I. Chor..lb;iu .. h. ORGAN SPECIALISTS Fritzsche to Build for Lyon Station, Pa. Church The Pilul friwc.he Organ Co. of At· knlown. POI .• rerently signed :l contract John Cooper \Ii i I h Hop e Evangelical Luther.all Chu)"(h. Lyon Sution. Pa .• for the: build· ing of a 2·m3nual and pedal pipe or· Geddes Builds for gan. The chilmber will be raised abo\'e Connecticut Church Paul Davis the nave and the console will be move· able 10 blend with the free scating The Richard M. Geddes Pipe Organ plan 10 be used by the church. Mr. Rob· Company. Wiuslcd, Conn., has buill a Edith Ho ert Wm.'5thoff of the Fritzsche finn han­ new organ for the ChUrch or St. Francis dled the negotiations with tbe church of Assisi. South Windsor, Connecticut. in consultation with the Rev. Thomas The new instrument has been bullt as Reinscl. pa!ltor. il choral instrument: its primc function Arthur Howes is to enhance the singing of Ihe congre· GREAT gation_ BC£ore the 2-11Ial1unl and pedal l'rindpal 8 h. 61 "illO Ruhr Flute 8 ft. 61 pillet; instrument could be installed in the Oct;l.\·e " It. 61 pill" church. C:lC tensi\'e rebuilding or the or· Mill:ture III 183 ViIM'S gan and choir lofl tn ensure its safety "Mr. Davis mastered each composition Chima had to be complcted. The organ was with great technical surety and deep dedicated in techal 011 Oel. 2i, 19i1 SWELL hy nerj Zam'-ochian. musical sense." Ged«kt 8 h . fit pi.­ Salicional 8 h. 61 Ilipes GREAT Allgouer Zeitung VOll: Celes:e 8 h . "g Ilipes Principal II It. 61 pipet Prindl.al " h . 61 pil)r\ RohrflOte II '1 . 61 pipn ". _ .. _ absolute technical superiority." Flute 4 II . 61 pi~ Octave .. h . 61 pipes S;asat 2Yi h . 61 flillt'S Flach06lc 2 It. 6- pipd Munchner Merkun FiftecntJl 2 h . Mixture IV 2« pipes frvmpette 8 h . ii i Ilil_ " •. ___ complete stylistic accuracy in TnlRolo SWELL VEDAL Gc:dac:kt 8 ft. 61 pipe. every style period." Bourdon 16 h . 32 pipes Viola 8 ft. 61 pipu Licblich Gwedu 16 It. Bloc:knote .. h. 61 pipe. Baltimore NewJ-American Flute 8 It. Principal 2 ft. 61 pipn Principal 8 h . 32 pipes Sesquiaitcra II 122 pipes " •..•. immaculate playing." Flute" h . Trompeltt: 8 h. 61 pipes Choral Bau of ft . T~olo Washington Evening Slar Super Octave!!' h. PEDAL THE NORTHWESTERN U. CONCERT Bourdon 16 It. 51 pipes For information write: CHOIR AND UNIVERSITY CHORUS, Mar­ Bourdon 8 ft. ,atet Him., dIrector. performed Poulenc'. Quint 5~ It. Box 50S, Baltimore, Maryland 21203 " Ma... in G il and Gabrieli'. " Jubilate Oco" Choral Ball " fe. S2 pipd un their ChriUfWlJ concert prosr..m, Ike. 5. Mixture III 96 pipdl

2 THE DIAPASON THE DIAPASON E_'W."" In 1909

crradmlarl: rf!l~idned til U. S. PalQI Office' S. E. GRUENSTE1N, Pub,,.A .. (1909.1957)

ROIERT SCHUNEMAN ffIJr.r JANUARY, 1972

FEATURES DOR01HY ROSEll Problems of Harp.h:boni CoaatNdian lusi"••• Ma"a,., from an IUatorlcal Poiat 01 View. 'art 3 (Collchuloa) b., Marna Skowronec)c 10.11 WESLEY VOS A.. U;'o, ,sf,,", Modem Mualc of IlIte.... 1 at D_trolt LG.O. M1d,.Wlat.r CaadCl"f'e - A Re."lew II The W.stminster Choir from W.stminster Choir ColieSle, PrlMefon, New Jeney. has bnn Invited by the compoMtr Gian Carlo Meno"i 10 1M charus.in.reUdence of the 1972 Spoleto fa•• ival, Spote.o, Italy. The hdiya! w1ll be held from June 22 to Jllly 1.5. Last An '",...-,udloNll Mon,lrlv DnolH' to A SIl...... , at Orvoa Llterahl,. , slimmer Dr. Jowph fillmmerlelt, condlldor of the Choir and dirKtor of C!.oral ocUvitie' 0,.' .... and 10 0"",.",. and Ed.1Uoas* IkIIJ' 'b_ by MarlJO\l I:rata-lUteln 12-24 at th. Choir College was choru, master for all Spoleto festival events. At th. conelullon Clavrc1t Mtulc of the hsti... al, Mr. Menotti a.k.d Dr. flummerfelt to become permanent conducfor of the fe.tlval and the Choir was .ubwquently invited to become chorus-in.re.idence. MenoH' O/flc'a11.. ma1 ./ .A. REVIEWS had two reasons for founding his Festival of the Two WorldS! he wonted to make mu.ic Union Naclonal d. O"ran"'01 0/ M.deo LoulnUle Bach SocIety I once ogain an euenlial erem.nt of the community rath.r than, as MenoHI himself •• pr.... d Hew Otc)CID Mualc 14 it. "an obligatory aft.r dinner cordial for the well·tHol" and he wished to convinc. his Th. DiOJHQOn .keptlcal countrymen that America po.Mtssed a rich and di .... r .. culture of it. own. So on Editorial and Bu.ene.. Office Aai&ollT Hewllum Pia.,. loeh June 5, 1958, the f•• tival, which ha, oHracfed thousand. 10 Its program "f opera, boUet, 434 Sou.h Wobtula Acetlue, Chicora, by BolMrt Donlaqtoa U film, drama, fKHIlry reading, an exhibits and concerts, was barn. And It i. to Ihl! ••dt. la.j 80605. Teuphone 312.HA7..3149 lecordla.q. IS.lS IMn, of this international fe.tival, now simply coUed the Spoleto fe,ti'tal, that the We,l· SublCriplion price, 54.00 a rledT in ad· mln •• er ChDir and Its condllCtor have been Invited. cane•• Sln,re copl•• 40 een". Bacl: NUNC DIMI1'TIS • RODRIGO DE ZAYAS Jlt" rfnrmMl B;ach ' ~ ROSAMOND D. BRENS ER. lonnu ly a number. mor. '''on 'IDO lIeotl old. 75 " Fullue in G Alinor" and "Suite in G minor" faculty member of the Bolton Consen'atory 01 cmu. For.l,n ...b.criplionl mud be CALENDAR 12 •• 3 fur lule on the 13-strins ~nuan baroque lute Music, hu bern appointed to the music faculty paid in Un".d S'a'e. fund. or 'he (which Bach himseU played ) in hu concert of Columbia College, ChicaRO. Illinoi.. Aho equivalent Ihereof. EDITORIAL 14 at Alice Tully Hall, New York City. January joinin! the college's music faculty are Karel 17. The instrument has 0. complete diatonic B. Jirak, CuchOilovalr.ian composer and con· OReAH RECITAL PROCRAMS 11.21 ~Ie 01 ~ (rom A to A - the h ish~r oc· duetor, and HaM Wurman, dil'ft:tnr of Sonart. Adcertirin, 'alII' on application. lave heing sounded by the liKth pair and the Inc., film and television .ound studio or CHAP'I'ER & ORGAN CLUJ HEWS 2S Chic.ap. tunc: pl:lyc:l on the remainins live .tn np. The Routine Uemt lor publication mud be CLABSmm ADVERn5EM£HTS 21·27 lule RUlSie 01 Bach is usuall y ~rd in our racnoed noC later '''an til. lOlA 01 ,II. tima in lranw:riptioa eitk", 11K" renlllmaAU RICHARD T ORRENCE has formed. _ montla .. Gaur. Itwerflon In tit_ iNtIe lute or luilaor. si nce tke baroque Bach lul~ partnenhip with WiUiam PernHta. n.e re-­ 1M th_ nest montJa. For NCU4I pro-­ jlrcKnU probkms for III pcrfonner Accustomed lultins company will be ealled Richard Tor­ to the tuning of the suitar and unfamiliar ~ncr . Peruna Manallement. New orpnisu crc:nm IIfNI oJ.,."".,., copv, th. clof. All lubsaiben are urged 10 JeIld with the J,roblems of Iloppins the lower handled by the manasrment will be Richard In, dat. u "'. 5,h. AI""""" lor re· changes of addl'tSl promptly to the .trillp. Often the transcription n:tulu in the Purvis, AlfoNO Vrp Nunez, and Dou.w DlcttD Mould reM" 'he alike btl file orrice of The Diapason. ChaDges ommKm of a whole voice in a rugue by Bach. H .... 11•• mwl reach us before the 15th of the Mr. De Zayas abo played a FaliWY by Silvius month preceding the dale of the Lropold WeiSl, the late 17th and 18th ccntury CORRECTION: R ICHARD DITEWJG ha, Seccmd'-cLaa po.",.. P4id GI Chi· Gennan lutcn~t, who is reputed to hav~ bren been appointed :witlant 10 the orpn ~t and fint issue to be mailed to the Dew the J'l'Utnt lute player of all time and I Uch m;uter of the chomten at Grace Cathetiro1l co,o, la., em" til addUlona' maU'n, address. The Diapason cannol pro­ a IJT'COIIt ill1pro\'Uor tha, he once took tlte San FnmciKo, rather than olr-mist and muter ./fIc•• r.... d ...... "",. Tloo D ...... 'Yide duplicate copJes missed becluae laurels 'rom fbc:h himself in an open compc· of chorislen as f'l' porlcd in our Ja ,, ~ wue, Of/Ice ./ ,..."U.allon, 434 S• .,A W",""" of a IUbscriber'1 btlure to nodfy. titiQa. pale 3. Aomu, Chfcqo, IlL 00805

fEBRUARY. 1972 3 BIodo_ % It- 6t "'­ Kettering, Ohio Church Ten 1~ It. 61 pipes Has New Casavant 0.,;0111'" I~ 1._ 61 pi... SUnaie I It. 61 ptpa A large !·manual organ hal recmtly Saqulal .... n (TC) ns It- !III pi"", NEW CHORAL MUSIC Scharf V I (to 30:5 plpa been installed by Quannt Fr~rcs Lim· Zimbel III ~ It. IS:! pipes itb:. Sairtt.Hyadnthe, Quebec, In the Dulzian 16 It. 61 pIpes Seventh·Day Adventist Church of Ket· Knunmhom 8 It. 61 pipes tering. Ohio. The organ is located at the front of the church on the main SWELL axil of the buUding and is mmptcl.ely Gcdacktllllte 16 It- 61 pi... ef2ent/~a:ster exposed. LawrenteFhelp., ton:t.l direc· Gei,udpriazipal 8 It. 61 pipes tor of Casav:lnt FRra. 4aigned the Qller06te 8 It. 61 pipes instrument and C. W. Becker of Vtolc: de pmbe 8 It. 61 pipa An. Vux codatk 8 ft. 54 pipes SATB drews Univcnity. Berrien Springs, Fu,ara .f It. 61 pipes Mich., acted a. consultant. ItaUeniache PriruipaJ 2 ft. 61 plpa 98-208\ If Thou but SuHer God to Guide Thee-Lindh ______$ .40 Kornctt V (TF) 8 It. 195 pipa 98-2089 The Seed Is the Word-Vulpius______40 GREAT Mixtur VI 2% ft. S66 pipa Quintaden 16 ft. 61 pipes Kleinmixtur III I It. 183 pipes 98-2090 To My Humble Supplication-arranged by Wolff ______.35 Priruipal 8 ft. 61 pipes PllIott 16 ft. 61 pipes RohrlU5Ie 8 ft. 61 pipes Trompele 8 It. 61 pipa 98-209\ Haec Dies (Sing Praises to God)-Byrd (SSATIB). __ .. __ .. .SO Oktav .f It. 61 pipes Oboe a It. 61 pipa Spic:zni te .f It. 61 pipes Vox Hum•• 8 It. 61 pip'" 98-2092 From All Thy Saints in Warfare-M. Rotermund. • ...... 25 Superoktav 2 It. 61 pipc:l Klarine .. It. 61 pipa 98-2112 Come, Ye Faithful, Raise the Strain-arranged by WoIH. __ ..40 Kome« V (Te) 8 It. 220 pipes Mixtur IV l!o-i (t. 244 pipes PEDAL 98-2116 Three Easter Chorales (with 2 descanting instr.)-Crueger .30 Scharf IV ~ ft. 244 pipes PriN:ipaJ 16 It. !2 pipal 98-2119 WiltThou Forgive?-Schiavone. ___ ... __ _ .30 Trompete 16 Ie.. 61 pipes Subbui 16 It. 32 pipea Trompete 8 ft. 61 pipa OIttav 8 It. !2 pipes Klanne .f ft. 61 pipes Bordun 8 It. 32 pipes Choralbasa 4 It. 32 pipes posmv Rohrfdle 4 ft. 32 pipes SAB Salwonal 8 h. 61 pipes Nachthom 2 It. 32 pipes 98-2043 The Lord's Oay­ Gedackt 8 ft. 61 pipa Mixlur V 2 ft. 32 pipa Quintadcna 8 h . 61 pipa Konlralasott 32 It. S2 pipes Brandon ..... __ . _.. Priau.ipal .. h . 61 pipes l'onunc 16 fl. 32 pipes KoppeJnihc .. h. 61 pi~. FOlon 16 ft. 32 pipes 98-2074-Sing Ye- Nasat 2~ ft. 61 pipes Trompetc 8 II. 32 pipa WienhorsL . • _. . .40 Okt.1V 2 h . (it pipes Schalmci .. It. 32 pipes 98-2118 Carol of Adam's Fall (also SATB)­ Brandon ..... _ .35

~(9ncord ~ MUSIC CONCORDIA PUBLISHING HDUSt:. Sf lOUIS. MO . I3UI

Mlaluft; IV II,.i '1. 2.f4 pipa Casavant Builds for Trowpetc 8 It. 61 pIpes Dr. Martin Luther College SWELL Holzsedackt • It. bl pipes Casavant FrCrc5 LICe. SI .Hyacinthe. lIarfcnpriudpal 4 It. lit pipes Quebec. has r~c~ntly finished th~ in· Biockfloete 2 It. 01 pipes stnl1ation of the new Memorial Organ QuintcnoDa U l~ It. 1:!2 pipd in the chapel auditorium of Dr. Mar· Scharf IU 1 It. IS! r~ tin Luther College, New Ulm. Minne­ .xhaImCJ' 8 (t. tl ,.1",. sota. '1 he organ has bt-cn placed on a Saiieionai • It. £.1 P ; I~ shelr on the right wall of the room Ce&ate 8 ft. '" pipo where il is to funclion in the campus CROa worship program and ill concerl.!. oC Rohrsedxkl nit. fil pipes various types. The 3·mallual instru· SpitUloclc " ft. 61 ."po ment has electro-pneumatic action, 3nd Schwcad .J It. 61 P;.cI the pipeworl:. is displayed without case· Nasat 2% It. 61 pira work in the room . Paul G. BUlljes of Principal 2 .:t. 6t p.pes Rh-er I'orell, Illinois. was consultant for Ten 1% It. 4:9 pipet the school's planning commiuce. ,tn,1 Rauschzimbcl m K It. las pipes Krummhom 8 It. 61 plpel he ""tL:cd wllh the Casavant firm in the design of the instrument which PEDAL \\015 dt.'(IiClled in April. Priodpal 16 ft. 12 pipes Gedacklbau 16 It. 32 pipes GREAT Ocwve II It. 32 pipes J'."uner 16 ft. 61 pipc:a Gemthora II ft. 52 pipes Principal 8 It. 61 pipc:l Cltoralbus 4 ft . 52 pipca Kenisch Gedackt 8 h . 61 loi pes Awzu, 11 2 It. Octave ... ft. 61 pipes Misture IV ~ ft. 128 pipes Qlillnte 2% It. 61 pipes Btlmbarde 16 ft. 52 pipes Ocu \'e 2 h . 61 pipes Cbalumeau 4: ft. 52 pipes

St_ Paul Lutheran Church SCHLICKER Albuquerque, New Mexico Wesley Selby, Organist for excltllence of design, the finest of quality materials, and the highest order of craftsmanship In mechanical and electric action THREE MANUALS pipe o'gons. THIRTY RANKS

Buffala, New York 14217 WICKS ORGAN COMPANY IHlghland, Illinois 62249 1530 Military Road

PIpit Organ Craft.... en Since 1906 brochure available member APOBA

THE DIAPASON Voicing Moller reeds takes guile, patience, skill, obstinacy. And sheer genius.

The color, cl arity and extended entire reed cho rus has won flawless mising- the men who voice the harmonic development a reed cho­ tonal finish, it must then be bro ught Moller flutes, principals and strings. rus brings to a Moller organ stem into balance with the remaining Their way is neither the most directly from the labors of several elements of the ensemble. economical nor the most practical extraordinary men led by Adolph To precious few has ever been way to assemble a pipe organ. It is, Zajic, head reed voicer. given an ear as incredibly faithful however, the only possible way to Cutting one reed at a time fro m as Adolph Zajic's. He is today the attain the magnificent Moller voice. sheet brass graduated in thou­ world's acknowledged dean of reed And to the purchaser of a Moller sandths-of-an-inch thickness, they voicers. During years of exacting instrument, our way signals some­ patiently coax it into a subtle, tutelage, the younger reed voicers thing else vital to him: continuity draughtsman's french curve. There have gradually absorbed their men­ of crafts manship. Moller's strength are no pre-set forms to measure tor's reperto ire of astonishing skills, derives from an enduring organi­ these varyi ng curves agai nst ; experi­ al ong with matching gifts of pa­ zation, not from any single man. ence alone tells the voicer when tience, determination and the each reed is properly shaped to acute, selective hearing a master produce the desired sound. voicer must have. Now these men Each reed must be careful ly work separately but side by side, voiced in relatio n to all others in expending t he same ti me less, pai ns­ the rank; progress is marked by taking, obstinate care and rigid INCORPORATED constant, minute adjustment. fully standards on every reed Moller pro- Hagerstown, Maryland 21740 one work week is expended on one less of the I com- rank of 61 pipes! Phone: 301-73:I-'JIJOO Even when the

I

\ phr.uing. blend, counterpoiut, and Louisville Bach Society rhythm, providing the motets with ex· The Louisville Bach Society Ouut· cellent per(ofm3.nces, The choir sings mas Concert; Duane Mahy, soprano; absolutely in tune, with little vibrato Antoinette Booker Hardin, alto; David (no warbling singers), but with more Brown. tenor; Arnold Epley, bass: Mel­ color 3.nd intensity than a "white" type vin Dickinson. director. Christ Church of singing produces, ]t was a good HURCH Cathedral, Louisville, Ky., Dec. 18: sound (or tllese motct!. 16, Cantata "Hrrr GoU, dicit Joben Micheelsen's Magnificat for solo so· wir", Bach: Mottt, "Angebu ad Pastorcs prano and 6·part mixed chorus a capel. Ail", Melchior Vulpius; Magnificat, la was done true to the lean, somewhat LOOgl$lng dcr Maria, H. F. Micheelsen; abstract, and coloristic style of contem· ORGAN Motd, "'n dulci jubilo", Scheid.: Four porary German modal oounterpoint Chrisuna~ MotelS, Sethu! Calvisiw; Can­ fostered by followen and student! of tala 63, UChristcn, !luet dj~ Tag", Distler. Written in 1957, the piece is Although the Rodgers is the finest and Bach. reserved, emotion3.lIy cool. and at about most sophisticated organ modem technology If one lIIay judge from the siIC o[ the opposite end of the spectrum from can design, the century old traditional sound URC an audience. louisville has a good Wagner's romanticism. This perfor. ••. the real organ tone ••. is completely thing going in its Bach Society, and it mance kept the piece cool and clear, captured. knows it. A fuJI house jammed Christ ccserved. and careful - faithful to the On a Rodgers organ, each and every nole Church Cathedral for the Society'S t)'Pe of performance we arc accustomed is individually voiced, each and every note Christmas concert, and Melvin Dickin. to hearing in North German choirs, has ils own distinct hannonic development. son's choir. soloists, :md orchestra pro· But llie two Bach cantata5 provided ORG AN "ided them with a musically solid, ex­ There are many electronic organs manu· the concert with the moil excitement fuctured. However, u Rodgers organ, for citing concert. The Louisville Bach So· and the most enduring impression. Can· tone and quality construction, stands head ciety. in its few short years of existence, tata 16 is younger than Cantata 63 by and shoulders above the others, Other organ has grown tinder Mr. Dickinson's di. at least ten years, and it shows Bach's builders seem to miss the mark when it comes rection. So it should, for his leadenhir. concern with things liturgical more down to true basic organ sound. HRC is finn, his musicianship musicoiogica • than the youthful 63. (Cantata 16 was Please call collect or write to Mr. Otto A. Iy sound and studied without becoming written in Leipzig (or the Feast of the Altenburg or Mr. William Wrenn. Complete stuffy. and he knows how to put the Circumcision, 1726; Cantata 63 was inronnation and brochures about the Rodgers music of Bach across without dumping written before 1716, and revised ror we organ will be senl to you immediately! integrity to the composer's intentions on Christmas D3Y. 1725. Bach's first at ORGAN to the winds. It all started some few 51 . Thomas.) \Ve were immediately "cars back with a small choir. As a li£tcd to attention by the first soprano result of the musical dedication of this notes of Luther's chorale paraphrase small group, the Society choir now of the Ti! Di!uJII, a melody which soan numbers in the 70's, and is now no above a dance figuration started by the longer open to expansion. One would E lI."cIus;ve Dealer in orchcstra and continued in the lower C think that even this large a choir would three parts of llie chorus. And the New Jersey and New York be unwieldy (or Bach's counterpoint, second chorus is enough to make any· but it is not so in Louisville, (or the one jump: "Let us shout for joy" set choir's intonation, blend and diction to figurations for the chorus that imi· will match the quality of any pro(es· tate brass fanfares. ]t is a difficult ORGANI sional choir. And that is no small fcat chorus to handle at high speed, for the for strictly \'olunteer singers to per. intervals that the choir must negOliate (onn. One only need hear the Society's are disjunct and the ranfare motives concerts to know that it is love and move very fast. A more cohesive, clean dedication to the music, much enthu. and clear performance could not be siasm, and happy spirits whidl produce asked of anyone, 3.nd we were deady UR all this (not to negate the prodigious aware that we were listening to an un· hard work). E,'en though Louisville usual group. And SO it was that we were knows what 3. good thing it ha5 (it is sure this was an unusually good per· supported by m3.ny patrons. the Louis ~ fanning group when Cantata 63 was ville Fund. and the State Arts Council) , perfonned. It is one of Bach's best. it is a sh3.me that the Society's work The choruses are robust and tuneful: RGAN cannot be shared with those who are the first being much in the happy style oat (ortun:lle enough to Ii,'e near Louis· of the chor.al 3.ria (the melody rcminds ville. Recordings are now appearing. us of the Schemelli songs), and it but one must hear it all in person to breaks into a fugal roulade on the appreciate the depth of excitement with words "For the Slar that shines above;" which these people sing and play. the final chorus has some of Bach's The "proof of the pudding" at any most demanding orchestral writing in Northwestern University concert is, of course, the music itsel£. it with fast running passagl'S, and a Hip This was 3. typical amcert by the So· passage passed back. and forth between ciety: a group of motets by renaiss3.nce oboes and strings with a falling in· School of Music and contemporary oomposcn sand. verted mordent pattern which is dim· wiched between il pair of Bach on· cult for the best reed players to nego· nd laW, all Genuan. Melvin Dickinson is tiate. It also has an aria-type song ror 22 Annual Conference on Church Music careful to rcm3in as close to the inten· the chorus which breaks into a full· tions of the composers as possible. He blown fugue. Marvelous stuff, this, and April 17and 18, 1972 therefore guards against changing the the performance brought out the ex· score any more than necessary; renais· uberance and delicacies of the piece Anthony Newman, Recitalist, Lecturer sance motets are done with instrumcnuj in £inc style. There ace also two very baroque music with continuo has care· lovely duets in this cantata, and Mr. Daniel Pinkham, Conductor, Lecturer fully worked out continuo parts; orna· Dickinson chose small groups of singers mentation, bowing. phrasing, breathing, from each section to do these rather Summer Session Workshop anti articulation is carefully rehearsed than soloists. It W35 a pleasure to hear and carried through all parts of the them this way, and the: singers of each Michael Schneider. July 24-28. score. We are sure that this contributes group sang completely as one. Especially immeasurably to the musical success, noteworthy was the: way Mr. Dickinson For detailed information write: (or these are the things that acc most mixed his voices for these duets: sopra· Concert Manager. School of Music often lacking in groups who go about nos were mixed with altos. some tenon doing such music. So style is the thing willI basses. etc., thus proViding a mix· Northwestern University. Evanston,lIIinois 6020 I with Louisville - style for the sake 01 ing of the fullness ;lOd color of one music. not the other way around. ]t is voice to another and providing a sonar· an approach to style that makes the ity which was rich without being heavy listener hear music that tingles nerves, in each voice. When it was all over. it is an approach with which the per· we wanted to hear more. fonners are obviously happy and cn· Minor flaws did show up. Such a thusiauic: their faces and expression large: choir simply cannot provide a "ery naturally marmed the sounds they clarity of diction equal to a smaller one. VALPARAISO UNIVERSITY made. But these la~ were minor indeed, Motets by Vulpius. Scheidt, and Cal· and we were pleased at how much text "isius formed the renaissance poniORS oould be heard. The balance between of the sandwich filling. The Society orchestra and chorus was handled well, CHURCH MUSIC SEMINAR choir and a careful selection of instru· the orchestra (particularly reeds and menU simply fiUed the room with the brass) slightly under the choir. All of clearest 3.nd richest polychoral ten-part the soloists performed well. If there Joseph Sittler, Thomas Willis, Richard Heschke, and athers texture that we have heard in yean in were no stars among the soloists, it was Vulpius's motet. Excellent high trum· because they were aU equally compe· Workshops in organ, choral music, ond contemporary techniques pet playing was turned in by the brass tent. players in the Scheidt motets. :also poly· The Louisville Bach Society justly Concerts Ledures Festival Service choral. and gay with the milr.ture of deserves the support it get!. ]t is the utin text in among the Gennan. The only society anywhere in the country APRIL 20.23, 1972 dance rhythms provided by the chonle which is attempting a. systematic per· melody were dear and light. Bach'. fonnance of all the cantatas and choral predecessor at St. Thomas, Calvisiw, works of Bach, and doing this with For infarmation address Church Music Seminar wrote his Christmas motels as part of some musicological foresight and study. the Florilegium Portense collection of as well as with a great deal of care Department of Music too3 for the city of Pforla. and three about historical authenticity. That they Valparaiso University of the texts were lifted by Bach for have managed to do this well without the first version of his Magnificat. In hemming stuffy or staid is aU to their Valparaiso, Indiana 46383 all llle5e motets, Mr. Dickinson and his credit. \Ve will be bappy to bear them musicians were careful about diction, again whenever we can. - RS

6 THE DIAPASON LEWIS AND CLARK COLLEGE Portland, Oregon MAIN ORGAN (suspended) ., GREAT SWELL POSITIV PEDAL 16' Quint.den S' S.lizional S' Ged.ckt 16 ' Prinzip.1 S' Prinz~al S' Vox ccelestis 4' Prinzip.1 16' Subbass S' Rohr ote S' Hohlpfeife 4' KoppeiRote 16 ' Quintaden S' Gemshorn 4' Prinzipal 2%' Nas.t S' Oktav 4' Okta\, -1 ' Nachthorn 2' Okta\, S' Gedacktpommer 4' SpitzRote 2' Oktavine 2' Gemshorn 4' Oktav .,:!l· Quinte 1 ' Scharf IV 1:tt' - " " Terz Rohrpfeife 2' Superokta\' 16 ' Fagot! (L/ 2) nr QuintRote '"2 ' HohlRote 2' Blockftote S' Trompete I' Sifllote 2' Mixtur IV Or Mixtur V 4' Klarine ,.' Zimbel IV 16 ' Posilune S' Trompete Tremul.nt S' Krummhorn 16 ' Fagott Zimbelstern Tremulant S ' Trompete 'I ' Sehalmei GALLERY ORGAN CONTINI,JO I CONTINUO II CHORAL (expressive) PEDAL S' Rohrgedackt S' Quint.den. S' Sali.ional 16 ' Gedacktbass 4' SpitzRote 4' GedacktRote S' RohrRote S' Bordun 2 ' Prin.ipal 2' WaldRote S' Erzahler 2,,' Sesquialtera II II!, . N.sat S' Erzahler c.leste ;r Seharf UI V,. ' Zimbel II 4' Fugara 16' Rankett S' Knopfregal 4' Nachthorn Tremulant Tremulant 2 ' FlachRote 1 ' Kleinmixtur III S' Oboe TremuJant ~asauanr frtl!~ ST-HYACINTHE, QUEBEC, CANADA artistic direcllon by Lawrence Phelps From Arts Image •.. STEINER NUN C D IMITTIS hert R. )\.I"CILIU;'UU pn... .J.chiug . lhe Chil. drcu's Choi,· of th· 54..11001 tiC St. Luke singillg, :md or~"" lIIusic pla)cd by ORGANS mgani51 .mel choirmaMt'r. Anhur tl. Halbardicr.

ESTELLE DRUMMOND SWIFT

Mrs. Estelle Drumll10nd Swife. long· time organist and piano It'3cher. died July 6. 1971 at the age o[ 87 in Berke· Ie\,. California. Mrs. Swi[t W:lS dctln of tllc San Francisco Chapler J\CO from 1933 to 19M. and she "'.. s an active mcmber of the AI .. mctla Coullty Music Teachers' J\ssociation. " demonstrated a skill uncom· mon to Individuals his age and AMRROSE l-ORTER. orgalli"t and delightful to those appreciateive of IlIa:l1cr of Ihe choriSlers at J.ichficld organ music ••• at on CD brilliant Cathttlral. ElIgl .. nd. 19'1,,59, ,littl in and Incisive." (The Kansas City May. lUi I at thc :.I Hc of H!i. Times) HcrlK.'rt n. Urucuing. rctircd organ· 'I••• a brilliant virtuoso, eJlploited AL.\N RAWSTHORNE, Uriluh , "UIII' the range of the instrument to the ist. ~hool tC:lchcr :Iud choir dircclor :It the F.\·angcliClI Lutheran Church poser. dil'C.t in Camhridgc. i::nglalld UII limit • • . an Impressive demon­ July 2-1; he W;I!\ tMi. I-lis works include stration of the quality and range n£ St. Lukc. Chicago. IlIinuhi. died sud· clenl), Jan. 4 £ollnwilll; :1 short iIInes.... fh'c concer«Js, Chrl'C spnphonit.'s, ('311, of the o'lan." (Bridgwater Mer· tatas and chamber musIc. cury, England) Ilr. Uruening W:I! born August 4. 18Q(J. in Milwaukee. Wisconsin. the " ••• one of the youngest of the KARL BORMANN. Cerman author. leading organists in the United ST. PAUL'S EPISCOPAL CHURCH third son of John C. and J\m:llia Loch· nc.'f Uruening. Artcr preliminary in· cngineer. and honomry member o[ t1 H~ States • ~ _ a_ very able player." LOUISVILLE, KENTUCKY Gesellschaft der Orgclfreunde, died Au· (The Glasgow Herald, Scotland) structioll frolll his father. he receh'cd Great: S' Rohrflae.e tnusiClI training at Ihe Wiscunsin Con­ gust 8. 1971 following :In :lutomobile 4' Principal scn'atary of MU!'ijc. He attcnded COil ' accident. One of the founden of thc 1 1/3' Mixt",. III·IV cordia Teachers College. Ri\'er Forest. GOO. he is the author of sc\'cr.11 hoob 8' Krummhom (PD •. ) 111.. studying nrgall with Dr. Martin about organs in CCrlll:lIl)·. His lalest Posi.iv: S' G.claclttpommer I.ochner and gradu:uing in 1919. He hook. about building and dt'SignluK 4' Kopp.lflaete did further study in organ with Dr. residence org:l1ls. L" soon t() he pub· 2' Principal hiwk Van nilsen, sillti)'illg at the Dc· Iished hy Ihe GOO. S' Krummhorn Ilaul Ullh'crsit\' Schnnl o{ Music and Pedal: 16' Subball thc Amcrk:m Cnnst.'n':llon· of Music in MAX DRISCHNER, Gcnnan compf), S' GHaclttbClIl rJI ic:llo. . ser. elk'll at the age of 80 011 April :W, 4' Choralba .. til 'HlI!I, nr. nrul'ning accepll'll a po. 1971. A prolific composer, hi~ works 8' Krummhorn IPo •• shinn at 1IIIIIl:lnllcl I.lIthclOUI School. include mall)' pic.'CI."S ror OrJr-'II. 4' Krummhom "H.) KinW;lnn. New \'ork. :1IIt! he rcmainl'tl there ulltil 192!i. whe n he lk'CIme or­ LAMBERT ERNt, organisl uf the fACTORY : 1138 Garvin Piau ~t. Nichulas Chun:h in Utrechl, Hcl· p.O. lax 195 J!:allist and choil dirc.'Clor of che Lu· therall Church u f .'il. M:llIhew. Ncw ~iulU . died UII March 19. 1971; hc w;u Louisville, Ky . 40201 5:1 _ Phone 1502) 583-5032 York Cit\·. 111 19;tn he w.. ~ madc prin· cipal of thc school of 51. Matthew, the nldl'St schuol uf iL" kind in J\merica. 1t ERNST PEPPING, Gcrlll:m COlli ' wo1<; durine.;: thc.'SC years in New \'ork poser, died Scpt. 12. 1971. Alllon~ hi~ th:lt Ill'. Uruelling heCll1le famous as "orks arc milny fur org-.&ll . chor:ll. ;lI1cl "A versatile and highly representa· on:hC5tt:l. Ilc was 511 YC:ln IIld. tlve recital •.• proved himself a a ft.'viewer throu'J;h his extensivc rcviews master of the keyboard ••• skill uf l,vnllwo£M1 Famam's Bach concerts and obvious sensitivity ... a de­ which~ appcarcd in thc 1928 :lnd 1929 finitive performance (Handel) ••• is.;nes of THE III \1',\501'1. His dynamics and articulation In In .Iillluar}' of 193i. Dr. Bruening HERBERT D. BRUENING'S the sonata (Mendelssohn) were, callie to Chic-olgo to h("('omc a memher MAJOR WRITINGS IN without question, among the best nf thc slarf of the 1.uthcran School of THE DIAPASON LISTED we've heard anywhere. It was a SI. 1.11&'('. H(' a!o'''iisted the organiSl and dlUil' dirertor. ('.arl J. Rupprecht, and revelation! ••. a magnificent in­ (I pun MI'. Rupprccht's death in 1958. The latc Herbert Brucning wall :. terpretation (Dupre). Audience ap· literate man. fluent writer. articulate proval was enthUSiastic, as well it ht, \ 'C':lS appointed organist and director of mlt'iic. nuring his ye:ll'5 ilt thc comUlentator and pcrcepti\'c rC\'icwer. should have been." (The Robesoni­ He was an cctllCltl"ll and learned musi· an, Lumberton, N.C.) Church of St. Luke, under the gui. lIanct! flf its pastor. Ilr. Adalhcrt R. ciano :I faithful churchman, and II !>Cn · DAVID BRUCE·PAYNE SCHULMERICHe Kretzm:mu. the rollKt't'g3tion built a sith'c pcrceh'cr of fiue things in music. Westminsler Abbey assistant and HELPS YOU FORM ENRICHING, ne\\' church hunding :lnd school. Dr. All this can bc secn from his c"tenshe Abbey Choir School Music Master Ilmening was most instrumental ill oontrihulioll!l in the ronn of lenen. in first American performances INSPIRING HAND BELL CHOIRS designing the mnsic f:aciHties, includ· c.-dilorials. articlcs :lnd re, ie""5 that ap· ing the large Schlicker organ. peared in THE. DIAI,,,SON between the in Apri l Start hand bell choirs for youth ••• or any - ~ Ilr. nrucning \\':IS m:lrried 10 Edna ),C:lrs 1929 :lnd 1959. Thc.'SC item!! arc RICHARD HESCHKE age group • • • with Sc:hulmerich "Predsion Schaefer of Providence. R .I. in 1922. too m:llly to list here. hut thc follow · ing will sene to nOle his lOost impor' Louisiana State University, Tuned " Handbells, the finest. Write to T hey arc the parcnu of two children. Baton Rouge and tht·), ha\'e liC\'en grandchildren. tant contributions to the churCh mu· SCHULMERICH CARILLONS, INC. Ilr. Bruening was an editorial asso· sic profcs.o;lolI \1:1 the pages of THF. DI.\ · GEORGE McPHEE I·AWS. - The Editor 9522 Carillon Hill • Sellersville, Pa. 18960 cia te of IlItllt~rn" Ed",atiorl, he was Scottish recording artist and rc.'\'iew editor of IICW music publications Paisley Abbey organist on Ameri· for Tl,,' Americrw l.ulilernPl, and he I.)',wwood Fanlnm's Complete Ilad. can tour this autumn was Ihe allthor o( O\'er fifty articles, Series. Fh'e extended reviews of the his­ eoric series which took r1ace In New FRANK SPELLER leltcrs and Te\'icws In THE DIAPASON ~AlflANJ!» 0\ c( a forty ),t'ar period. He was a fre· York City in 1928·29. ant Included the University of Texas at Austin quent recitalist :md lecturer through­ entire knon'n works of Bach ror organ. ROBERT TWYNHAM e~im~ eo. out the coulltq·. and an :wid ad\'ocate .January. February. Manh. April, June. Calhedral of Mary our Queen, FINEST IN NATURAL PERCUSSION in the callsc of good IOusic in the Lu­ and Jul), issues, 1929. Baltimare and Catholic Univer· theran Church. FOllr·Pnrl Chom/t's I), Until. as F.dj· sity, Was hington, D.C. C(llIconlia Tl':lchcu College. Ri\er ,ecl by C. Sanford 1'erry. December. Solid "nTl'~ . III .• awardt'tl him the honorary 1929. p. 55. MALCOLM WILLIAMSON Cathedral Chime, 1.I .. 1l . dt-grl'C in 1000. The citation Sded;ng Seroice Ors:,." Music .,.hal British composer and organist on Eleefrle hllulc.'t' him fur "leadership and incen· Is hlS/Jired by Fnilh. August. 19-13. American concert and workshop til'e to young organisu :lnd musici:lns p. 18. tour next month and April Adionl of Ihe church to impro,'c their compe· AMPLIfiED TOWER CHIMES nnc/I's "Cnleclu's"," Preludes; Com · Icnce and ability." pose"'s Pllrpo~s Studied. july. 194G. Dr. Bruening continued :15 a teacher p. 18. LAKEVILLE in the School of St. Luke until 1965, Critic Rectdls Bnch Series 25 l'ears @ and continued his organ playing until Ago by Lynnwood PaTnlJnt . December. CONNECTICUT 06039 July I, 1967. He was honored by the 1954. p. 22. congregation in 1969 b)' a testimonial America" Ca"ur of Middehcllulte recital of Bach's Clnvierlibung. Part 5 nrollglU 10 Mind. july. 1956. p. SO. plarc.'tl by Herbert Goud•• a reception, and the placing of a plaque in the Wedding Seroite Mwic Discussed, Arts Image ANDOVER ORGAN COMPANY, INC, witll l1ibliography. September. 1958, church. The inscription on the plaque 80. 36 reads. "A gracious gift of God to his p. 16. Box 1041 Church. an honor 10 his profession for Organ Catechijm1 Organ MaSJ1 u,· Newark, N.J. 07101 Methuen, Mauoc::huMHs 0184.( mOTe than fifty }'ears." II It /JOt/I! July. 1959. p. 31. Phone (201) 484-6021 modern mechanical adion Burial sen'ice was held :It the Churdl 1',\Jelemle Recilal Coer Remembers of St. LuL:e on jan. 7. " 'jth Dr. Adal· f'i1'e D,,-ndes. December. 1959, p. -47 . • THE DIAPASON Most organists know and appreciate the advantages of straight specifications in organ design. Indeed, for the purist, there is no other way to build organs. ~Allen COmputer Ofgan The first electronic organ to genuinely fulfill the stringen t requirements of straight design.

Each stop is distinctive in character. Every voice is clearly additive. Scaling of every stop is accurate through full compass. All Mutations and Mixtures exhibit correct tuning with respect to unison pitch.

The System 300 Computer Organ (above) with 38 straight stops is priced at about $10,000 -a decisive breakthrough in the economics of organ design.

1/ 4 in a series Complele sel available on requesl. ~m ORGAN COMPANY MACUNGIE, PA. 18062 01972 consist of 5-ply laminated wood. Veneer­ of construction were often decided up· ed top :lnd bottom with still another on in the course of the work. and sug­ Problems of Harpsichord Cunstruaion kind of wood. But no rcady-made ply_ gested by the materials at hand. Each wood - being. as it is, a mixture of board went through the artist-crafts. wood. glue. and Varnish - is a tonally man's hands, and it was his freedom From An Historical Puint of Vu-w acceptable: substitute for good spruce. individually to control and decide which Many different woods may be u~d made it possible for him to build into for the c:uc of the harpsichord. and variA each instrument the greatest practicable ous sources cite pine. poplar. Hmlen. faCility and tonal vigor. Unironnity of alder, nUlwood, oak, service. maple. construction and uniformity of sound Sy Martin Skowroneck P art 3 (Cone usion) Ct'dar, and cypress. English harpsichords were never demanded of him. All or his ' were m3de with solid mahogany 'pion instruments - and aU of the instru­ MATERIALS: Modem industry now England. tongues were m3de of holly. and lids. and with bent-sides of ma­ ments of any single harpsichord builder supplies a multitude: of materials which Nowadays, a I:ugc nllmber of suitable hog:my-vcncered oak (because of the - had (to be sure) a IOn or ramily for unifonnity and reliability, as well :u tropical hardwoodJ arc available. but ditriculty DC bending solid mahogany). similarity. but never the absolute uni. for their special characteristics, are in­ it must be remembered that woods Ad)u"g suggests fir (or the bottom, prob­ fonnity or modern industrial products, comparably better than anything avail­ which are too hard tend 10 rattle. Pear ably meaning spruce: (Musiaz Muhanira For tltis reason, it is rcally impractical able in earlier times. Precise prefabrica­ and copper beech have nther a soft Orgalloedi, II. 105); and pine. Unden. to attempt to produce an exact copy to­ tions Olnd mechanized manufacturing sound - almost like: cardboard _ which and poplar are: also spoke:n of. Factory- day of an old instrument. or to usc an metJWKJs make great precision readily is a Llistinct advantage in jacks. m3de plywoods are of modem origin, old instrument as a model ror modern possible. e\'en though many materials of For plectra, such plastics as ptrlon. and so of course are never mentioned by copies. a quality equal to those preViously flylon, teflon, tufnol. and tcxin are: to- the old autJlorities. Plywood is cheap. The modern production of harpsi­ available are now rare. Where standards day preferred to quill. and plastic plee- a\'ailable, easy to work with. and highly chords proceeds quite differently. The of purity are maintained, modern stan­ tm do indeed last much longer than stable - more stable, often, than is designer best understands the whole dardization simplifies manufacture, as quill, though not indefinitely. In this n'ally necessary, since a certain amount process, but in order that production go is the c:asc with alloys. On the other rcganl, no modern mataial has )'et been or swelling, shrinking, and warping is smoothly, and bectuse neither he nor hand, special needs for high qU:llity - found that can stand up under the allo\!'·able. On the other hand, it is not- anyone else is likely to be acquainted such as those of the instrument manu­ stress imposed by repeated plucking. It able that except (or certain ba53 viols with all phases of the construcllon of a racturer - are no longer respondl>tJ to. is a r.ity that modern manuracturers are and guitars of the poorest quality, mod­ single instrument, he must anticipate For example. modem steel wire is much unwilling fmnkly to represent Ule: char- em stringed and plucked instrument! as best he can the details of production stronger than it was in the P3Sl, and acteristics - both advantageous and dis. cannot be made or plywood. and mu:st dictate fixed production meth· breaking strings, partically sptaldng, are advantagNlUs _ of the plucking mate- What Remains To De Accomplished. ods. A piece of wood must be .strong no longer a f.roblem. Yet the brass wire ri:ll that ther Use. and instead tend to And How This May Best Be Done: It is enough to perfonn its function even now avaiJab e, and necessary for the cre'Ue the it usion that certain plectm impoMi ble to comp:lre old and modan if it is weakened by a large knot or bass strings on harpsichords and all the are permanently reliable, It may be ha'lsichords in all respects: the purposes sever.ll splits; ·R joint must be strong strings on clavichonls, is in fact poorer said for leather that it continues to an methods of the old instrument mak­ enough to hold. even if a careless work­ - less pure and less unironn - than funclion even when it has bc.ocome toUdly ers were so dirferent from those of mod­ man glues it ~rly. Furthennore, the that available to old instrument makers, improverished, and the wonening of em manufacturen that Hanns Neu~rt need (0 make Ihstrumen15 that will con· and indeed, poorer than that produced the lone OCCUI1 so gradually that it is rightly defends himself against cntics fQnn to later advertising imposes uni­ before the Second World War. (Wind orten imperceptible. As quill wears out. and musicologists whose opinions might ronnity of product. instrument manuracturers. by the way, on the contrary, it becomes so ncxible: ha\'e some effet:t upon the competition For such re:uons as these, and ror say the same thing about their sheet that it will no longer pluck the string. among present-day harpsichord firms, hundreds of others, modern harpsi­ brass,) Instrument con5truction in Ger­ The consequence: of this is that little The old harpsichord is nOI amenable to chord manufacturers have been obliged many is a signiricant branch or indus· degradation of the tone occurs with modern production methods: to attempt to make certain changes. and these have try. but its demands ror materials are qui11: and wom·out quills are quite to duplic::ate it by these methods would given rise to others (some of which were so small a part of the Whole that it easily replaced by any capable handy- be commercially riil;.f ~-Itis is not of discussed in the section on mechanism). really docsn't pay the m3nurOlcturers or lIlan with a good ear. course. 10 13)' that thelbld IJarpsichords Modem construction appears to dictate materials either to de\'elop unique meth· Old soundboards were usually made themselves were unreJi;l'lile: or unstable: certain invariable rules of its own. and ods of production, or to go back to the of spruce, or sometimes fir (by which more tha.ri'. .uOO yean afler their man­ these account for Ihe startling simiJOlrity complicated methods of former times; spruce was orten meant in early accounts uracture. tlfe harpsicltords of the Ruck­ in the harpsichords produced by many and instrument makers are compelled of harpsichords). In Italy. cypress was dift family wer~ ~till Io;muc~in demand different modern manuracturers. In the to exptriment with such new materials used and ocQsionally cedar (althou~Hr't at their prices were ' nearly double few cases where the innruments of dif· as bronze or nickel aUoys in order to the ~cdar then used should not be con~ th~t .or new inslnupents; nnd in a fer-ent manufOlourers correspond to the obtain results which never previously fused with the wood ·Commonly called pamtmg by Sa\'erio della Rosa. Mozart centimeter and have similar or even presented problems. cedar today). For modem soundboards, IS shown at a signed Italian harpsi.ch~rd identical names, it is oC course likely Asidr from such difficulties as these. American spruce (for eX:lmple, Picea a hun?red years .old.er than the palJ~tmg th:tt they were copied exactly rrom the modern materials are on the whole sitche,uis) should be as suitable as - which is no mdlcuion of unreltable instruments originally de\'elopcd by both better and more plentiful. and it such European spruces as Picea exuUa cons~~ctlon. ~ne .must be wary of both Neupert: but in general, one may OlS­ would be :absurd to reject the adv3nlages or Picea abiel. I should image: that the U"CTllIca). admiration for ~e o.ld inslru- sume that similar f.roblems. thought. of progress for purdy historical reasons, sound boards of the: harpsichonJs built in mC!'t ma~el1 , and the deOl~uon of lhe fully attacked, have ed to similar solu­ At the 5:lme time. one must be wary North AmeriCl in the 18th century were behever m progress w~o IS un~ware of tions. t of materials which oller attractive ad­ made of native wood; today, at any rate, !he thought and ,:xperlence which wel!t Where: modem construction makes it \'antages. but which lead - not always the manufacturers or harpsichords and mto the constructlon of the old harpsl' im~~ible or impractical to duplicate very noticeably - to undesirable results. pianos in the Uniled Slates use Amer- chord. quahtles possessed by old h3rpsichords. Plastic jacks, for instance, are pouible. IGin wood. If the early harpsichnrd The old harpsichord maker Was an it is in the best inlerest of modem man. II! builders were :lble to use with SUCCt'U artist who sought to realiz.e his own u(:IClurelS not to deny thnt their instru· 1) the jack guides arc made of wood, such different woods as spruce and cy. idea of tone within the context of the ments are different: the manuracturer so as to maintain the jacks in the same pr~, still. ~t~er .suitable. woods must ~ ~onal idea.1~ oC his time. Each individual who maintains that his instruments relationship with the wooden bridge eXI.st. FleXibility IS the Important :re- .:.~stru";l£Pti represented the solution o( rcscrve the tonal qualities of old despite temperature and moisture qUirement. Soundboards of woods which ~ musiol ·problem. The aeation or a r,larpsichords is vulnerable to attack by changes, :lnd so that the space between arc Jighter and wraker than spruce - model which rouJd then be mpictl with· critics who can easily demonstrate that the jacks and strings remams the same; such as Western red cedar anti ht."tTIluck out variation was not the aim. The old this claim is false, and can demonstrate and if: - musl be made thicker. I have gOllen instrument maker's technical knowledge that (he modem instrument which asks 2) tJle jack guides are made wide good results witll all of the rollowing: and musical intuition led him to dis. to be measurrd by this standard must be enough so that in drying out and con· European and American spruce, and cover in tJle course of his work many called bad. Moreover. such a modern sequently shrinking. ther don't cling to AmeriQn fir (which is similar to ways to get the tonal results that he manuracturer is thus compelled to deny the non·shrinking pl:uuc jacks. spruce); alerce (sandar.lc). which is wanted, and his d iscoveries owed nothing the re::tI merits that his instrument may Jack tongues, on the other hand, are Similar to cedar, but lighter; red juniper to technical magic or seaet recipes: POS5es.5 . or in any event to disguise better made: of wood because 1) the and Port Orford cedar (both aromatic "workshop secrets" were looked for in a t.hem in a fog or contr.ldictorr. as.ser­ quill is more easily inserted (since quills woods, similar to cypress): Western red later time only by those unacquainted lions. (iJ fastened in a compliQted manner are cedar. hemlock and genuine cedar. If with the old methods or work. The con- The tndition of harpsichOrd construc­ hard to change); 2) the bristle spring one ~a~es into account the special ch:u- dusions drawn in m:lking one instru- tion was interrupted in 1800. and it is holds better in wood; 3nd!) srt screws aC.leTls,lIcs ~f each wood, 5Onn~boards men! were not applied invariably to absurd to mOlinlain thnt modern piano - for those who think set screws nec­ Will differ to ch3racter. but not m qual- mOlkmg the next, but were instt3d added cO!'Slructi.on h:l~ to ~me degree main. essary - don't hold well in certain ity. to the: fund of general harpsichord.mak. taIDed tlus tradUion mto our own time. kinds of plastic. (For example. the set I ha.\'e found tba.t the age of the wood ing. knowledge, UU~ many elements of And it is just as absurd to insist that all screws simply rell out of the plexiglass uscd IS of lesser Importance, although wluch were understood to innuence harpsichord manufacturers work today jacks made by a company now out of the importOlnce or old wood is a point each other complementarity, so that no as the old ones did: on the ground of business.) All of these problems can of upon which many have insisted. Good one of them could alone be said to "im- demand alone. that is hardly possible. course be solved; and though I myself new wood is bener than mediocre old prove" the instrument (although any The rew harpsichord builders attempt­ like wooden jacks. plastic jacks arc ad­ wood, and ] h:tve been able to discover one of them. wrongly applied. might ing today to work acconling to the old mittedly cheaper to manufacture. Ptfetal \'cry little difference between wood a impair the effectil'eness or the: others). methods do not regard their methods jacks are also possible, although they hundred }'ears old and wood three years As with skill at homework. knowledge 61S the: only possible methods (as is the must move very precisely in (he guide so old. Only wood lhat is cons(OIntly in the violins. With regard (0 varnish- in success was the artist·crartsman·s con- conling to the old methods :lre so smaU advantages are considered, probably no ing. the soundboards of modem harpsi. ception of the final (onn and his ability a part of the tOlal number of harpsi. single /·aclt materia1 em be regarded as chords are often so heavily varnished to give it expression; and these were chords being built that they have no basical y superior. I might point out, (hOlt the wood appears to lie under a made possible by his control of e\'ery efCctt upon the competitive market. that wooden jacks and guides, if proptr­ pane of glass. This certainly docs sen'e phOlse of the work from beginning to Where harpsichords built in the historic ly manuractured. work satisfactorily even to protect the wood against the eUects of end. wa)':1 C3;" be .userul is by Challenging under seven: dimatic conditions. It is atmospheric change. but !t probably ~f- The old harpsichord maker rcg3Tded and stlmulatIDg modern production such manuracturing f3i1Ures as too close ~eets the .tone as well. It IS worth no!lC- a detailed plan or construction super- methods through their unusual quality toleranets and green, overcured. or ill­ 109 that m the 17th ~nd. 18th ~ntun.es. nuous, and hardly any drawings and thus obliging manufacturers to comide; chosen wood that QUse failure in when the art of v~rms~lng stringed 10- written instructions produced by the their product carerully. Tile significance wooden jacks and ~ides. struments was at Its. height. the. sound. instrument makers themselves exist. o~ the:. rew builders working according to A number of different woods were boards of lutes, gulta~s, h3rpslChords. (Such plans as do still exist were drawn hl5toncal methods is not in creating a fonnerly used for jacks, but especially and all ot~er pl~cked mstrumenl5 were by theoreticians and encycJopaedislS, and canon of specifications, but in suggest· ptar. service, or corptr beech. Jack­ never ~arnlshcd. • are usually ~rong or at least \'ery un. ing, mther, the impossibility of building a .fine ha!"psichord according to any (ongues had to be 0 harder wood, be· Ply"'ood soundboa.rds are not In my dear.) A baSIC conception was never de­ cause of the need for changing the oplmon tonally s.uccessrul. The worst of parted from. but details might be altered strictly deflDed set of specifications. quills. and hornbeam (ironwood) was these - those Intended to be proof during construction: thicknesses of NOTES orten used, or sometimes boxwood. In ZlHubbard sa,.. (p. 2J6): against tropical climatic conditions - woods, joints. stresses, and other details Man), northern lOundboards Kem to have

10 THE DIAPASON been lelt unfinUhtd. except {or the ttmpera it". He then devised the sole-leOllher railed bet:ause the metal Iprinp were too Emsl, Friedrich. Der Fli1gel johann paintinp•••• Lorenz Mizler (N,u E,o,J/­ plectra which Skowroneck mentions, stiff (0 respond with the necessary quickness: Sebastian Bachs: ein Beitrag nlr Ges· "de MlUiUlu&h, Bibliothd: 'NelD MlUic by mcans of which. Hopkinson wrote to lliven or whalebone were undoubtedly IUper­ (lIiehte des 1nstrumentenbaues 18. ior. Hopkinson abo propmed IlCVerai me. im Libra"J, Leipzis. 1739-1749, II, 266) pro. Thomas Jefferson, "Crow Quills will jal"IIundert. Frankfurt. New York: C. F. vided a recipe (or harpsichord lOundboard cluanical contrivanca (0 iacilitllle lunins the hereafter be totally thrown aside". But Jleters, 1955. varniah which he claimed W1II identical harptkhord.l to that wed (or violins by Jacob Stainer. allhough (he laler wrote) "this con· Hopkinson's essay, "An Improved F~tis, Fnncois Joseph. Biogra/Jhi~ • • • Adtuns picked up Miden' remarQ Irivance Sttmed 10 :mswcr \'cry ",-ell Method o[ Quilling a Harpsichortl", ap­ Universe-lie des Mluit:feRS et Biblio· (A"'ei,.,,,. ,., lin Mwilal"dw. C,/,,1I,· ..• the objections to this design were, pearod fim .. No. XIX (185·194) of graphie Gbr~ra/~ de la Musique. Paris: IAeil, p. 564, nOle e) and warned that var­ that the touch was not so lively and the second volume (1786) of the Trans­ Fermin Didot (r~rel, fils et cie,18G6-1868. ndh {or hazpsichord IOUndboards mUlt not agreeable as that of the common quill: Hopkinson, Francis. "An Jmproved be oily. lor an (at and oil is the ruination actions 01 the American Philosophical but principally that the machinery was Society Held Gt Philadelph;a lor Promot­ Method of Quilling ol Hafpsicho.,J". of harpsichord lOundboards. • • • The too complex and delicate [or gencral 1·ransadions 01 ti,e American PI,ifoso· VerA""dtli", (lIIU II, M.,ziel (Tu.'"'' (In ing Use/ul Knoklledge; it then appeared MlIIJicl ('. Gravenhagc: J. A. 8ouvink, use". His third expedient was to cut in condensed form in the Co/umbiGn Jlhico.l Society Held at Philadelphia lor 1772) odvoc:ata vamilhing the soundboard his plectra (rom a quarter.inch.tllick MagGune, Philadelphia, for May, 1787. Promoting Uu/ul Knowledge, 1786. 11 on both sida and states that \'amiah im· sheet of ",'civet cork", raced with thin. It appeared Olgain in Hopkinson·s Mis· 185-194. proves the lOund, but the E,,~rlopEtlie polished leather. For these plectra he cellaneous Essays and Occasional Writ· Hubbard, Frank. Three Centuries 01 IDiderot and d'Alembert'1 AU)'tlopeJie again claimed perfect success: "The Harpsichord Maleing. Cambridge: Hat­ 0" Di&,ionJlai,e Raison!!c des Sden&es, des ings in three volumes (Philadelphia, cork is sufficiently clastic for the service 1792, It 421..f2S) ; and last in Francis \'ard University Press, 1967. A,ts. d ties Ale,ierl (Enq&iopaetlitJ or S,s­ Mizler \'on Kolof. Lorenz Christoph. lemali& Didion.", 0/ tire Arlf, Cra/ls, fJU it is to pedonn, and afterwards a lively Hoplrinson, the First American Poet· Sat"us) , Pvis, 1751-1758) does not men­ and plrasant touch. The polishrd Irathcr Composer.' and james Lyon. Patriot, Neu EriJllnele MusilrGlische Bibliotht:k. don varnished lGundboarda al all. I have forms a most agreeable surface of con· Preacher, PsalmodiJl: Two Studies in oder Grundliche nacllriclU nebst uri· not le'en • harpsichord with a IOUndboard lact with the metal Siring. am) shirlds Early American Music. by O. G. Son­ partlleyischem urtheU VOt! musiluJli.l· varnished on the underside. The Enslish the cork, which would otherwise soon neck (Washington. D.C .• 1905), which ellen scllrilten und bilchern •.. Leipzig: harpsichord JOundboards most ohen thow he cut thro' by the string. The tone pro· was reprinted by the: Da Capo Press in 1m verlag des verfasscrs und bey Drauns ligns of havinl' been varnished. The Italian duced is full and ,"'cry pure ...... erhen in commission, 17S9·1754. seem to have been wually oiled, or "",sed, 1967. FrOlncois Joseph F~"s (1784·1871 ) , the Neupert, Hanns. Die Be/,a"dlunJ a technique appropriate 10 cypress but hope. less ror Ipruce, pine or rir. musicologist, teacher. Olnd composer moderner Cembali, Spindte. tmd KllW'· whose fame rests upon his many writ­ A Selected List cllord~. Kassel: B5renreitrr·Druck. 195·. ings on the theory, history. and 1ite~ · of Works Cited Neupert, Hanns. DOl Cembalo: eine ture o( music (one of the most impor. Adlun~, Jakob. Anleitrmg nl der gescl,ichtlicl,~ find teclmisclle Betracll· Appendix tant o( which is the BiograPIJie Umvt:r­ Mllsikaliscllen Gelahrtlleit; tlleils vor "IIIg der Kietinstrumente. Kassel: Bar· selle des Musicians {Paris, 1835·44D . aile gelehrte, so das band nller wissen­ enreiter·Verlag, 1955. Francis Hopkinson's Experiments mentions Hopkinson undrr his name in s(/ul/Un einsehen; theils liar die 'ieb· Russell, Raymond. Tilt: Harpsicllord and Clavichord: tUi Introductory Study. with the Mechanism of the the 8iorr:raphie Um'verselle as haber du edlen tonlrunst ilberhallpt," mkanicien anslab, a propose en 1788 divetl Iheils und sondulicJ, VOT die. so das London: Faber and Faber. 1959. Harpsichord pe:rlec.tionnemenb pour te davecin, qui eon­ Sonneck, Oscar Georxe Theodore. listaient 1 .ubsticuu Ie euir 1. ta pluDle dana dllVier voniig/icl, leben; theils var die orgd und inslrurnentmacl,er, Mil Imp· francis Hopltinson, tire First American les uulereaU%, et ;\ se servlr de rtsIOrti Poel·Cvm/Joser, 1757·1791; and jtJtlles Hopkinson's objections to qUill (by metalliques pour leur Janguette. au lieu d'em· It"rn find dner vorrede des .•• Herrn , ~tm. which he meant crow quill) plectra ployer la JOie de pon::. La premiere de (el johann Emsl Bachs •.• Erfurt J.D. Patriot, Preacher, Psalmodist. were 1) that the sound was weak to start inventions n'clait pas nouvelle; l'autre n'eut Jungnicol, 1758. 1785·1794: Two Studies in Early Amt"ri· with; 2) that quill was apt rather qUick­ point de lueee-, parce que les ressorts m!eal· call Music. Washington, D.C.: H.L. Me· ly to weaken in use. and then to fail IiquCl Gnt tmp de rigiditc pour asir avec 1a Adiling. Jakob. Musica Muhanica Ouren. 1905. Reprinted by the DOl Capo altogether; and 3) that the quill, when rapiditE necessaln:: Id lames de baleine Organoedi. Das ist: GrllndUchu unter­ IJress. New York, 1967. . , ... jf'nl tnr en ","crh \In avantage incon· Per/,andding avn de Muzic1c; Wdn it came in contact with the suing tCltab\e. Hopkinson proposa auai quelques ric/d von der strllhtur, gebraueht und plucked, produced a "clicking. I' ingling erhalttmg, &:c. der orgeln, c1avicymbt:l. ira men tracl,t, de ulvt! lot meerder moyent mkaniques pour £;acililer l'opfraeion 1claerheit Ie brengen •.. als mt!de hoe noise .•• which has been jusl y com· du c1avecin. Le mEmarie de Hopkinwn II. c1avichordt:n und andner instrumente, plained of in the best harpsichords". hc public dans Ie deuxieme volume del in so [ern einem organisten von solclren men de hlawier i"strmnen/en lot vollroo­ He first devised a different way of TralUactions de la SocietE americaine (p. sallie" elwas ZII wissen noMig isl ••• menheit han brengen, met eent! besel,ry. mounting the quilt. "but it was ob­ 185). IOU! ce liere: An Improv,d M~IAod 0/ Berlin: F. W. Birnstiel. 1768. Facsimile ving van een n;ellw nilgevonden Iclave· jected, that the quill being thus forcibly Q~jJHIt, • Hrupndord. by Barcnreiter, Kassel. 1931. silllbel ••• en dfJdelyh ••. een~ Iyst bent, was apt to spring back in some >(Iall Ironstwoorden dn muzieh .•. '5 instances, so that not only the point of ran Enstish mechanic, {whol proposed in DhJcrol, Denis and Jean Ie Rond Gravenhage: J. A. nouvink. 1772. 1785 \'anous impro\'ements to the harpsi. the quill beelme too short to reach the chord. whkh consisted or .ubttitutinl' leather d'Alembcrt, eds. Encyclop~die all Dic­ Zuckennann, Wolfgang Joachim. Tht string it should strike. but the curved for quill in the jacka, and metal sprinp 'or tiomJaire Raisonne des Sciences. des Modern Harpsichord: Twentieth·Cen­ part [of the new mounting1 would pis bristle in the jack tonsues. The fint or Arts, el des Metiers. Paris: Briasson. wry Instruments and TIJeir Mders. Interfere with the string next behind ,hetIC inventions was; not new, and the other 1751-1758. New York: October House Inc., 1969.

When you hand-make every single part of the organs you build . . . you cast, roll. solder, and voice all your pipes . _ . you custom build the most Intricate musical Instrument in the world ... why must you suffer criticism because of where you do it? Can the sweeping generalizations thrown out about American organ builders drown out all that beautiful music? music? At Reuter, we make more than organs. We make music. And you can play that in any language you want. Write for your free brochure and use of our 3O·minut. film.

COMPAItY / Bol 486 AS / lawrlllCe, Klnsa. 66044 / 913 843-2622

FEBRUARY. 1972 11 5 F.bruarr Arbor 8 pm Williamstown Baroque Con50rt, , 'ic­ Frank A. No\'ak. Cathedra' of Christ lor Hill; Williams College, Williams­ FE B RUARY the King. Kalamazoo, MI 4:80 pm town, MA 8:-'0 pm University Chorus. J:nnrs Mack, di· [rlltSt White. workshop on Franck's rector; Mandel Hall. U. of ChiClgo, 11... Chorales; Riverside Church. New York 1 2 3 4 5 ' :30 pm Cil}' 10 am Richanl C. Enright. Fourth Presby­ Joseph Kline, all-Bach. St. Mark'!!! 9 10 11 12 terian. Chicago. IL 6:!O pm EpiKOpat, Philadelphia, PA " pm 6 7 8 Paul Vander W«le. Our Lady (If Mth Los Angeles Bach Festival: Rich· RrthlC!hem Convent. La Grange Park. ard Grayson. composer-Pianist; FiDl 13 14 15 16 17 18 19 IL 4 pm Congregational. Los Angeles. CA 8 pm Carltala 131; by Bach. Gracr LUlhC!f· 24 25 26 an. River Forrst. IL 4 pm 6 F.b.... ry 20 21 22 23 Andrea Toth. University Place Chris· tian Church. Champai~. IL Williamstown Baroque Consort, Vic­ 27 28 29 Cantota 21 by Bach. 17th crntury tor Hill; Williams College, William,­ Italian harpsichord music. Osllnnto by town, MA 8:50 pm Heinl Arnold (premiere) ; Stephem Canla14 18 by Bach, Holy Trinity College. Columbia, MO 8 pm Lutheran, New York City 5 pm DEADLINE FOR THIS CALENDAR WAS JANUARY 10 John Burke and instrumentalists, Dixit Dominus by Vivaldi. Sl. Bar­ First Congregational, BC!rkrley. CA 5 tholomew's Church. New York City 4 ConCrrl Choir of U. of SouthcOi John SI:mcy, Church of SI. l\[ary che pm pm d 0hch0 CalifoOlia. James Vail, conductor; La­ Yirgill, ;'\cw Yorl: City 7:50 pm Drums. hom an organ wit Olr, 21 February works by Poulenc, Britten, Bading1. Jolla Prcsb~· tcri:m. LaJolla, CA 8 pm Leonard Ra\'cr, Church of Ihe r\sccn· sion. Ncw York Cit)· 8 pm Isolde Ahhuimm. harpsichord. South­ Missa Luba; St. George's EpiKUpal, New ern Methodist U.• DaJl u. TX 8:15 pm York City -t pin 12 February . Choral Conductors Guild of Chicago. A Fc..osth·al o( Xew England ChOIrs, works by members. Cathedral of St. Cherry Rhode!;. Conutl')' Club Chrb· Evensong. Connecticut College Chorus lian Church. Kanu! Cil)·. KS 8 pm C4 pm); Cordon Wilson. org;anist (5: 15 Trinity College. Hontfurd. CN 8: 15 pm Jamcs. ChiColgo. IL 8 pm pm): St. Thomas Church, New York Karl Richter. Kennedy Center. 'Wash­ Piet Kee. First Congn~ptional. Sioux fo'alls. sn 22 FWrua'1' City ington. DC Union Seminan' Chamhrr SinJ!:en. Otnnis Michna. organist, Thomas Arthur Poister. workshop. Mulden­ 16 F.bruary Trinity Church, New York City 12:45 Bogdan, troor, Cultural Q:nler, New berg College. Allentown, f'A Marilyn Mason, St . Thomas Episco­ pm York City! pm Virgil Fox. Pablo Lightll, ,Vestern pal, New York City 8:80 pm Bradlev Hull. SI. 8artholomew'lI COVimant 01 the Rainbows by Crosse Kentucky U., Bowling Creen. KY Evensong and Eucharist (or Ash Wed­ Church. Nf'w York Cin' 5:80 pm (American prcmirrc) ; Cathrdral of St. John Obetl, RLOS And.. Indepen­ nesday. works by Byrd, Purcell, and Ceorge "ril.!on. MadiliOn Ave. Pfeil­ john the Divine. New York City 4 pm dence. MO 8 pm AUcgri; Trinity Episcopal. Princeton, hyterian. Nf'w York: City R pm Six Biblical Songs by Dvorak, Chan· Frederick Swann, First Presbyterian, NJ 8 pm Groll{r Ritchie. Meredith College. cons Madt:CtUses by Ra\'el, SOrlata lor Ottumwa, lA Homer Jackson, S1. John's Episcopal. Frederick Geoghegan. ponl.md Chap­ Ralehrh, NC 8 pm I'io/iu and Piano by Somary (pre· Washington, DC 12:10 pm Frank A. "ovak. First Baptist. Sagi· miere) , A.lto Rhapsody by Brahms; ler AGO. OR EKU Chamber Choir. Bruce Hoag· naw, MI 7:30 pm johannes Somary, conductor; Church Ruth Reynolds, organ and string en· land. conductor; Eastern Kentucky U., semble. SC\'rnth-Day Adventist Church. of Our Saviour. New York City 4 pm Richmond, KY 8 pm 23 February Sharon Abnrr, St. Michad's Church, St. Hrlena, CA 4 :50 pm New York City 4 pm Bradley Hull. St. Bartholomew's 17 February Church. New York City 11:30 pm Ernrst White. Rivenide Church, New IS February Larry King. Trinit)' Church, New York City 5 I'm Mary Spence and Lowell Lacy, C!rgun York City 12:45 pm 24 February David Cfalghc:td, First Presbyterian, and piano: Second Congregational. Coldw.lI. NJ Tohn Ro!iC. Trinity Church. New York Greenwich, CN 4 plR 18 Fw.... '1' City 12:45 pm Albert F. Robinson, First Presbytrr· Catllala 13 by Ba.ch, Holy Trinity Cah'in Hampton. Cathedral of Se _ ian. Haddonfield. pm Vi~1 Fox. Pablo IJllhU. Elliot Hall. N/ 4 Luther:,". New York City 5 pm John the Divine. New York City 8 pm Purdue U., I.afayrttr. IN Karen Coates. AI Saints Cathedral. Rdfhaun,.·J FttLU by Walton. St. Bar­ Piet Kee. St. John's Church. Colum· Albany. NY 4:30 pm tholomew's Church, New York City 4 hus.OH 25 February Hrlmut Braunlich. \'iolinisl; Cathe, Charlrs Huddleston Hoton. ","ark· dral of Mary Our Quern. Baltimore, p~\' ensollg, Dickinson College Choir (4 shop and recital, First Pte!bytcrian. Piel Kee. Nalional ~hrine of thr Im­ MD 5:30 pm pm): Krnnetll Gearhart, organist (5: 15 Columbia. MO maculate ConcC!ption. 'Vashington, DC 8 pm Music of the Gabrielis; 'Vm. Le· pm); St. Thomas Church, New York Michael 'V. Secour. Christ Episcopal. monds, conductor and lecturer; Emory City Little Rock. AR 11:25 am Fram Bntf!22en . recordrr recital. U .• Atlanta, GA " pm Roger Evans. Cultural Cmler. New Marianne \Vebb. U. of Kansas, Law­ Mandel Han. U. of ChiClgo. Chica~ . joyce jones. Seventh-Day Adventist York City ! pm rence. KS II. 8:30 pm Church. Kettering, OH Mary Murrell Faulknc:r (!:'O pm): Tohn Obetl. Carlrton College. Nerth­ Frcdrrick. L. Marriott. St, john's Lu· Richard Coffry. Listt Organ Works J9 Frbruary fiddo MN 8 pm thrran. Farmington. l\fI (4:30 pm): Cathcdral of St. John the Joseph Kline, all.Bach. SI. Mark '" Lenten Recilal. Chri~t Episcopal. Lit. ti c Rock, AR 11 :25 pm John Obell. Kansas State U .• Manhat­ Divine. New York City Episcopal, Philadelfhia. PA 4 pm tan, KS S:50 pm Joan Lippincott. Tcmple Emanu-El. Children's Chora Festival. Mar), Lib Isolde Ahlgrimm. I arry Palmer. harp· Kenneth Mansfie1d, Interstake Cen­ Ncw York City Lowery, Vestavia Hills Methodist. Bir· !iichordists. concerti bv Bach: Southern tcr, Oakland. CA 4 pm Joseph Counet. First Presbyterian, mingham. AL 'Methodist U .• DaHas, TX 8:15 pm Rogrr N)'quist, Crace Lutheran. Palo Englewood, NT 4:30 pm Virgil Fox. Pablo Lighu. Indiana U., Alto. CA Marion Anderson. The Presbywrian Bloomington, IN 26 February Richard Kirtland and Gerald Van Church. Bound Brook. Nj Columbus Bo)'choir. Madisonvillr. KY Ile\·rntcr. First Saptisl. Los Angrles, Mathilde McKinney. harpsichord, All 20 Feb.... ry C,\ ~ pm Saints' Church. Princclon, NJ 7:50 pm Pie( Kee. Fint Unitarian. New Bed­ 'J:/ ;r.brua'l° ~6th Los Angele~ Bach Festh:al: St. Belt)· Mathis. All Saints Cathedral, ford . MA • pm Brian Jones. Old West Church. SM­ In/In Pn.uion by Bach, Lauris Jones, Albany. N\' 4:50 pm Festh'al Service honorinl: David Md.: . lon, MA 4:50 pm conductor. First Congregational, Lm Will Headlee. Crouse Aud .• Syracuse Wi1IianK 011 his 85th birthday. SI . Rar· String qU","d conart. St . Annc'lI Angelr5. CA 7:30 pm ., Syracuse. NY 4 pm tholomew's Church. New York Cit)' 4 Church. LnweJt. MA .. pm John and Marianne Weaver, Fint pm Psalmw Hunaariou hy Kodaly, 1 February PrC!bytC!rian , Bethlehem, PA " pm Jeffrey Brody. SI. Thomas Churdl. PJnlms 24 and 129 hy Boulanger, Sym . Joyce lones, Seventh-Day Adventist The Catholic U. Chamber Orchestra, N'rw York City 5:15 pm phony 01 Psalms by Stravinsky: Church Church. Krttering. OH Robert Ricks. conductor; Cathrdral of Stobat Mater by Astorga, Cantata 78 of the Ascension, New York City 8 pm rtlary Our Quren. Baltimore, MD 5:30 by Bach; T . Charles Lee, conductor; Requiem by Mozart. St. Bartholo· 8 February pm Brick Presbyterian, New York City 4 mew's Church. Nrw York City" pm Rosamond Ernst Hearn, organist; Samurl Walter. St. Alphonsus Chun::h, David R. Fuller. Mcmorial Church, Gloria by Vivaldi. Concert Choir of P~ntrn Music, Cathedral Choirs of New York City 4 pm (IOOth anniver. Han'ard U., Cambridgr:. MA 8:SO pm American Conservatory of Music, Ken­ St. John the Divine and St. Patrick's; sary of the Hook A:: Hastings organ) Roman Markowicz. pianist; Trinity neth Sanson, conductor; Emmanuel Cathedral of St. John the Divine. New Evensong, Bradford Tr. College Choir Church. New York City 12:45 pm F.piscopal. La Gr.mge. IL " pm York City 4 pm (4 pm); Christopher Babcock, organist Bradley HuH, St. Bartholomew·s Paul Mant, St. Paul's Luthrran, Au­ John Schuder. St. james' Church, (5:15 pm) ~ St. Thoma." Church, New Church. New York City 5:50 pm _ rora. IL 4 pm New York City .. pm York City Gern: Hancock. First Prcsbytrrian. Marianne 'Vebb, Swanhout Hall, U. Rejoice "PI the Lttmb by Britten, john "'eaver, Cultural Centrr, New New York Cil)' 8: 15 pill of Kansa~. Lawrence 8 pm Choir of 51. CrorgC!·s Cathedral. King!!­ York City S pm Newark Ro)'s Choru~. James McCar· Mildred Andrews. Oklahoma City U .• ton. Ont.. George Maybee. director; St. Curtis Pirrce. organi5t (5:15 pm); Ih)', director: Sacred Heart Cathedral. OK 2:30 pm Mary's Cathcdr.tl. Ogdensburg, NY 7:80 Georgetown tJ. Glee Club (4:~ pm): Nrw:uk. NJ R:SO pm Frederick S"'ann, First Presbyterian, pm Cathedral of SI. .John the Divine. New Marilyn Keiser. First Methodist. Or· Ottumwa, lA Hrlen Hrnlha\\'. All Saints Cathedral, York City lando. FL Carlene Neihart. St. John Luther:m, JUbany. NY 4:50 pm Nonl, and His Floating Zoo bl' Fland­ Beatrice. NE 5 pm Phillip Jenkins. trnor; Fint United ers k Horovitt. Ascend;' DellS by wn. 9 February Howard E. Ross. St. james Episcopal. Methodist, P'ainfirld, Nj 4 pm )jamson~ Gr:tC'C Chllf"Ch . Nrw York City Br.tdlry Hull. St. Bartholomew's Alexandria, LA Schob Cantorum, St. Mary's Abbey. 4:30 pm Church. New York City 12: 10 pm Morristown, Nj 4 pm King David by Honrgger. Riverside Harold E. Wills. SI. John's Episcopal. 14 February Organ Symphontcs by Widor and Church, New York City 5 pm Washington, DC 12: 10 pm Vierne; Bruce P. Bengston. Frank A. Jamrs Brinson, First PresbYlerian. Te Deu", by Purcell. Music on Pur­ McConnell. Reginald Lunt; First Pres­ N.,. York City 8 pm cell's Deoth by Clarke, Magnificat by 10 February byterian, Lancastrr, PA 8 pm Pirt Kre. Cathrdral of the Incarna. Montevrrdi: Richard 'Vestrnburg, con­ Towson State ColJqr JIllZ Ensemble, don, Garden City, NY 7 pm Da\'jd J . Hurd Jr., Trinity Church. ductor; Crntral Presbytrrian. New York Henry Levy, conductor; cathedral of Donald InliITilm. All Saints Cathedral. New York City 12:45 pm City 8 pm Mary Our Queen, Baltimore, MD 5:80 Albany. NY 4:30 pm Arthur P. Lawrence, U. of Notre pm Wallace AL Coursen. Christ Church. II Frbruary Dame. IN 8:15 pm Chond Conccrt, works by Stravinsky. Bloomfl.ld. NJ Great Organ Mass 2, Stabat Maler by Alexandrr Andrrson, A I I Saints Byrd, Beach; Christ Church, Cincin· Marshall Tones. tenor; jamrs Dowali­ Haydn; Amor Anis Chorale and Or· Church. Pasadena. CA 8:15 pm nati, OH 8 pm by. bass; 'V. Elmer Lancastrr, organ: chestra. Johannes Somary. dirrctor; Myron D. CasnC!f. Coshrn Collegr. First Presbyterian. Orange. Nj 5 pm Grace Church. New York City 7:!l0 pm 15 Fwruary Goshen. IN 6 pm John Catchings, crllist; Cathedral of Arthur Poistrr. workshop. Muhlrn· Martha Laltimore. soprano. Trinity Anita 'Verling, 20th Century Frrnch Mary Our Quren, Baltimore, MD 5:50 berg College. AlIrnlown, PA Church, Nrw Yorl: CUy 12:45 pm music. Hill Aud .• U. of Michigan. Ann pm

12 THE DIAPASON Ch3.flrs Woodward. Edgar Stryker. Pict Ket. master class. Vassar Col­ CUllcordia College Choir of Alln Ar· Church. i'\ ew York City 5:30 pm UlP" and piano; First Presbyterian. legc, Poughkeepsie, NY bor: COllcordl.o. Senior College. J:orl Fcsth'al Brass Choir, Trinity Church. Wlhnington. NC 5 pm Frederick Beal. Sacred Heart Ca· Wayne. IN 8 pm (l.;cw York Cit), 12:45 pm The Peaceable Kingdom by Thomp­ thedral, Newark. NJ 8:50 pm Marilyn Keiser. workshop, Sl. Lul":'5 Judith and Gene Hancock. Inusic for son, Joseph W. Schreiber, director: In­ Isolde Ahlgrinun. Oberlin COnsc ..... a· F.piscopal, Birmingh.o.m. AL 2 organs. St. Thomas Episcopal, New dependent r~sb)'tcrian, Uirmingham. tory. Oberlin, OH E. Power Higgs. Dig Sur. CA Yort.: City 8:30 pm AL 4 pm Delbert Disselhorst. S1. ~fary 's ellllTch. Robert Simpson, St. Mich:tel's Church. George Ritchie, Church or lhe Co\'C­ Cincinnati. OH 8:30 pm oS :\I.o.rch ~ ew York City 8 pm nant, Cleveland. OH 4:SO pm Easter Cantata by Pinkham. chOnl5' Cherry Rhod~, recital .o.nd master Pcter Basch, Sacred Heart Cathedr:tl, Lenten Choral Vespers, Concordia es from Tilt! Lark by Bernstein; EKU class. Trinity United Methodist. Spring­ Ncwark. NJ 8:30 pm Senior College. Fori Wayne. IN 8 pm Concert Choir, David A. Wehr, director: rield, MA Robert S. Lord. Fric~ Finc Arts Bldg., St. John Pa.u;ou by Bach, Louisville Eastern Kentucky U., Richmond Ky Piet Kcc, Y.o.le U., New H.o.\'en, CN Pittsburgh, p" 12 lloon 8ach Society. Melvin Dickinson, direc· 8 pm 8::10 pm Music for Lent by Heinrich SchOU: tor; SL John's Evangelical Church. John Obell, Jo"t . Gratiot RLD5 Slabat Matt!t' by Rossini, St. Barthol· Ch:tmbcr Singen: Wnt. Lemonds, con· Louisville. KY 3:30 pm Churth, Pori HUI'OII , MI i :.!O pm OIllC"", Church, New York Cit)'. NY .. ductor; Emory U., Atlanta, GA 8: 15 The UPlicorn, tile Gargo", (lnd Iht! Virgil FolC. Pablo Lights. Center for pm pm Manlicore by Mcnotti, Trinity Church. the Perfonning Arts, l\filw.o.ukec, 'VI Herbert Burtis. St. Thomas Episco, Worth·Crow Duo, Paramount The· New Orleans. LA 7:SO pm Ted Al.o.n Worth Wilb.o.rgcr ~[Clll_ pal. Ncw York City 5: 15 pm ate r. Andcrson. IN Robert Schuneman. Trinity Lutheran, l\ud •• Vernon, TX Gonion Jones, organast. Margaret Columbus Bo),choir, Adams Jr. H.s. Skokie, IL Rosalyn Tureck, inaugural recit.o.l of Toc\·s. meuo·soprano; Cultural Cen· AmI .. North Platte, NE Alvcmo Cnlh:gc Choir, Sr. Francl.':! new Dowd harpsichord, U. of Aritona. tel', New York City 3 pili fo"n:derick Swann, John Stuart Ander· M:trie, director; Sl. John Cathedral. Tucson. AZ Alec WYlon ('!:30 pm) ; V"Iitul:!. Ash· sun, DtII.it:i ;'1 1l(J'~)' lo n ; Highland )lart. ~ru""aukce. WI ~:W pili Ladd Thom.3S. Englewood Christ ian worth (-1 :30 pm): Calhedr:ll of St. Methodist, Dalla" TX Virgil Fox. 51. Louis Symphony, Church, Yakima. '''A John the Uh'ine, New York City Powell Hall, St. Louis, MO Kenneth K.n:tdin. Church of Ihe As· 8M:llfch E. Power Uiggs. Colorado SlalC U., 1 March ccnsion. New York City 8 pm Br::Idlc}, Hull. St. Bartholomew', Fort Cotlius, CO Piet Kce, Yassar CoHcgc, Poughkeep. Ileqlliem I,.y MOUlrl, choirs o( Trin· Church. Ncw York City 11:30 am L2dd Thoma5, Walla Walla College. sic, NY it,· and All Saints Churche!i; All Saints' .",. 101m PaSJi

< More than ninety percent of the organ builders imth.e 11. S. and eanaaa are ua\ng thllll!;

and fol' a ver.y good reason, tpo, iIt'a simply a ~ of reliability.

contiOll Base icrewa, cores, ana other: small parts are preparea on a battery of Automatic

Sciew Maiiiiines. Bases are Cast on our controlled die'Cuting equipment.

• Electro,plating IS i1Io an in.plant opention.

REMEMBER-A BEffER MAGNET MEANS BETTER RERFeRMAWGE WITH LeNGER FReUBLE-F.REE LlFE.

FEBRUARY, 1972 pcdalboard. It also balances the pedal­ of the organ. Just as in singing, wind THE DIAPASON board witIl the keyboard in a bctter playing, and Virtually all humanly pro­ Out of the Past fashion. This balance has to do with duced music, breathing is an Important lhe org:mic rclalionship of rarts or the process, It adds scnsiblenCM, variety, 50 years ago, in the Feb., 1922 uSlle - organ to cach othcr. and 0 the player articulation, :and life to that which is The Henry Pilcher's Sons organ 10 his instnlment. I contend that the de\'oid of character and derinition. building £inn celebrated their 100th finer the balance is between parts of More than any other instrument, the anniversary ttt the factory in Louisville, the organ :lnd between the organ and organ has 10 do with wind and breath· Ky. player, the finer will be the player's ing, and it is this character which has Pietro Yon was elected honorary or­ sense of contact and participation with bttn lotany removed by the electronic ganist of St. Peter's Basilica in Rome. the instrument. He will become more instrument (even though these builders Letters in the "Diapason Forum" in­ finely tuned to bein9 an extension of are trying to find ways to put this cluded one on whiffle·tree swell shut­ the instrument. seoslth'c to its fonn. breath of life back In) ~ The Schwim­ Icr actions by Ernt'St M . Skinner. design. function, and the "living" way mer bellows is the dosest step to a Roland Diggle contributed an article in which it all works. I prefcr the characterless system of supplying air to t'milled, "Organ Compositions of Pur· "hortcr kc y and pedal comp:lss in spite pipes in ;m organ. It does not w:lnt to cell James Mansfield.' of the problem which it poses for some give, bend. or lh'e at all, and, used few pieces in the liternture. badly, it even supplies some speech 25 years ago, in tile Feb., 1947 wile - THE PEDALBOARD. It bas been charncteristics of its own (which most Emest M. Skinner became technical customary in England and America to or~nlsts would only recognize as some· director or the Schantz Organ Co., Orr­ assume that the radiating, concave thlUg akin to chifr, but which in real· ville. Ohio. pc:dalboard is the lx.'st. I qU~lion that ity is a very fast burble) . Much more Walter Piston's "Prelude and AUegro a.s.,nmption. It certainly may be con· prererable to this would be the old for Organ and Strings" was receiving venient for the player physically, but I type of weighted bellows system. Its ad· extensh'e pcrformances by E. Power eton't think that it has any olher ad· "antages: it provides a nexing "dip" Biggs and the Boston Symphony Orches· \'antages. In fact, there arc some dis­ in the initial spc.'Cch of the pipe when tra under Ihe direction of Serge Kow­ tinct di.sad\·anlagcs. 1t complicates de­ a note is pla)'ed (an advantage in poly. ftCvitzky. sign and function in a mechanical phony, for an active line is hc.... rd more A complete description of the Syd­ :lction: it therefore is more difficult to dearly in polyphonic texture since all ney (Australia) Town Hall organ of build well. More importantly, it des· the other notes held against it react al­ 1890 by Hill k Son or England was Iroys a visual and organic relationship so) thus making counterpoint clearer written by Robert M. Webber. betwccn pedal keys and manual keys to the car, harmonic "oite leading ]. Lawrence Erb wrote an article on dearer, :lnd also providing it with , .. " ophdorw.. Idea. ond *""ntIOli' for Ihe plafcr. For me, thb is really an Ihe A.C.O. examinations, Iheir purpose important Item. made more important breathing charactcristics (the opposite and scope. and a look to the future. on th" Httorlol pctge are the ...aponsJ. hom mechanistic character) ; it also hUlIy .r the "'lto,. of thl. publkotlon when one considers the business of Thomas J. Crawrord "Recalls Mem­ rhythm and articulation in conlrapun. provides a dynamic character 10 the or· ories of S(3)' in Gennany lind His Study lOll music. It is most important that gan produced by the falling of the lid There." hands and fcct approach the s}>CUh of of the bellows quite deeply when a Ihe pipes with equal concern and care, largc chord is pla)'oo (for tIle pressure 10 years ago, ;11 lhe Feb., 1962 ;JJue - Some Personal Though Is and this is made infinitely more diffi­ rises the deeper the lid of the hel­ J\ description of the A.C.O. mid·win· About the Organ cult by our present pt.'tl:llboaru. Because lows falls). Thcse things arc desirable ter conclave was headlined. "Youth the shape and distance of notes from qualities in an instrument such as the Steals Show at Ba.ltimore Conclave:' I would like to drop our customary lhe pla)'cr ::lre a tOlally different set of organ, and I prefer this winding (0 W. Riley Daniels was elected presi. use of che editorial "we" in this issue. relationships on Ihe pedal than they more modern systems. dent of M. It, Moller, Inc. to succeed and speak pcrson:l.lly about some mal· arc on the manuals. an ::lccurate. living, TUKING. Bach used the tenn "well­ the late M. P. Moller, Jr. ters relating to organs that have been 01J3nic, and scnsith'c approach to th~ tempered," but most construe that to Frank Cunkle continued his series "ery much on my mind for a few yeaTS. lhmgs is hindered. Evcn "isually, the be synonymous with "equal.tempered" willi "We Visit Flor Peeters." I altcndcd a symposium in December relation of Ihe pedal to the player is tuning. I ha,'e had enough experience I\rticles included: "Proressional Atti ~ at Oberlin Conservatory of Music. Ober­ di((erent than the manuals. One is in both tuning and playing lhe organ tudes for the Organ Student" by Les· lin, Ohio. Sevenl Ollr-'" builders were straight, tIle other cun'ed. One tends (both old ones and new ones) (0 know ter M. Groom, "Articulation - More present. and the faculty and students to approach the keyboards one way, the that I deeply question the utter super· Thoughts" by Klaus Speer; and the spellt much time discussing matters re­ pedal boards as something separate. I iolity of our present·day equal tempera· continuation of "Reger Chornle Prel· lating to the organ. Among them were prcfer a flal, straight pcdalboard which ment. especially the kind that many udes" by Allan Bacon. the restoration of old organs (including works exactly as keys, which is laid out tunen obtain through the use of elec· the current scene in EUrope). winding in direct proportion, direclion and man­ tronic measuring and tuning devices. systems for pipe organs. alternative ncr as the manual kcys. The only dif­ It is too equal, and therefore Jess char­ £reshing interludes, preludes and the tuning systems (to equal temperament) • ference should be the size and length, acter·laden tIlan less tempered systems. like in service repertory. A second vol. and such maUers as pcdalboards. swell a difference which is proportionate to Suffice it to say here (for the subject ume is forthcoming, and Dr. Hudson's boxes, combination actions. stop actions. the size of fingers and leet. Thus, play­ is more complex and difficult to handle etc. Much of the discussion between ing a fugue, for instance, entails a than the others I am discussing here) "fews on "The Trio Style in Organ Teaching" will appear In THE DJArASON' org:m builder, lC:lchcr anti student at rh)'lhmic appro:lch of attack and release that 1 think our minds ought to be laler this ye.ar. that s)'m posiutll has rem:lined in my on both manuals and pedal which is open to the use of other tcmperatmcnts mind since then. Anti then, too, the exactly the same. This is made im­ than the one that we use, especially Alan Stout's Three Organ Chorales recent questions raised about console mensely easier by the bet that the dis· when we are dealing with old music (Augsburg $1.50) are dltomatic almost standards have also increased. They are tance of the keys from each ollier is (anything up to 1865 or 70) . Particu­ 10 the point of atonality and linear in also on my mind. proportionate and equal in all depart­ larly with the organ ought We to be design. Technical demands are moder­ It seems to me that there are some ments. This flat and SlraigJ1t pedal­ concerned in a day when mutations are ate. The free notational style of Wer things about the pipe organ that have board, in com bination with a shorter showing up in increasing abundance in n ur den Ueben Golt is interesting, but ..... e doubt that notation, per se, will not ~n investigated and/or considered key and pedal compass, brings the key­ !topHsll. A fierce will perform with en· carerully enough in our day. They boards and pedal boards into a physical, tirely different characteristics in the create the improvisational effect appar. ought to be, ror they are of great im­ visual and spatial relationship with the plenum of the organ tuned in mean· ently sought after. portance to tIle future of the organ. player that is more balanced, much tone temperament lhan it will whell From Concordia come. Theodore I do not intend to say here that my more simple, and certainly more ac­ being played in equal tcmper:tment. It Beck's Forly·Swen Hymn Intonations opinions and thoughts should be agreed curate than we now have 11. is in· tunc and pleasing in one (pro· ($3.75) . The style is conservative with. upon by everyone, or even by anyone STOP AND COMBINATION AC· viding one is in a hannonious or "in· out being stodgy. Printed on individual in parlicular. But I do feel that these TION. TJlere is no doubt in my mind tune" key) , and it is completely and sheets of heavy paper, we hope that things nttd some more thought than that all stop actions that arc purely always out of tune in the other. The Ihis collection does not fall into the they 3fC getting. And I do bope that mechanical arc musically and function­ character of any qllinl will ch:mge also. hands of a junior choir in a rear choir readers will feel free to respond about aUy more accurate, sensitive, and much We should investigate and try aherna­ gallery. these items, for they are worth open­ more contralable than any other kind. ti\les, and 1 would suggest that it be Also from Concordia is Charles W. ing our pages to a rorum. That is to Similarly. a mechanical combination ac­ done more often than it is - particu. Ore's Eleven Compositions for Organ say, dissenting views are very welcome, tion (if one must have one at all) is larly in schools of music where the ($3.50). These preludes on standard as :a.lways. Here are some of the things far superior to any other kind. As a learning experience would be exciting chorale and hymn tunes are distinctIy I've been IhinL:ing aoout: pla)'in,; de\lJcc (in modem music, for for the students and less likely to up­ out of the ordinary. Qu:ntal hannony MANUAL AND PEDAL KEY COM· example, where the rhythmic addition set utilitarian uscs of the insuument. is much in evidence. and there Js great PASS. Some organ builders have been or subtraction of stops I.s part of the Obviously 1 have only skimmed the rhythmic inventiveness. Technical de­ wing 56-note key compass and SO·note music) a mechanical stop action is the surface of all or these subjects. They mands are only a littIe above average. pedal compass lately, and it has caused only reliable action. Furthennore, it are far more complex than I have ad­ Some organists may not feel comfort­ some stir bt.'QuS(: some few modern simplifies the console and playing ap' mitted here. But it seems to me that able with this style, but for many it picces cannot be played without alter­ paratus, thus remo\ling One of the grav· these things have to do with the re· will open up pre\liously unknown possi­ ing the score, and abo beause it direct­ est temptations for the player to play humanizing of the organ, of re·establish­ bilities. II ly breaks the A.G.O. console standards. the organ rather than to play music. ing an organic relationship, a Jiving David A. Schack's Nine Chorale Prel­ I feel that there may be some good Given a choice, 1 would prefer a COrn­ relationship between tIle organist and udes (Concordia $3.50) is disappoint. reasons ror breaking the standard. First pletely mechanical stop action, and may­ his instrument. This is what has been ing. Moti\lic figuration Is of the most among thcm iJ one cunceming balance be e\len a small combination action - lost in recent years, and Lbis is what ordinary kind, and development is and design in an organ built acmrding mechanical, of course. nceds to be rcg:Lined. Now it's youl negligible. turn to respond. dear reader. - RS to Werlcpri"zip ideals. The smaller com­ WINDING. Winding is still one of Finally from Concordia is S. Drum­ pass or tIle keys and pedals allows a the least investigated areas of organ mond Wolff's Six Trumpet Tunes from more balancrd and more compact ar· history. \Ve have always assumed that tile Italian Baroque ($2.75) . rangement of the archilccturaI design modern winding systems arc beller than of the orgun. It also allows a better bal­ old ones. But I don't think we are Organ Music Theodore Presser Co. sends the lol· ance and organic relationship to take right here eithef. The steps (rom fced· lowin~ So ngs I Sing ;n Sunda1 School place between the action and the chest ers to single and multiple· raid bellows arranged by Fred Bock ($1.25) : Organ layout in the various divisions of the with weighu to spring-loaded bellows Augsburg sends Varied Acmmpani­ ]\fw;c for Sabbath by Jack Gottlieb organ. II am presuming, of course, that 10 Schwimmer is a direct succession or lIIenu 10 Three Easter Hymns for Of­ ($1.50): Genlle Mood, by Richard Pur. mech:m cal key action is the only one events that have robbed the organ or Gan and two trumpets by G_ Winston vi. ($2.95) . - WV under discussion in this entire editor­ its breathing qualities. I am cerl.Olinly Cassier ($2.1)0) . The sped lie hymn. ial.) Furthermore. the smaller key com­ not advocating wheezing, roughing, tunes used are unrair, Easter Glory. TIIE HARLEM CHORALE o( New York pass narrows the inordinate extension sneezing, hiccuping, or snoning in the and Lasst uns erfreuen. Parts (or B· City, under the direction or Byrne Camp, per_ of the length of both the keyboard and wind system of the organ, nor am 1 nat trumpets arc included. fonned Bach', "Magnificat" at the Chapd or the pedalboard from the center to tbe :advocaung outright shakiness. But the the Intercc:Won, New York City on Dec. 4. Richard Hudson's Tr;os lor Organ, Also included in the propam were Poulenc'. treble end. This puts the player much fun that we find all these defects in bu­ Vol. 1 (Augsburg $S.25) is an interest­ " Concerto for Orpll, Strinp, and T'ampanj" more in the center of the entire key­ man beings has never produced. the ing and valuable collection. Although perlonned by orpnist EUJene HaDCOdr:. aod board, in a balanced ~ition between idea that prople should stop breathing the intent here is chiefly didactic, these MoUll't'. "bullate Jubilate" IUDS by De· the extremes of the keyboards and altogether. That is what we have asked sbort pieces will find a place as reo lon:s naviJ, IOprano.

14 THE DIAPASON Record Reviews I)' within the baroque Idiom of Bach's general sense of effeclS too calculated recording itself sets this review apart lime and place, They have tremendous to be quite musicianly, but there can from the live concert which we review Anthony Newman Pia,., Bach panache, energy, exclteme.n.t: illl sound­ be no doubt about the imprcssh'e con· elsewhere in this issue. TechniCllly, it Anthony Newman. Organ Work,s b), J)' historical baroque qualities, They arc sistency of the interpretation. is evident that the recording was made /. S. Bach. Prelilde and Fugue In A on an organ (bUilt by Fritz Noack for The chorale prelude, Gelobet seisl in an acoustically dead room (during minor, DII"" 5"5; jl!nfj C/,r;stus, unser the Trinity Lulhernn Church. 'Varces· du, jt:su Christ, is just as quietly and pedonnances wJlere the audience noi5C Heiland, nli'f' 626; Toccata and Fugue ler, Mass.) which has the tracker ac· as movingly played as the other o':!e: em be heard), th,; microp~one pickup in F, D 11''' 540; Trio S01l016 ;n C, tion, the low wind pressure, and the an artistic achievement of no small m· is such that particular vOices III the nll'l' 529; Celollet seisl du Jesu Cllr;s" forward ,-oicing (above all, the forward tensity, and by no means as easy to do choir can be heard to predominate at nll'J' 604; Prelude and Fugue in !! ,'oicing) of a historical baroque organ as it is delightful to hear. The Preludt: times, and a scn!!iC of cohesion in the mitior. lllt'l' 5-18. Played on a mecham· such as Bach so often demonstrated and (Hid Fugut: i" E minor starts by sound­ entire ensemble is less than what we cal action instrument by Noack Organ enjoyed just as energetically in his own ing to me (I could be wrong) just a know to be the case in this group's Co., Trinity Lutheran Church. Worces­ lifetime. It would be hard to over-state little rushed, broadens out, then 1 live performances. U J'ou can get past ter, Mass. Columbia. MS·H21. how much tll)S open sound and sha~p swear sounds rushed again: broad is these weaknesses in Ie rccordin~, we The stir caused by Anthony New­ cutting edge docs for baroque musIc. right, of course; the registration is ad­ are sure that the musical qualities of man's Bach playing is perrectly natural. The sharp articulation comes, of course, mirable: the final ritardando is bold the perronnances are well worth hear­ He docs raise. simply by the character as much from the organist as from the but in perfect taste and judgement, The ing. organ; but we know quite a lot about fugue indulges in sudden pimlos which of his extraordinary musical personal­ Felix Mendelssohn-Bartholdy, Com­ ity. some of the aCtllest issllcs of inter· baroque artimlation of Bach's time and I am not sure of musicologically, btu place but everything that we know which I accept as "ery successful music­ i,lelt: Works lor Organ. 2 Vols. RCA I pretation. Victrola, VICS 1571. 1572. Philip Dare As a 11t3ttcr of history, could J. S. supp~rts Anothon)' Newman's fine ~ol~­ ally. The counterpoint is kept trans. ness in the matteT. Of course thiS 15 parently dear: a grC3t tribute to the playing the 1961 J. W. \Valker &: Som l Bach h3\'C pla}'cd the orga~ like thi~? Ltd. organ at Ampleforllt Abbey, Eng­ And as a matter of mUSIC, docs It not the trndilional organ playing still organ, and to the plil:.yer too. By and preferred by many excellent musicians. large, the musicologist in me salutes land. Progrnm: Six Sonatas, opus 65: greatly concern us whether he could Three Preludes atld Fllgues, opus 87. or not? nut that tradition, fine as it was, never ,\nthony Newmil:n just a5 cordially as \Ve still think tllat a definitrve, stlld~ The first qucslion is always intercst­ did Wl back to baroque sour~. ~nd is the musician, He is a finc perfornu:r. ccrtamly in lItat scn5C unhlslonC1J. ,I - Robert Donington ied, and musically sound set o( record. ing, but beyond a point we h.we to a~ ­ ings o( Mendelssohn's works needs to mit that we cannot reaJJy answer It. am quite sure that Anthony Newman s Rol'~rl Doninglon, eminent English is beuer history and also, for Bach, be made. This is dearly not iI. and Whatc\'er we on fiut.! out is useful musicologi.fl, is tht: author 0/ mnlly falls (ar short of the perfonnanccs by evidence, but we 50011 come up against better artistry. "'hen he claims astro­ boob, among ,Ilt:1Il art:: The Imtru­ logical similarities with J. 5. Bach, 1 Guy Morancon which we reviewed last the limitations of our knowledge. We ments of MusiC; Tempo and Rhythm year. Firstly, these are not the complete '-now nothing, (or example, aoout 1. s. think he is projecting onto the stars in Bach's Organ ~fusic: The Inle!'PfCo an intuition of affinity whidl his per­ works; but only the complete major Dach's tempos, beyond the comment tation of Early Music: Wagner's 'RlOg' works. The complete organ works are (in a joint article by C. P. E. Bach and fonnanccs mainly bear out. In short. and Its Symbols - the Music and the he keeps within the implications of t.he soon to be pUblished by an English .I. F. Agricola) th~t he was "very sure Myth. Ht: b also tilt: author 01 many (inn (we hope). and they entail a list of his temr.0' wInch he usually made music. not infallibly (who wants m· arliclt:s on tht: sllbjt:d 01 musical intt:r­ fallibility?) but im~ginatively. _ twice as long as what appears on this very lively.' :md that docs not tell us pretation. recording. Sccondly, the sound of the what he would have regarded as very In detail. then, Side one starts With tlle Preludt: and Fugut: in A minor. IOI -stop, 9·division organ on this re­ lively. We know quite a lot about his cording is disturbing to us. The pipes orgam, but hardly anything about his The prelude is nice for phrasing and Tht: Contt:mpornry Traelct:r Orgall. articulation; lite fugue also, but the speak with a very obvious percussive registrations. Vol. I. James W. Good playing the attack (not all dliff, for tbose who tempo is quite a UUle faster, not than Steiner organ at Our Lady of Perpetual The second question can be answered Anthony Newman's fingers can make know a bit about voicing), and it in the aHinnative, but again only up Help Catholic Church, New Albany. would appear that a combination of clear but than the listener's mind can Indiana. Available only (rom Steiner to a certain point. We arc concerned comfortably follow. It is also a little the type of action, the \'oicing, and the with history: yet 1 do not think a piet:e Organs, Inc., Louisville, Ky_ Program: scaling of the organ absolutely prevents remorsrless for 50 Jong a piece, and Agnlu Dt:i COUPlet J', Gloria Couplet o( music has only one right interpreta· the ornamentation is a little too mea!­ a legato line from being played by the tion, with all tllC others wrong. Bach's IX, Couperin: Conc~r'o dd Signor organist. At least that's the way it ured to sound really ornamenUlI. The Mt:cIc, \\'althCT: "on Gott will iell n;clll would ha\'e been good, if only we could control is wonderful. but a little way· sounds to our ear. Thirdly, the perfor­ get a tape or ii, but even then, Mon­ lassen BWV 658, Komm GoU ScllOePfer mances, even though they are compe­ wardnCSJ could have been valuable here. IIWV 66i, Bach: Quem Pastores, Ein day's lape might not have been at all The chornle prelude, jelus Chridul, lent enough, are slightly out of style Ihe same :u Saturda)"s tape, Moreo,'er, /t'sle ll'lTg, Walcha: Sonata J, Hinde. with the music. Mr. Dore (through no auy other good organists of the time unser HeU.nd~ m3kes a splendid con­ mith, trast with its profound and limpid se­ fault of his own) displays a good gr.tsp might have come up with other good Excellent acoustics in this modern of traditional English playing; he uses interpretations, all different. Perhaps renity, brought out with jU!t the rig~t church enhance the sound of the new tempo and feeling and_ chOice ~f regiS ­ swell boxes, frequent dlanges of man­ we do better to ask what arc the outer mechanical action Steiner organ it"" uals, broad tempi, and sturdy rhythmic tration. The Toccata In F maJOr goes menseJy. PatteOled after contemporary boundaries of style within which any off almost literally to a D}'ing .start, all flow. He registers with a large sound good org=mist of Bach's time would North German organ st1'le, the organ in mind, much in the style of English the better because it is so solidly sounds "cry fine indeed in this record­ ha\'e naturally kept. "re can find out phrased and so meaning(ul articulated: Victorian cathcdral practJces. The fact rather more about that, and we may ing, and James 'V. Good, faculty memo of the matter is that little of this style but the first section ends with exag" ber at Southern Baptist Theological wish to keep within the same boundar­ gerated abruptness. That is odd, since is reqUired, asked (or. or even SUitable ies. Anthony Newman passes this test Seminary School of Music in louis\'ille, (or Mendelssohn's music if we are to the Toccata itself ends proponionably Ky., turns in a dean, stylish, if not com. very well on various explicit aspects enough and the overall effect is very believe his own directions and scoring such as doing the ornaments about as pletely stupendolls performance. Mr, in the first edition of these works. Most fine. It' all stzikes me as admirably or­ Good's registrations fit the music weB we know they were done, for example; ganistical. making good and legitimate all of Mendelssohn's directions for and that is already worth somethmg, except in the Couperin pieces, a fault manual changes, registration, tempi and because it shows conscientiousness and effect (rom a superb instrument, tech· that is inherent in the design of the nique and imagination, well served by dynamic markings are disreprded, even understanding, Besides, such small mat­ organ, not his. The Chroml,ortlt: sllr la though happy accidentJ do occur. De­ ters do add up. the excellent recording. The fugue, this tail/t: works fairly well. but the Grand time, is not only good for tempo but yond that, we must say that we find Some people have obviously been up­ itu has to be faked comple tely. His the pcrfonnances thoroughly inlerest~ good for nexibiHty also. The phrases playing is mainly traditional and set by the temperamental quality of linger lo\'ingly. iI:.nd shapcfully~ the ~eg: ing_ They display the trndillonal Eng- Anlhony Newman's perfonnances. But straight-forward, slightly unyielding, 1i5h approach to Mendelssohn, and have istration is stnkmg yet not dlstractmg, hut with good selection o( tempi and there is nothing un-baroque in being the climax is terririe. in tllem the care and love which Eng. tempernmenlal: on Ihe contrary. Quantz with Ih'ely articulation of the type 3d­ lish organists have he1r.J (or Mendels­ was writing only two years after Bach's On side two, the first movement of "oca.tecJ by Helmut Walcha. The I-lin ­ sohn and his music. These recordings the Trio Sonata in C major illustrates death tllat "the diven;ity of taste de· demith sonata comes off best, although are not distributed in the U.s.A., and pends on the dh'ersity oE tempera­ to a nicety the dangen which lie in some will quibble that it is not roman· :Ire available only (rom British dealers. wait (or a temperament 50 phenomen­ tic enough (there is a clear nco.classic ments," while C. P. E. Badl added a Svt:nslca Orglar (5wedish Organs). year later that "a musician Clnnot mo\-e ally gifted; and I hop'!= very much that approach here, very successful) , and Anthony Newman Will be willing here RUne Engsii playing the organ at the others unless he 100 is moved." Virtuos­ the Walcha chorale preludC3 arc su­ ity and showmanship wtte not (Ctreign to listen thoughtfutt)· to a word of perbly played. So is the Walther, but Hligalids Church, Stockholm, Sweden, friendly advice_ There is a \"~ry .fast nach's chorale preludes sound slightly and Anders Bondeman playing the or­ to the baroque spirit: on the contrary, tempo combined with a very gnnmlcky gan at the Church of Sksjo, Sweden. J - S. Bach himself was famous for dull to our ean - a musical problem them, and by all accounts he had a registration: and though 1 admire .the that has to do with rhythm, articula. Program: Toccata, Adagio Dnd Fugut: facility and understand the tempt~uon, tion, and ornamentation. Since this is ill C, BWV 564. Bach: Dieu parmi temperament anything but equa~le. It 1 belie\'e it should have been resisted. 1I0lU, Messiaen (Mr. Engsa) ; Wacht:t is dispassionate perlonnance which is a display recording (or a new organ, 1 come back to my basic point: I do we might mention here that the (ull Dill, BWV 646, Mt:ine Set:lt: erliebl den uuerly un.baroque, and Anthony New­ not think that the intetpretation here Herrt:n, BWV 648, At h bleib' bt:i uns, Illan has nothing to (car from criticism organ is slightly over·recorded, and tllat on that score. lies withIn the ilnplications of the mu· our copy had a slightly noisy surface. BWV 649. Bach; Choral in E, Franck sic.. 1 think it was imposed upon. th.e There is also some tape-head noise (Mr. Bondeman) . Available hom: We can fairly ask that the impas;­ music from the outside, Of course It IS e\'idcnt in our copy. Nevertheless, the Ji",\BO 5tudio, Box 6, 684·01 Munkfon, sioned virtuosity and temperament effective in a way: but quite soon I organ sounds good, and the recording Sweden. should somehow belong to ~e music, found my atlention wandering. There displays Mr. Good's competent playing Both of the organs on litis recording not be foisted upon the musIc regard­ simply was not enough of the ~ mu­ finely enough. are the work of organ builder Olaf less o( ils true character And here, 1 sic getting through to hold my lOterest. Hammerberg of Sweden. The (irst is II. think we come 10 a question which is YL1. the phfil!!iing is good on tJl~ CO!l' Tilt: Louisvitlt: Bile" Societl' MeJv~n large instrument of 4 manu.tls, the more' fundamenUlI than historical aU­ ception chosen. It is the conception It­ Did;inson. conductor. Rl'COrdmg aV3d~ scrond is a three·manual inSlrumenL thenticity (though I do not wish 10 self which is so pa~doxically uninter· able only from Louisville Dach So4:iety, Both are located in be:tutiful rooms undervalue that either) . Is; there an ,-"ting, Louisville, Ky., no number. Program: with very live acowtia very evident in ,-"UCntial artistic authentidtyil That is The slow mo\'ement, however, is con· Chorale 2nd Chorw from Cantata 30. the recording. Mr. Engs3 is the orpn­ to uy. docs the Interpretation I!f tJ~ese "incing Indeed, with a lilting tempo "Freut: did" erlollt: S'har"; Chorus ist of 5t. John's Church in Stockholm, performances grow out of the Implica­ incomparably superior to the common from Ca"tata 197, "Golt is' urlSere Zu­ and Mr. Bondem3n is organist at the tions of the music? sluggishness at this point. Even. slow vt:rs;cht .... Gloria and Cum Salida from parish church of Eksjo. Both are very Now that really is important. Histor­ mon~ ments ought to move; and tillS one MilSa Rrcuis 8 i" A ,' Mott:t, "Sitl&et dt:m fine organi!u, and the organs and per­ ically authentic and musicianly authen­ here is allowed to "ex and to breathe Ht:rr" .... Chorus and Chora.le from Can­ formances on tllis recording are superb. ticity are, of course, very largely the as well. There are good and knowledge­ tata 27 "Wt:r UJt:w, wit: tla/,e mir mt:in Mr. Engsjo uses very fas;t tempt in the same thing; but the object of the oper­ able ornaments and rhy~hmfc alte!?­ Ende.. •• Chorale from Catltata 195. "Dem nach work, and manages to keep the ation is the music and not the history. tions. The bass (always Important 10 Gt:rechtt:n ,"IUS dtfj Licld". (ugue going without flagging one bit. In fact, the object of the history is the baroque music) is perhaps too soft All the good things. ~at we have It is a very exciting sound, and a atu~ music. throughout; but otherwise the sounds written about the LoulSvllle Bach so­ pendous perf~rmance, . ev~n though it These pcrfonnanccs are not in[aUi~le, are well.judged and ench3mting. There ciety and its director arc evident on is maybe a bit romantic 10 ~ncepl1on. in what 1 call good taste. nor 1 thmk is a lingering last appoggiatura t~ melt this rffording. The perfonnances are His pcrfonnance of the MessIaen work within what a baroque musician. for my heart. The third movement IS too stylish, exuberant, and m,~_iCllly ex­ shows all of the organ. and is very example 1. S. Bach, would have called fast for my mental comfort, but not im. citing. Only in the .motet! Slnget de-:u moving, indeed. l\.(r. Bondeman's per_ good taue. But 1 think that jwt the possibly too fasl: We quirky registra­ Herrn'· is there a slight bit of rhythmJc formance is a little more sober aDd same they are, as a whole, magni6cent- tion (15 it 2·foot?) returns: there is a insecurity, a tendency to Iwim. The (Continued, pagt: 16)

FEBRUARY, 1972 15 Modem music clearly carril'ti ollr in­ IJlll yet tuneful music. (~rest through the quiet and relaxed Modern Music of Interest at Mary LOll Robinson provided her atmosphere of the AmeriC:lI1 Guild of audiencc with a mmpletely IIIt.'i:hanic:r1 Organists Mid-Winter Conclave (we reading of the Vi\'ace from the Sonata ~rc hack ,10 t~nt name again ...) held Detroit A.G.O. Mid-Winter Conclave fur Orxan b\' l'ersichL'tU. It would nol In DelrOIt this year between Christmas ha\'c bccn bad on the organ, but the and New Year holidap.. A small but complcle lad:. of sustained tones and enthusiastic group of visitors seemed tinkling sounds from her harpskhoRI to appreciate it. 100, (or there w:tJ little cr the fact that we ha\'e ne\'er heard more modcrn begin to creep in. Curl· turned the piece to hizarre effect. DC the usual grumhling :md mumbling lOuch a Messiaen picce after a Hamilton ously enongh, one of the most effective about "contcluptuary" music that we olle_ moments in thc piece is in the middle: Robert Clark and Robert Glasgow have orcen ltcard in the past. ,\5 :1 mat. it conlo:lhu hitter iron)' of (he sort that played the Kney organs at Aeolian Hall ter o~ fac~. the conci;l\'c goers scemed "RC"clatiolls" by Rohert Jones man)' attcmpt to producc Jjoday, but in London, Ont.. ill the evcning of Dec. 28, and Rayner Brown's Fugut.' to enJoy It all. and cenu;nly showed The high point of the entire conclave which fcw arc ahle to han e succcs.~ ­ i~ in their applause of the pcdonncrs. wa!l\ the premierc of a new work by fnlly_ 'fhe most contemporary text is from Organ Sonata ror Two PlaYCD (1969) was included on tIle program. Smce there was a significant amOunt Rohl.'rt W. Jon~ at Christ Church, obnously an allusion 10 a CI in the of 20th century music performed. we Grosse l'oint un Monday e\'ening. Dec. foxhole of Viet Naill, This is foUowed It is a lightweif,ht piece: next to all will restrict this review parliculariy to 2i. Christ Church commissioned the by texts which ha\'e to do with Ihe lhe olhers on t tc program, including that. (or it seemed to us to he the Innst work ror the l\lid·Winter Conclave, fighting laR ycar in the Near East. Franck's Grund Piece Syrnphonique, and significant part of the concla\'c, the Rohel"l Junes is Font Foundation com· sort of in a "news report fonn." The we felt that the piece has much 100 most We!,,1 Tfiuh oC the ml'Cling. polOCr in residence at Schoolcra[t Com­ soloist delh'crs: the bi t. about having to fJimsy a melodic material to sustain the Thomas KurdS got the whole thing munity Collt.'gc District, Lh·onia. Michi­ go out and "slaughter J;ooks," the choir interest for as long as the composer started at the Cathedral Church of St. gan. He is a graduate of the Unh'ersity and soloist follow with a refrain in wishes. The performance was nnely done. Paul on Sunday Dcc. 26. Includcd on nf Redlands. Cali£ornia, a fonner stu· Slm~cllStimtne which frames the whole his program were Durun~'s Prelude dcnt of Lt.'O Sowerb)' in Chicago, and section, "Acts of violence, whether on The Cass Tedmical High School and Fuguc on the Name Alain, and he has Ilecu a participant in the Con· a large or sman 5Ca1e, the bitter para­ Choir turned in a fine performance of Hoelllr's Sch6mter Hrrr Jau for cello tempurary Composers Project. His writ· dox: the meaningfulness of death, and ~ont1an Della Joio's l\fnss on their Wet!. and organ. Although we were not able ings to date include works for chorus, the mcaninglessness of killing," Then ncsda}' morning program in 51. Annc's to atlend this concert, we heard manv Urg-.IU, orchestra. band, chamber arches­ the singing choir enters with the "news Church, a fine, resonant. old building, people say that it was well'pJ:t}ctJ. ami trol. piano. :and man}' solo instruments. rll)()rt" ahout fighting between the The Mass is completely lraditional and that _thcs~ two. familiar works ~ot ~OO(I The piece perfomted for the concla\'e I.l!bancsc army and the Arab gucrillas. tonal in substancc. but put together readings In spite of the awful state of ilO entitled Itcniations - A Drama with This is set to an Anglican chant·type with fine craftmanship. The brass dlOir. the oq;an at the C.,thcdr:lI (which is Mwic "with a tcxt compilcd and edited chornl sclling. The paradox produced organ, and chorus sounded excellent l11isernbly buried in the waHs and tonal­ hy George S. Harter, for a mixed bag lIIusically, with (he IIIOst modern text with this particular piece in such a Iv in thc extreme of organ deculence uf speakers, singers and instntmcnta· sd to the "oldest" music. is stunning, Jive acousttClI environment. In "pite in our \·jew). ' lists." "Drama" might be a misnomer and we arc sure that many people at of some vocal insecurities, and some Joan Lippincott couched lain Hamil. here, for it is more rightfully in the the performance did not know what the \'cf}' strained singing, this high school ton's Paruphrasc of an Epitaph for This style of orntorio, albeit with a modem words were whcn the Anglican chant can bc proud of its dloir lIndt.T the World and Timl', and Messia('o'" Vcr­ touch, II is a major 'work. and one caine forth. nut it is a masterstroke of direction of Otarles E. Ceason. They M!t pour 101 fete de 101 Dcdlcace between well worth our attention her~. The ast cxpression and symboliun, for it is truc should. howc\'er, pay more attcntion co works hy Couperin, B'ICh, and Franck calls for 2 narr.ttors, 5ATB chorus, that we frequently don't listen to the vocal r.roduction; it."55 "chcstincss' and o~ l~er Monday moming recital. Mrs. speaking choir, baritone solo, I cello, message today, but we are aware of the more lead tone would help them im­ Llppmcotl brings to her performance .j lrumpets in B·nal, 4 trombones, medium. Jones has reversed the tradi· mensely. of mntemporary music an t,'xtraordinary chamher 0'1,'0111, full organ. percussion tional medium with the message. D:I\'id Bowman plap:d Dup~'s perception a~out the p~cccs she pia pi. (including \'ibraphone, 4 tUlled drums. There is much more than can he Stations of the Cross on one of the fin­ She has Ob\'IOU51y stmiled them with 2 bongos. suspendcd cymbals, medium described here, including a marvelous ~t old E. M. Skinner organs that we care. More th:tn that, shc knows how (am·lam, temple blocks, bass drum, instrumL'ltlal interlude before the last hal'e cver heard in his conccrt at Jef­ to put all this together with fingers rowbell. cr.uh cymbals. c1avcs) and ek-c­ ~ction whidl involves two offstage ferson A\'C. Prcsb)'terian Churdl on and feet and r(.1tisten; and acoustics. tronically synthesizcd sounds (on tape: hras.s J;roups with organ. The music Wednesday afternoon. The organ was Consequently. thines lil;.e Hamihon's froUl rcalisation with a Putney VCS-3j. i~ semi·improvisatory, and both play a perfect match for these pieces, and work, which is dif£icult for C\'en the The text is drawn from the first. fourth the same music, one in canon with the the perfonnance was extremely fine in­ hest musician. sound n:uural, unforced :tt1l1 mlh hook!; of the Re\'elation of St . lit her. It l>eroml"S a canon pf texture. deed. Using the poems (narrated by clear and logicl, and ~xprcssh 'e , rair: John the Divine. along with seleclions One other thing muS( .be said about someone we don't know, but also done '!amiltou. ~~ong the younger genera­ ftOUl the writings of Ancilla. the 8ha· (his tesi. There is something very much well), Mr. Bowman playcd the entire tIOn of Bnt15h composer.!. i~ in our Wl\·ad·Gita, William Blake. J a co h akin Ix.'tween the texts from St. John work through without applause. Only opinion the most lmcce~duJ of them Boehme, Jacob Bower, Jonathon Ed­ and the modem texIS. St. John was occaslon:rlly were there lapsel in the all. Ht.. approach to the OlJ!;Jn as an wards, George Fox. Carl GU5tav Jung. writing a description of the chulch musir.:tl concenlration and continuit\" instrument is dear and without the John Amos Komcnsky. Charles Manhal, during a time of pcnccution. Hence the and the final station was rcgislcrccJ ;mcl taint of influcnce fmm other instru­ Edwin Muir, Blaise Pascal, Suso, Jeremy ,)'mbols. metaphor. and visionary lan~ · played much ton effcminately for ollr ments. Malcolm Williamson, for in­ Ta),lor. Thomas Traherne, Katherine uage. The modern texts fit this apoco­ t;asle. Mr. Bowman yielded to the tcmp­ ~tance , seems to us tn h:l\'C the muod Trevelyan. John Woolman. and oIhels l),ptic vision well. but they also 5('r\'c tlltion to use Ihe "celestial" antiphonal or the orchcstr.l and the piano in mimi unknown, 10 bring St. John'S vision ami srmbel orA",l al this point . thus letting the work with his organ works, And Kenneth On the surface, reading the .. how down to the reality of our day. It is elnwn at the l'm!. But chc.'SC are small Leighton. to pi~k anothcr example. might lead one to think that this is a good idea, for we seldom approach tnilllers: we Wl'fe happy to hear the ~eems 10 he looklllg for a sound wilh a real bag fun of ginunicks. Just think SI. John's text with auy meastlle of work in such an atmosphere with such the organ that he ha.'i not \'et rOm. of the temptation such a bag of texts reality: it is nicer 10 keep it in fairy ­ a fine pJarer at the helm. plclelr found_ Hamilton. 011 the other and instrulttents wOllld propose to a calc land. hand, docs not resort to gimmicks Clr Revt.'llIlion was performed by the Then we went to The Shrine of (he k'5.~e r disciplined mllsician. (Such temp­ Little Flower to hear Marlin Bell. a cxt~mC5 in his directions IIbolit rq;is­ choirs (men and bors as singing choir, tations arc )'it:ldcd to daill' in the Rock former Roman Catholic pricst do a ImtlOn. It is prolmhl\' because h~ has girls choir as speaking choir) of Christ world.) r\ot so with this piece. Mr. scrmon with folk.type song5, with Kuhar a drar concept abotll chnru~ work in Church under the direction of Edlrolr Jones halO put together a finel)' struc· ,lOti ha55 player (amplilieu). Somdtow. an organ_ IU.. work lends it~1f clearly Rillups. organist·choinnaster of the tured. scnsible, and thoughtful piC(e or ollr 11100d and :attitude from the Ouprc to a nrnlc fl r;'l:ift way of thinking oraturiu ill words and music, The elec­ church. With professional instrumental· work couldn't get switched over 10 this about the orgoln, and he knows that tronic source~ arc used sparingly, and ists of thc first caliber, Mr. Billups led counterpoint is the ~lIhstance of the a superb and sturdy pcrformance, some· somewhat arroganl gentleman who cer· fit the instrumental writing well; the tainly !eelned to hue all the answers instrument, TIlili is not to 53\' that he Icst nf the music is drawn from many thing any composer would appreciate rc\'Crt5 to Bach for his counlcrpoiut. 50lIrces which include sparing use of and like in a new work. We congrat­ .. bout (;od and man and u~ . At this There arc counterpoints of chord clus. synchroscrialism. Sprecl,slimme, guided ulate Robert Jones. all of the perform­ point of the dar, we wcre beyond imny ters, block 5Oundll, and textures, and improvisation, non-verbal vocal sound, ers, soloists, Christ Church and Mr. Bil­ and wc resented his certitude, "'e ha\'(~ there are ilI50 contrapuntal melodies and standard h:umonic derivations in lups for bringing us such a stunning ex­ nothing against ~·otllh tnO\'ements of th~t ~re. atoual, exprcsslonist, and poin­ traditional notation. The larger form pericnce. Lct's hope that lhe work linch the church Coday (as a mailer of ract. tahstlc III the manner of the 20th cen­ of the piece is delineated by the usc a publisher soon. we reel otherwise), but this event sim. tury serialists. But Hamilton is not a of choral refrain which frames soloists ply gave us a bad taSle. His safCIsltl serialist_ He uscs sound and structure Other modcrnitits. altd speakers, by the usc of groups of did nol help. for upressive affect. Throuohollt aU iustnultents in special combinations Barrie Cabena played his own S0- this, there is a clear handling ~f rhythm which are symbolic (the cello with the nata IX on his concert at First St. Kilrl Hass w.. s the banquet speaker and form which does not lea\'e the solo tCllor. for instance), and abo by Andrew's United Church. London, On· (a fCSli\'e banquct which also fta. Jistener stranded or unsurc about when the lise of instrumental interlude 10 tario the following afternoon. Made up lUred fine fOCMI and exccllent musical thin~ hegin :md end, I\ ...s. Lippincou clh'itJc sc.'dinns of the text. Striking cr­ ur a shott CiacoPlfl and a Fugue framed l'luertainment). He dmJlcnged the captured the ideas here: in bct she did fecls on words arc pro\'ided at the out. by thrcc ToccaltU, the work is ill a J\CO 10 producc a rcnai55atlcc of the it M'I surely that we were surprised OIt sel when the choir echocs gil'ell words mild tonal idiom in which bn"\ ilY is church'!! role in cOllteml)(mln' musical the effeminatc and weak effect of the of Ihe soloist 50 as to underHne them a \'irtuc. The first toccata is a trio with culture. Along it 100 hael Messi:ten piecc which followed ii, In ttttuically. The rirst seclion cnds with a piuicalo·lype jan bas.... the second is 111O~e lin~ . i~ that kind of juxtaposition, the ~rC5- a hll~e and lIIas.~i\· e choral "Trisagioo" :m ,\8,\ fonn trio. and the last a little thai more of Ihc puhlic l'Oulc1 not ha\'c siaen simpl)' did not ha\'c the logic (in English. of course: "Holy, Holr. more full·blown wilh rapid, flighty 'ware! che \'.trious modern and COllie",. and order. the substance and cohesion Holy"). Jmt as one gets used to the passage work. The ciacona and ruglle pCJrolf}' picce.. performt'cI .tt thi!; ),car·,.. that the Hamilton piece did, It wa~ 1I0l symholic and tttetaphorical language of arc completely traditional. Man), de­ Miel .Winter e\CnL They would hOI"" thc fault of the pcrforma.nce, hilt mlh- the tcxt from St. John the Divine. texts lighted m the not·l00-ach·cnturesonu·. IIl't.'n creatcd wilh .1 fe3st. _ R'i

The Glory of J't.'nirt.'; Gabrieli in San rhoirs in 12 parts; Jubilate Dt.'o (1615 ) notatiun and proportions. The InrliM Record Reviews Marco. E. Power Biggs. organist. The to 10 parts. i~ alwa),s kept c1ea!'y, and the propor­ G~ Smith Singers. The Texas Bo)'s Here comes the second release 01 tlOIl5 of one seclIon to another are (ConO'IIIt.'d from page 15) ChOir, The Edward Tarr Brass Ensem­ works by G. Gabrieli recorded at SI. balanced ...nd the rhythms 50 often lost ble. Vittorio l\'cgri. conductor. Colum~ Mark's in Venice with .. stellar cast! It cOllie \'cry much ahve here. The re. bia. M·30937. Program (all by G. Ga­ is very welcome indcl'tl. All those who cording is technically superb, and the bril'l i) : Tfltorraticm on 'he IIlI. Tone; have heard the first recording and likc balance between choirs and instruments Jubilate Deo for double choir in D·nat il wiH want to add this one to their is fine - a result, no doubt, of the u~ thoughtful, but no less eXciting. His major; Magnificat for counter tenor, collection. The music is rich and lus­ of oW instruments by the brass ensem­ clear articulation makes the Bach chor­ ble, who nc\'er "blast" in the modem ale preludes work "ery well, and he tenor and brass: SUluxil Christus ror cious stuff. It is superbly performed by :tho, tenor and bass; Nunc Dimillis ror people who know what they ;:ue doing band or orchestral manner. This is ex , displays a very fine grasp of French citing music aurally, and we are slill Fr:lIlCk, .1 choirs in J4 parts; Intof/atinn on tht.' Slylisticallr musically. It is romantic slyle in the Anti the ami espe­ carr)'ing wilh us Ibe s(unning cUL'c, ul mechaniCiI action orgalt5 scne all of 2"ld Tout.'; Arrgt.'llu ad Pnslort.'J ror 2 Cially tefr(.·!JtiItK to hear performances (he opening. statemel!t of the Magnifi. the music splendidly. It is a recording choin in 14 parts; Tntonation Of! the of Ihis music conducted by someone cat. (,et thiS Teconhng. and you will well worlh having_ 3rd and 4th 'ro,,~si Regina Codi ror 2 whn undCIS(3nd~ renaissance It1cn suraJ lou. _ RS

16 THE DIAPASON POsmv Roh,n6le 8 h. 61 pipes Mudler-Huoter Builds for Dobn 8 h. (Swell) Dolan Celesle 8 h. (S"'ell) Bel Air, Md., Church Spillnole " h. 61 pipes Dolcan 4 ft. (Swell ) "fhe MudJer·Hunter Co., Inc., of Dolean Crlule .. fl. (Swell} Philadelphia, Pa., hal recently com­ Nazard :;,n It. 61 pipes pleted a large 5·manual instrument in Spitzoctave 2 ft. 61 pipes the Bel Air United Methodist ChUrch Tien:e 1~ ft. 61 pipes tiel Air, Maryhmd. The new instru= Cymbel lIt 18l pipell ment, which also includes an anti. Oboe-Schalmei 8 It. 61 pipes T~moIo phonal division, is IOClted in the rear of the ~hurch. Mr. C. CI:uk Jones is PEDAL the chalOnan of the organ oommittee Resultant 32 ft. and negotiations for the organ wer~ Pnncipal 16 ft. 12 pipell handled by Frederick J. Schurig of the Gedeckt 16 ft. 3:! pipes Mudler-Huntcr finn. Spitzpmba 16 h. (Swell) Principal 8 ft. 32 pipes Wayne Steenson, 11. of Salem, Ore. is GREAT pidured at the Hook ond Hastings argon Gedeckt 8 (t. 12 pipes Principal 8 fl. 61 pipel Spitzxamba 8 h . (Swell ) Bourdon 8 ft. 61 pipel In the old Church in Portland where he Choral Bus 4 rt. 32 pipes Octave 4 ft. 61 pipe!! play.d a noon recital Oec.. 1 b.'are an Gedeckl " h. 12 pipes SpilzfiOte .. h. 61 pipel audience of neorly 500 people, receiving Malun: III 96 pipes DoubIetie 61 pipes a .tanding ovation. The church. built in Tnampet 16 h. 32 pq,e. 2 It. Cl'Qmol'lle 16 fl. (Swell) PounUture III 183 pipel l11B2 and now owned by the city. Is a Trompetle h. 61 pipes TheociDf'e Gilbert &. Auocia.... Wilbra· Trumpet a h . 12 pipes a major tourilt attraction and is fCllnov. Cromorne 4 ft. (Swell ) Clarion" ft. 12 pipu throughout the country for It. "Carpenter hllm, Ma"•• hove embOlhd on the build· Chimel 25 nolel In8 of a ..rie. of instrumenb in an en· Chi .." Gothique" archil.dur• • The tracker action deavor to recapture the chllrm and Inti· SWELL organ, one of the oldest in use on the mocy of .mall music-malr.ing group.. The Viola 8 ft_ 61 pipes W ••t Coast. was .hipped around Cape posili.. organ pldured above I. an. Viol Celeste 8 It. 49 pipes Horn and installed in 1883. of the... It Is paHerned after .mall in.tru­ Fritzsche to Build for ChimneyOate 8 h. 61 pipes Young Steenson, who has .tudied argon m.nts built in the r.naissanc. period. and SpillfiOte .. ft. 61 pipes for only 8 month., hal already performed Lehighton, Pa. Church Prestant .. ft. 61 pipes It wo. built for a choral group .peclalizing at the Cathedral of Sf. John the Evangelist Principal 2 fl. 61 pipel In madrigal. ond port lOng" A tobie-top The Paul FritZ5Che Organ Co .• AI · In Spo1cane and tap« recorded lor broadc01t Plc:in Jeu III 183 pipel ov.r radio station KOAP.fM in Portland in orvan, it 1. hond'l"'mped by line IIf the lentown, Pa., rtttntly signed a contract Oboe. 6 ft. 61 pipa s1ngers from two double-loki bellows at with Trinity Evangelical Lutheran Tremulant S.pt. Hi. 6minute recital induded Hark the reor of the In.trument. Th. person pump­ Church. Lehighton. Pa. for the building a Vaic. Saith All are Mortal 8oc.h; p,.... ing must anticipate the phra.lng of the of a new 5·manual and pedal pipe or­ CHOIR Iwde and Fugue in F. Lub.ck; Rigaudan. mu.ic, and with a short initlaltan one gan. Choir. console, and organ will be: Gemlhorn 8 fl. 61 pipes Camprai Plainte from Suite Breve and Ac· elln pump and render a .... ry .t.acly pre.­ Gedeckl 8 fl. 61 pipes d amatlans from Suite Medevialo; Langlais. A located in the gallery of the new church. RobrlJiite 4 It. 61 pipes .ure. Surprl.ingly. ...ariatlon. In pressure portion of the recital was h.ard throughout The Great division will bc elcv:ued Nazard 2~ II. 61 pipes IIr. not repugnant, but add II human touch above the Swell and Choir, and it will the .tate on chann.1 12 tel.... ision news. He BlockOate 2 ft. 61 pipes I. an organ and piano .tudent af William fa th. musie. The ca.. is of lOUd rosewood be completely exposed. Mr. Robert Ten: I~ ft. 61 pipes with afnaftHtnts of gold. The Ir.ey compass '\'uesthoff of the Fritzsche firm han­ Krummhom 6 h. 61 pipes fawk. b from C to r:', 049 flute pipe.. Th. bel­ dled the negotiations with the church Tftmulant lows unit may be eallly detached 'rem in consultation with Mr. Eldon Leld. the orvon for tron~ation. inger, organist, and Rev. Paul Spohn, ANTIPHONAL Rohrfl6te B It. 61 pipes CHURCH OF THE HEAVENLY REST puor of Trinity Church. Spitzpnncipal 4 ft. 61 pipes KoppelOChe .. ft. 61 pipes ADDS TO AUSTIN ORGAN New Tellers Organ GREAT Oetave 2 ft. 61 pipu for Oklahoma City Princip~1 8 fl. 61 pipes Scharf II 122 pipes In 1961 a program to enlarge and reo Metal Bourdon 8 ft. 61 pip" Tremulant vise the Austin organ in the Church of Octave .. fl. 61 pipes A new S-manual and pedal organ Fifteenth 2 fl. 61 pip" the Heavcnly Rest, New York City, built by Tellers Organ Co., Erie, Pa., PEDAL Fournilun: IV 244 pipes Principal 16 It. 32 pipes was begun. The projcct was about 80% has recently been installed in the 'Ves­ Chimes Gem.hom 16 ft. 12 pipes completed during that year. In subse­ Icy United Methodist Church, Okla­ Bourdon 16 fe. 32 pipes quent }'cars work included the addi­ homa City, Oklahoma. The organ was SWELL Principal II ft. 12 pipes tion of a Comet de Recit V to thc designed by the Tc1h:n suff from a Kohr Flute 8 fl. 61 pipn Bourdon II h_ 12 pipes BombanJe dh'ision; a Tieru: Mixture sprciUc::ujon prepared by Robert R . Salidon.1 8 h. 61 pipn Octavc .. It. 12 pipes V to the Solo division. and a Grand Miller. Tellers representatil'e in Dallas, Vrn Celesle 8 II • .f9 pipes Choralfl

Crafted 10 meel the demands of today.

And tomorrow.

lox 143 Irookty., Pa. 11113 717-2"-4132

••••••••••• "ORGANERIA ESPAROLA" (Madrid) CLASSIC IMPORTS, INC. • Top quality, any action type requIred, in spite of higher impart lax we are slill very competitive, and have comparatively early delivery. Send 1300 Pine Tree Drive, Melbourne, Florida 32937 • us your specs, and leI us make a bid. "II propably will surprise you"" ...... • D. Whiting, Rep. (A.G.O.) 609 S. Grand Ave., los Angeles 90017 Telephone: 305 n3·1225 FEBRUARY, 1972 17 LUDWIG ALTMAN robert anderson SMD FAGO $l1l'i FrandKe Symphon, Orch.,'re Soul ..... Moth ...... URI.orally Organ Recitals T...... _ ••-liI

CoIlforNa PaJac. of tIM ...... Ot' o.lIell, To ... 75222 Devon O. HoUi~worth, Chicq:o, IL _ - Red.aI progroau fat Induslon , .. theM Trinity Lutheran, Skokie, IL Dec. S: Pawa. pages must ,.ach THI! DIAPASON within caslia in C minor, WeI' nur den lieben Gott, Prelude and Fu!,!e in A minor, Bach; Tiento Joseph Armbrust HEINZ ARNOLD six weeks of performance dat•• de loto tono, De Solo; raso en do major, Mus. CasanovAS; Variations on America, [vt'S; Dj· M. fAG.O. O.M .... alogo from Suite in Modo Conjuncto, Van David Britton. Sanb Monka. CA _ Whit­ del' Hont ; An Advent Wreath lor O'lJan, Church .f tho Holy Com/_ STEPHENS COLLEGE tier- College, Whittier, CA Of:C, 12 : PTeludc Jack C. Ooode; Allegro from Sonata on the and FulfUc in D, Buxtehude; Fan tali. in G 9.fth Plalm, Reuhke, Su","', South CantUna COLUMBIA. MO. minor, Cbcona in D minor. Pac:hclbcl; Pas­ Peter J. Onne, St. Cath:uines. Onto - tornle, Nnw dance And alns. Fupc a la St. Paul', Cathedral, Burralo, NY Jan. 7: Gigue, Bach; A Triptych or FulJUcs, Near; Del' Tag der ist 10 (reudenreich, Nun Irrut Sonnet, Waher Arlen; Elernal DesiSru and euch, Das alte lahr verwangen i.t. In dir ilt WILLIAM H. BARNES God Among U. (rom The Nativity, Yes. Freude, Bach; La. Nativite. Langlais; 2 set· John Barry siacn. tings In duld jubilo, Bach. ORGAN ARCHITECT & DESIGNER William R. Leonard. £1 Montc, CA - Holy George Decker, Syraeusc, NY - Fint Author.f ST. LUKE'S CHURCH Trinity EpiICopal, Alhambm. CA Dec. 24: 3 U nited Methodist, Syrnaue Dec:, 13: Toc­ THE CONTEMPORARY AMERICAN ORGAN settings Yom Himmel hoch . Pachclbel. Zachau cata in F, Bach: 2 lettin~s In dulcl jubilo, and Meffer; Noel of the linle helb, 901 w. s.maJayuca B1ch and Dupre; The Spinner, Prrlude and on.,., LONG BEACH. CAUFORNIA Maryott: PUtI' nobi, in Bethlehem, In duld FuJUe in G minor, Dupre. , ...., ArborI. 15704 jubilo, Bach: Adesle fiddi., Christmu Carll· lon, Uonard. Robert McNulty, Albany. NY - All Sainll Cathedral, Albany Jan. 2: Now thank we all Jobn KlWJl:I, San Diqo, CA _ St. Paul', our God, Bach; l.c:Jende, Vkme; Andante Epitcopal, San Dieso Jan, 2: Palilorale in from Conarto in F, Handel: The Kinlt' of Wm. G. BLANCHARD F. Bxh; Fantasy on lIow brilhtly ,hines love my Shepherd is, Milford; 2 sellinp Glo,.,. lbe mornin, nar, In duld jubilo, Mall'ifi. to God in the: hiShest, Peppin,; Pre;lude on ROBERTA BITGOOD ORGANIST at primi loni, Fugue in C, BWilehude. Rhosymedrc:, Vaughan Williamsj FuSUf: in E­ POIoIONA COLlfGe Robert L. Wyatt. New Yotlc. NY - St. nat BWV 552, Bach. Assisted by the Ca­ Fir.' Conpfltratlonal Church CLAREMONT GRADUATE SCHOOl. I'ancrns Church, Olendale, NY Dec. 12: thedral Choir. THe CLAREMONT CHURCH RiRaudon, Campn.; Jesw JOY of man', de-­ lloyd Cast. Albany, NY - All Sainll Ca. BATTLE CREEK. MICHIGAN ClaNman' Callfomla sirinl, Trio Sonata in £..nat, AdaJia (rom thedDI, Albany Jan. 16: How brillhtly ,hinc.s Toccala, Ada!io and Fugue in C, Prelude the morning star, Pachelbe1: Prelude and and Fugue in 0, Bach; Choral in B minor, Fu!,!e in C BWV 329, Bach; Andanle Franck, Scherzo (rom Symphony 2, Vieme; sostenuto from Gothic Symphony, Widor; Toc. DAVID BOWMAN Te Deum, Chant de pais, LanBlab; Final cata in D.nal, Jonlen. ETIlEL SLEEPER BREIT from Symphony I, Vieme. James H. L:u:enby, Schcnedady. NY - All D.MA Lenora McCroskey Stein, Cambrida:e, MA _ Saints Cathedral, Albany, NY Jan. 23: Gloria Harvard Mem. Church, Cambrid~ Jan. 14: ( Parish Mass), Couperin; Pi«e lIeroique, Organist and RecitaIist Prelude and Fu!,!e in E minor, Bnlhns; Franck: Litanies, Alain, AssistC"d by mem­ Alabama State University Hcxachord Fant:uia, Sweelinck; Toccata ben of SI. George', Choir, Schenectady. Pint Me"odbt QUlrda. Sacnaaea&o. Cal. Quinta, Can:mna Ter:r.:l (Book 11), Fraco­ Marjorie Peacher. HO!tnlnwn, MD _ Montgomery. Alabama baldi; 7 piecn from the Mass, Livre; d'Orwue, John Wesley United Methodllt, Hasenlown de Grisny: Toccata 6 da 'on'\n; alia Len. Dec, 21: SIet:pen wake, In dulci jubilo, Bach; tione, FrobcrgC'r: Capricdo In D, Bohm; Prel. Divinum mytterium, Candlyn; Nativity Sons, ude a.nd Fu!,!e in 0 BWV 550, Bad.. Binsbam; What is this lovely lnsn.ncc, Love. Robert S. Lord, Pitubursh, PA - Hrin1 lace; Advent and Christmat, Titcomb; Noll He..... Bridges Mem. Chapel, Piusburah Jan. IJ: T DCCa b .ur let nutes, Daquin, mWARD BREWER in F BWV .wO, LiflHter Jcsu wir lind hier Clair A. Joftannsc:n, HqentDwlt, MD - FIrst Prelbyterlan Church BWV 73 1, Bach: Wie schOn Iwchtet, Kim. John Wesley United Methodul. lIaacntown horpslchord organ bcraer; Allqro vivace from Symphony !i, Dec. 22: Walee awake, How briShtly .hina Widor. Feb. 1: Wir Ilaulun all BWV ti8O, the moming tbr, Ahrens: Concerto 5 in CharloH_, North Carolina Bach: Imploration (or Bdier, Lanllau; Fan· F, Handel; 3 setting, From Heaven above 250 WEST 104 sr .. NEW YORK, H. Y. 1C1C12S bSLa in C minor K S!U, Mozart; Prelude to earth I come, K.u({msn, Kouscma.leer and Fugue in B, Dupre. and Mudde; 2 lettinp What Child u This, Hlllh Allen Wilson, Bolton Laadin... NY­ Purvi, and Wrilht. All Saint, Cathedral, Albany, NY Jan. 30: John Cartwri,ht, New York City, NY - Dorian Toccata and Fu!'!e. Bada; Sonata 2, St. Paul's Chapel, New York City Ian. 26: JOHN BULLOUGH Hindemith; Passacaglia froID Symphony iD WILFRm BRIGGS Toccab in F, Pacbelbel; Hinno per il siorno A.B. M.S.M. Ch.M. G, Sowerby. del Epiflania Hosris Herodes impie, Fatalo; M.S., CH.M. Farlel.h Dlcldnson Untyerslty Charles S. Moose. Albany, NY - All SailllI Prelude and FUlue in B minor, Bad.; Hen' St. John', In the Village ' ..neck, New hrMy Cathedral, Albany Jan. 9: Pr'OCf:S$ional, Varia· Christ der cinig Gotles Sohn, 0 sUuer Herre Memori •• Methodist Church tions on a Hymn TUne, Mac.hw; Fanfare;, Jt'Su Christ, GoUes Sohn ist kommen, Wie New York 14. N. Y. Whit. Plafnt, N.w York Proul't; Fu!,!e, Chorale and Epilogut', Howells. schon leuchtet, Walcha.

ARTHUR CARKEEK EARL CHAMBERLAIN Charles H. I'll. D•• f. A. O. o. M.S.M. AAG.O. GEORGE FAXON f.T.C.L DePauw University Orgauist TRINIlY CHURCH FINNEY ST. S1!PHEN'S CHUtCH Cllalna_, Dfyw.. of M'" & Art Gobin Memorial Church H,,"hIen HHRht .... N.Y. GrrcncutJe, indiana BOSTON c...... Colo ..... Haughton W..s.,... MetMdltt CIHrrda

Cru..... dn A""nI SpoDIOr CHICAGO Bobert ClarA CLUB OF School of Music Robert Finster HENRY FUSNER WOIIJIN DMA S.M.D., AAO.O. ORGANISTS University of Michigan St. J.hn'. Cotheclrcd First .resbyt.dan Church Anamay OWm Wales, President Ann Arbor Denv., Nashvil", T.nn..... 37220

Harry E. Cooper WALLACE M. COURSEN, JR. LESTER GROOM f.A.G.O. Antone Godding Seattle MUB. D., F.A.G.O. CHRIST CHURCH OIdaho... City Unl.oraIIy Scultle Pacific O,urd, of the ILooMflElD RALEIGH, N. CAROLINA AND OL!N RIDGe, NJ. School ., Mulle College Eplpbanr The Kwb.rly 5th.. I, M..,tdair, N. J. 11010., W. ""...... Chopol 98119 98122

KATHRYN ESKEY DELBERT DISSELHORST E. LYLE HAGERT DAVID S. HARRIS DMA The University of Church of Our Saviour Ccdu

GEORGE ESTEVEZ EARL EYRICH YUKO HAYASHI Classified Advert~ements duo. faculty First Unitarian Church in THB DIAPASON Director new england con ..rvatory bring results CHICAGO CHAMBER CHOIR Providence, Rhode Island boston

THE DIAPASON HOWARD KELSEY GEORGE E. KLUMP Organ Recitals DIVISION OF THE ARTS Wamlngton VnWen/ty DALLAS IlAFnaT CoLLma Saint Louis, Mo, 63105 DALL\S, TEXAlI 75211 Harold Edward Wills, Harcntown, MD - Rollin Smith. Brooklyn, NY - Brooklyn John Wesley United Methodist, H~lJCntown Mwe:um Nov. 14 : Fanrare, Eldridle; Bv.uty Dec. 23 ~ Jau joy of m:.n', desiri ng, Jetu pritt­ in the ROte Garden, MacDowell; GlrOUnd. ku 'n::u\l~. To Shepbenb as they watched, Purcell; Pnlude in G minor, Bird; M arch, J. MAX KRUWEL From heaven a bcn.~ to rar1h I come, Now Yilmold; Adasio in E minor, Bach; Henry cometh the S3. ... iour of mankind, All praise VJll-M a ~he du Synode, Saint-SaEru. Nov. 2h A.a" • • MUS., M.A., '.D. ARTHUR P. LAWRENCE to Jesw' hallowed name, A Babe is born ct.orus 01 Marinen from Lcs Feta d'JUM, in Bethlehem, 0 Thou of God the Falher, RlmeaUj Hymn to SI. Cecilia, Gounod; Dia· Second ' ....byterlan Church Doc. Mus. Arb, A.A.O.O., Ch.M. Vi\oxe from Trio Sonata in D minor, Bach: logo per urgano, Banchieri; Song of India, Vesper Concert Organllt Solnt Mary'. CoU... and Deck thYlcU my soul with s ladneu. La how Rimsky-Korsakolf; Humoreske, Dvocik; War MIchigan and 20th St. The Unlvenity of H.t,. Dame II. rme, DlOI hms; Let all mortal flesh keep Maret. of the Priests, Mendelssohn. Dec. 5: t ilentt, Will ... Fugue on a RUSlia n Carol, Glierc; Lo how ChlcaGo,60616 Notr. Dam., Indlona 46556 J;unes Mettler. Hartford, eN - Fint Pres­ a rosc, Brahms; The Cloister and Pastorale byterian, Hartford Dec. 9: Toccal:l in A mys tique (rom Le jongleur de Noh'C.Dame, minor, Sweclinclc ; a Lamm Gotlet, Pacbcl­ M:uscnetj Christm.u 1914, Reger: P;II rade or bel: Fugue in G, Bleh; Chonal, Viunc; Ih Wooden Sokliers. jascl. Dec. 12; Caril· 1\1118'10 101' Sui"", Barber; Variations on lon , The Shepherds at ehe Alanaer (rom The RICHARD W. L1TTERST William MacGowan Vcni errator, Duron.;. Dec. 16: W:acbe.t Christm;u Tru, LiDt; Pastoral Dance on auf. Walther: NOiei sur let rIules. Daquin; 2 On ChristmlU Nishe, Millord; Nativity, To~ M. s. M. renin!, In dulci jubilo, Dup";, Bach; Adale res; Noel 10 in G, Daquin.Dupre; Vari:.tion. AU SaInts (hutch Fidclis. rVts; F;antasic in G minor 8WV 542, on a Noel, Dupre. SECOND CON®A nONAl CHURCH Bach. james W. Good, Louisville, KY - Fint Pasadena, California C. Rrmclall Williams, HaJenlo~' n, MO - Presbyterian, Richmond, KY Nov. 16: Rockford, Illinois John Wesley United Methodist, Halentown All' Orrertorio, All' Elevazione, Zipoli: Prel. Det:. 20: NoC!l Suwe, NoC!l lroand jeu et duo, ude and Fupe in E, Buxtehude; Canonic Dlquini Lo how a rose, Brahms; 2 .ettingJ From Variation. on Yom Himmel hoch, Bach; Frederick heaven above. Pachelbel: Be thou in elmest, Passacaglia from Symphony in G, Sowerby; ASHLEY MILLER l':arg.Elert; How brilhdy .hines the morn­ Cod 0( the E.J::panding Univene, Feldano; ing .Ur, Bustehudc; Gfftnslt'n'CI, arr. Wil­ Fantuia and FUJUe in G minor BWV S42, MARRIOTT 0.0.0 . llarm. Dec. 24: Noel Pnn'encal, Bcdt:I1: Noel Bach. ~ 4! The Detroit Institute en musette, Daquin; Dcsscins elrmels, Mes· Roger RlJA'ell, Chiaro. IL - Zion Unit siaen: Low M3IJ lor Chri.lma. Evc. Requier; Methodist, Mendota, IL Dcc. 19: Prelude of Musical Art, Detroit. N.Y. Sod..,. (0' Ethical ("hure Ariil pntor-.lis variilta, Munchhauaer; Fling on Veni Emmanuel, Groom; Wie 5Ch6n Organist, The Detroit Symphony wide ahe eales, Kars·Elert. leuchtet, B~tehude; Wachet auf, Bachi Lo 2 W••• 64th St., New York aty Bruce R, Henler, New Britain, CN - Fint how a tole, arr. Da¥idson; 3 letlinp Gfftn­ l'rabyterian, lIarllord, CN Dec. 2: Prelude sleeves, Rowley, Wright and Purvis; A and FUlue in G minor. BWl:tehude; Nun Christm;u ra.torale, Weaver; Briog a toreh, lumm der Heiden Heiland, Blch; Toccata God JUt ye merry gentlemen, Williams; HAROLD MUELLER i urn Suite op. 5, DuraDe. Christm:u Suite, Mitronl; Noel lrand jeu et ROSALIND MOHNSEN F.A.O.a. Lloyd Da¥is, Barringlon, IL - Salem duo, Daquin; Toa:.ata Festi\':I, on In B.bj· Wellmar College vnited Methodist, Barringlon NOlo'. 21: Partita lone, Purvis. Trinity Episcopal Church un Ach wie nUchtil, 8Otua; :1 )liccCi lor a FI'Cd. TuJan, Stockton, CA Busch· Colvary Methodist Church Mt'clIanical Clock, Hlll"n; A mtshty lort­ Reisinser Museum, Cambridge, AlA Nov. 24: T

WILL O. HEADLEE LAYTEN HECKMAN JOHN KEN OGASAPIAN Stephen J. Ortlip, AAGO SCHOOL OF ~1l ; SIC Safnt Anne'. Church ChaHanoola loy. Chol, SYRACUSE UNIVERSITY Holy Trinity Lutheran Church Malsaehvseth Sta•• Co..... Lookout ,,.lbyl_latt Church SYRACUSE, NEW YORK 13210 Minneapolis, Minnesota 55406 Lowoli Sewall•• Summer Mask C......

SAMUEL HILL FRANK K. OWEN WILBUR HELD SL Paul', Church Jack Ossewaarde ...... -RedW. SM.D., F.A.O.O. Chictogo, JUinoil SL Bartholomew's Church Ohio State University Carthage Collrge Trinity Church New York St. Paul's Cathedral Kenosha, Wisconsin COLUMBUS, OHIO Los Angelea 17. CaJIlomia Harry H. Huber JOHN HUSTON RICHARD M. PEEK M. Mus. Sa<. M»t. Doc. Franklin E. Perkins fiRST PRESBYTERIAN CHURCH 0.0.0. - rh. D. ~sas Wealeyan Univenity TEMPLE EMANU.EL Covenant PresbyterIan Church 1M Ladue Chopel Univenity Methodist Church St. louis, MlMourt New \'ork City SALINA, KANSAS 1000 Eo Mo..Jo.ad Charlott., N. C. Univenity of MhlOUrf, St. Lou"

ARTHUR A. PHILLIPS d. deane EUEN KURn MYRTLE REGIER JACOBSON AAGO Ch.M. F.T.CoL hutchison Mouat Holy .... c:.u... M.Mua. A.A.G.O. St. AIMU" COtt.r.... lo .... Church portland, or"llon Concord, CalifornIa 172-17 St. Alb ...I, N.Y. 11434 Sctuth Haelley, Ma... chUMlh

Organ Builders and * . Rebuilding FRANK J. SAUTER SONS Inc. • RepaIring * Phones: 388-3355 • Contractual Servldnll 4232 We.. 1241h PI .... PO 7·1203 Alsip, illinois 606S8 For Unexcelled Service

FEBRUARY, 1972 19 JOSEPH MARCUS 51. John', Cathedral Organ Recitals RITCHIE Jack Edwin Jloqen TRINITY CHURCH Art}ulIIr A. VHlrkh. Pitubilrrh, PA - l lli­ William R. Hencl, Fnnklort. KY - South NEW ORLEANS Jaclcsanville, Florida noU Wesky.!,n U" Bioominiion. IL Nov. II: Fnnllfort Prctbyterian Dec.. I!I: Te Dcum, Concerto .. in C BWV 39$. Bach; Canon La Nativite, Lanllaisj Prelude in C BWV and Gigue in 0 lor 3 violins and continuo, 5-17, Canonic Variation. on Vom Himmel Puhelbeli Concertn for orsan and orchest.,. hoch, Bach; The Shcphcrdt, Meuiacn: P.. - op. 414. Handel; Concertanlc 3 (or orB;!!n, tonic, Fnnc.k; FantlUia on HoW' bri,hd)' JOHN ROSE celeste _nd percussion, Pinkh.p.m j Faaq' and .hinea the momins .tar, BWltehude; Postlude RUSSELL SAUNDERS Ayre. J. W. Jenkins: Corl~e et Litanie. pour l'OUice de CamplilCl, Alain: Carillon Durpre. Orc:hetlr:t. and enscmillu conducted Sorlie, Mulct. cathedral of the sacred heart hy Wayne P. Messmer and JeU Naahauler. Eastman School af Music Gcorwe Ritchie, Durham, NC - Trinity newark Lee Jessup, 51ln Fn.ncbc:o, CA - 51. Paul'. Pnabyterian, University City, MO Dee. 12: Unlverslly of Rochester Episcopal, Walnut Creek, CA Dec. 5: Prel· Prelude and FUlue,in C BWV MS, Nun lIomm ude, Fusne and Chacnnne in C, Now pray der Heiden Heihnd BWV 6S!), Prelude and we 10 Ihe Holy Ghnlt, Buxtehudc; Prelude Fugne in D, Bach; Voluntary in D, Boyce: and FUlllile in D, B'u:h; Double Concerto in Suite cvocatrice op. 74, Toumemire; Thrcnm, K. BERNARD SCHADE C, Soler; Fail"PSt Lord JICIUJ, Schroeder; 0 Hamilton; Finale fram S"mphany I, Vieme. God, ThOll faithlnl Cnd, Bmhm.; Haw fair S.M.M. john h. schneider and how PIt"olSanl art Thou, 50 now u we Edmund Shay, Beloit, WI - Beloit Collcwe STATE COIUOI journey, Gloria, Dupre. Anilled by Allamn Dn:. ID, Church 01 the Ascension, ChicaBo, lL Stow, harrsiehonlilt. Drc. 19: L:t Natkite du Seisnrur, Messiaen: EAST mOUDSIURG, PA. CaIvuy Pleobyteaiu Cbun:h Variation. lur un Nnel, Dllprr.. WDrbhopt ..... lectv,. Karel P:lUkert. Evanllon, IL - 51. Paul'. Riverside, Ca6fomia Cathedr.. I, I':uabul"lh, I'A Dec. ~: TDCCala, CUries L Dirr, Bloomin,IUIII, tN - lr.uJ. Th. Kodoly Chor.. MotIood Ada5io an:1 F"sue i •• C, Bach: Sonata on the uate recital, Indiana U. Dec. 3: Ilrdude 1I,1d !Ulh l'iIlhn, lteublte; alto Mina in AUlulli;" Fugue in C, LeKJins; Trumpet VoIun,uy in by lIay~n wilh Calhcd ... 1 Choir under di· D, Stanley; C'nlurua hi G minor, Offutorio, rcctiOl"I oC PIIIII J\.och. Zipoli; Magnificat ill G. D'llldricu: Clui.1 JOSEPH SCHREIBER Can E. Sc:hroedcr, Laneuler. PA - lIoly unser Herr 711111 Jordau !tam BWV 6&1, Robert Shepfer Trinity 1..,lheran, Lancaller Dec. 17: Prel· Prelude and Fu,"~ ill 0 BWV ~l2, U:.c:h. Incl. pend.. , ' ...... yterian Church ~ ..... Chi'" ••• ude and Fu,ue in C, B:.ch; Prelude in B· nat from Suhe op. 5, DurtlOe. AliD aria. Allan Slo¥enllay, Dradlurd, P,\ - Finl .Irmlnlho__ ...... Col .... SECOND PIUIYTElIIAN CltURCIt by Handel and Horalio Parker ,uos by Wal· United Methodist, Uradford Dec. 5: Concerto 1...... ,.1lo, I"'''" 46UO ter Blackburn, lenor. in G, B:.ch; .. senin.!. on The Morninl Star, linn"'...... , Alabamtl R_ Bleb, Pachelbel, Karll·E'ert, And Walcha; Lvann Colem:ult Chic,o, IL _tudenl of Fanlaitie in A, Franck; The Nativity, LanS­ 'Iemerl L. While, Jr., Sherwood School of lail; Second Suile, BoHlmann. Music, Ch'elIBo Dec. 8: 3 piccu frum Pari.h MIlH, CatlltCrin: Wie Ichan leuchtet, David Gooding, Cleveland, OH - First ROBERT SMART Bmtehude; Schmikke dicit, Sonala in C, United Presbyterian, Bradford, PA Nov. 28: Bach; Introduction and Pa&laClllia, Reger. Chaconne, L. Couperin; Baue et dessul de L. ROBERT SLUSSER S~P_I""" TrIDlty Epbwpl anuch Elizabeth A. Miller, Hilh Point, NC - trompetle, Clenmballlt; Concerto in G, Meinc MUS. M.. AAG.O. First Preahytcrian, IIIl1h Point Dec. 10: Seele erh~bt den Herren, Toccal.3. aud FUlu~ S"-CaIIqc Preludes on Webb Hymn Tunea, Vaulhan ill D minor, Bach: Von Himmel hocll, Knbl; LA JOllA PliSIIYTElIIAN CHURCH Williams; Silr.nl Nilhl, Barber; Variatiom Noel lrand jeu et duo, Daquin: Te Deuln, LA JOLlA, CAUFORNIA CoJacftp=-",~ lur un Nnel, Dupre. Lanlllai.; Variations 011 Herr Jelill h Jt eiu --. Garlchen, Peeten. Clarence Wallen, Hartford, eN - Ca. Ihedral 01 SI. John the Oivin~, New York, Frederick ButprllUter. BuUalo, NY _ NY Dec. ID: A Memorial Tributc 10 Mar~1 St. Paul't Calhedral, Buffillo Dec. 12 : Toe· Dupre: l'relude tl FuJUC en B Majeur, cala Rnd Fquc in D rni"or IIWV .56S, Carl Staplin SymlJIIOUic'Pllwon, 5 ptCCCl lrom Le Cbnnin Sleepen wake, Bach: Come Sll\"ior of lhe de la Croix, Variatioru lur un Noel. lenlikl, Buxtehude: Prail(! be to TItC:e I..cmJ ROLLIN SMITH "'.D. A.A.G.O. Jaw Chrisc, Walcha: Chorale in A minor, REPERTOIRE RECITALS Dralee Unl ...... ty Robert D. Lo,'e, Mesqult~, TX - St. Ste. Franck: Sww Noel, Daquin; Carillon, Sow. DoB_IoI_ Jlhen United Methodi.t, Mesquite Dec, IB: emy; Gnensleevea, Wrilht: The Shcpltt'rdt, a ...... a/ (Iv I..tr of _ University Chrl.tian Church 1150 Forty.[int Sera" BrUokIJa. 11211 nll·Bach: FUluc on the Ma,nificat BWV God Among UI from Nativity Suite, Ma­ N1' DES MOINES, tOw", 733, Prelude and FUlue in A BWV .536, .iaen. Dec. 17: Noel ,rand jeu C'l duo, l'aMIIC:lglia and FUlllc in C minor BWV Daquin; Gotles Sohn ill kommen, Herr Chriil 582, Advent and Chriltmal ChomllCl (rom der einize Golles SollO, Der TalC der ilt 141 the OrgelbUchlein BWV 599-612. IN!udenrek:h, Vnm Himl11e1 IU fC: h, RAd. ; 1'.11' ADOLPH STEUTERMAN tonic, Frand. Orrin C/Qgton SutMrn, II JPhn Upham, New York, NY - St. Paul'. Mus. Doc.., FAO.O. Chapel, New York City Jan. 19: Hymnus A William Self, Ulia, NY - Calvary Epitat. solis orlul ardine, de Grisny; Gelobet seiu pal, Utica Ore. 7: From HeaVeR Hilh, Pach. Soutlo_m at MomphIo du, Yom Himmel hoch, tch Ileh an deiner clbel; Symphonie Gothique, Widor: Revela. Calva" fphoopal c...... Krippc, Jlrppinl; PnliuJe and FUlue in D, tiom, Pinkham; Magllificat, Lanlliail; Fi. Bach. nal from S)'rnphony 3, Vieme. M.mph.. ,' ......

JOHN M. THOMAS - AAGO C. GORDON DAVID A. FREDERICK SWANN Organl.t - Director Fram. MemDrial 'rMbyterion Church The Riverside Church Staff: Ualv.nky of WhconJin WEDERTZ R,Ph.D. Stew .... '01"', WiIC. 54411 WE H New York Oly fOfJND£It - DIRECTOR ~w... &Jacm Kentucky Unlvcnlly "CHURCH MUSIC INTERESTSfI AGENCY CHlCAGO_11"'''' Ricbmoad, Kmtucky

George Norman Tucker WIWAM M .... IJach. RUSSELL G. WICHMANN ST. LUKES CHORISTERS FlANCIS Chatham College VOUMIIt Kalamazoo FOR CHArI!. IPISCOPAl CHURCH Shadyside Pre.byterlan BOY CHOIRS IIdya 17. N.Y. Fe. CMpeI, ...... , ... 15m PIHsburllh, Pa. 15232

W. WILLIAM WAGNER WA-LI-RO HARRY WILKINSON JOHN E. WILLIAMS ....D •• '.A.G.O. 5•• '''-yt.n.n c..... BOY CHOIR Aad,.w. MT. LDANON IoIKTHODIST CHURCH ST. MAITIN.IN-tHJ!.IIBDS la .. tIn ...... P,..a.,..I.. Chu,th WAllIN C. MlIUl - DIUC101 Chottn .. Hili. Plt...... -...... "'''odo'phI. lou ...... _ c... rr.. Chrid Church ...... HoItJoh 22, 0I0Io WEST CHESTn STAn COUfGI!, PA.

sally slade warner CLARENCE WATTERS DONALD WILLING George Y. Wilson 0.&.1.0. ch.m. OIUACH 01' RECITALS INDIANA UNIVWlTY ST. JOHN THE EVANGELIST St. John'. Church _Hl11 _ W. Hartford, Connecticut IIoamlngton, Incl.

ALEXANDER BOGGS Recital. and Maller Cia.... Organ Con.ultatlon barclay wood RYAN Cathedral Church of Christ the King FIRST BAPTIST CHURCH CONCERT ARTIST W.... rn Mlchillan University at Kalama_ WorCClter M-..chaarlu

20 THE DIAPASON Organ Recitals DAVID HEWLETT MARSHALL BUSH Renzu Ouja, Veron;l, Italy - St. Mark'. The Cons.rvatDry of Music Episcopal, Portland, OR Dec. 10: .J picel'5 To ...Irict ...... pop to __ ., Chri •• Church, fitchburg, Ma .. 01420 (rum Mass for the Apostles, Frcscnbaldi j 50- of sencraJ In...... ndw. mgqins nata 7, Marcello; Sonata in D minor, Gal­ more lhaa three ol'JPDisII wiD here­ lupi; Concerto in A minor, Vivaldi-Bach; not ... lnduded. Choral in B minor, Franck; Wachel auf BWV .f... 5+1-, 0 Mensch bewcin BWV 622, Passacaglia and Fugue BWV 582, Bada. WAYNE FISHER Calvin H"mnton, New York. NY - Calvary Michael W. Secour, Little Rock, ,\R - C hllrch, New Yotk City No\'. 7 a nd 21: Rock College-Conservatory of Music First United Methodist, EI Dorado, AR music conc~r l with Scv~n Fold Girt en­ Dec. 8: ParUta on lIeut .ingt die liebe sf'mhlr: (indudin'{ u1'I!("n) , Nov. 14 and 28; Christenhcit, Bossler: Prelude on Land of Mllsic in popular slyle by Cah'in Hampton: University of Cincinnati Rest. Wood: Choral in E, Franck; [ am SJmdo~; Bul'ercup: Dear Lu na: Waymaken black but comdy, Dupre; Paean, Leighton. 01 Suciety; Tf'at Do,,"n Modd ( piece ror mini-comparl Farfi,,,); Lulhhy; We Plow j'illih.. ··ffilWfijijlli" •• ,if!iii!!!I!!I! ...... II9IM.jffiillllli.I! •••• h"l!fl!!!!!!.!. !I 11 IH&Il" HiHIHIUI!II!illl!miHi!li!'!Illilliiitfilimmli Gordon M. Betenbaugh, EI Dorado, AR - Ih~ Fidd,: Do You Want to Know. Cathedral First United Methodi.I, EI Dorado, Dec. 15: uf St. John the Di"ine, New York City Nov. ChaCUlilIe in G minor, L. COUperiD: Recil 12~ Fantasy in C, Byrd; 5 Gagliardi, Fresco­ tit! tieree ell tail'e, F. COUperiD: Trumpet baldi; Orrf'rtoirc in C. Cuuperin; Soli cs . Vululilary in 0 , 5t.Ulley; Fugue ill G minor s~in, SI\·~elindr:; Fanlasy ill G, Bacb; Child· Z HWV $78, Wachet auf BWV &15, Bach: hood's End, Halllilton: 5uIl'\ta I, Hindemith; ! ~c~: ~TT-:!LEGE~e: of~a!M Alleluias Jereins, Meni:!en; Fantasy in C, I (; rt"e llslce\'es, l'unli.; Festi"al Flourish, Jacob. Bynl: Allegro maeslmo from Sym.phony 6, Larry King, New York, NY - Trinity Widur, J___ ':_':::=~~'~'~~~:'~~~~~':~~I~~~':~~IONAL CHURCH, HartfoM Church, New Yurk City Jan, 20: Parlita all Benjamin Van Wye, Sal'"01l""a, NY _ Be. WIIS GUll lut. Pachclhtl; Toccata in D mi­ thesda EpiKullal, SaratUjfa Dec 8: Toccata lIur DWV 538, Bach ; Prelude on Land of Giocosa, Mathias: La Tromba, F. Couperi,,; Kl'St . WYIcJII ; Toccat.!, Suwerhy. C.!lIzoni IlOlIi luni e ,eplimi toni, G Gabrieli: 2 settings I" dulci jubilo, Bach lind Earl Eyrich, Providence, RI - Fint Uni· l 'ra~lorills: Te D~UIII, LanRlais; Noel en duo hanall, l'rovidellCC; Nuv. 21 : Fantasia and et Jur In grand, jeux, Daquin; 2 ,cuing }o'ugue in G millur BWV 542, Advent, Christ· Alle'n Gou ill der Hoh, Pachebcl and Bach : mat and New Yu r chorales from the Orgel­ 2 settinRI Wir: sd:on leuchtet, Buxtehude anf' hiit hlein, Prelude and Fugue in B minor M ue'ler·Zu~rich j 3 ,dtin!j:J Yom Himmd hoch, UWV 5+1, Bach: Chorale in B minor, Franck; Pepping; Chaconne, L. Couperin. o Heiland rebs die Himmel auf, Ilt!n die James E. Derr, Hanover. PA - St. Mal· Hirten labtell, F rohlich soli mcin Heru: Ihew Lutheran, Hanm'Cr Dec, 5: Agincourt springen, Zu Bethlehem geborell, Walcha: Hvmn, Dunltable; Prelude, F ugue and Cha· Antiphon 3, Dupft; Litanies, Alain. conlle, Bu."lehude; CIoIoral in E, Franck; MARILYN Air with Variations, Sowerby; Grer:n,Ie1:\'es, MASON Frank A. Nm'ilk, Hanover, PA - Em­ CHAIRMAN, DEPARTMENT OF ORGAN llianud Church, lIanover Nov. 141 Prelude a nd Purvis: Sicilienne. Durune ; God of the Ex­ Trumlleting, Roberts; Refonnation Suite, I' nding Univenej Felciano; Toccata Festiva, UNIVERSITY OF MICHIGAN Krapf; Fantasia and Fugue in G minor, Bach: Purvis. ANN ARBOR SOllata :J in A, Menddssohn: Scherzo-Can, CJroI Hofmann, Fredunia, NY - First "Min Mason played o",s,erity and reHrvtt# demonstrating anew Lallglai,; Aria con \'Driazione, Martini; Con­ United Methodist, Fredonia Nov. 7; TO£cala wit" and Fuglle in D minor, Bach; Introduction cert Piece 01)' 52a, I'eelen . Ite, extraordinary focility • _ ... Dtt. Main.. R.gil..... October 5. 1964 and Toccata, Walond; Falilaisie in A, Franck; Dd W. Case, Answin. CA - Seventh-Day My heart is ever yearning, Brahms; Son:r.la ... Ad"entu t Church. St. Helena, CA Nov. 13: in D·llat ror cello and continuo, Vh'aJdii Echo, llawe mercy 0 Lord. Sleepers wake, J a u YOII; God Amollg UI, Messiaen. Assi. ted b)' joy of man's desiring, Toccata and FUBue Ellen Boal, cellist. in 0 minur, Bach; Chond in U minor, Franck; David J. Hurd Jr., New Vork, NV - Dialogue for mixtures, Langbis; Cqrlege et Tr:nlty Church, New Yurk City Jan. 6; Wit' GEORGE Jchon leuchtet, Buxtehude; Callonic Variatioll' MARKEY litanie, Dupre. on Yom lIimmel hoch, Bach; I'hanlasie 011 Records Markey Enterprises 201-762-7674 Joann Wolle, Lancaster, PA - Holy Tri­ Wie schun leuchlet, Reger. St. Paul's Chapel, nity Lutheran, Lancaster Ilt!c. l O ~ Toccata Recitals 42 Maplewood Avenue ~ew York City Jan. 12: $OI.me program. alld Fugue in F, Buxtehude; Wachet auf, HedlC}' YO lt, New York, NY - Trinitv Instruction Maplewood, N.J. 07040 Hach; Sonata de primo tono, Lidon; Piece Church. New York City Jan, 27; Sonata 2 H~ro i "ue, Franck. in C minor, Mendelssohn : I'relude and Fugur: SroU Mouton, Shreveport, LA - First in B minor BWV 5+1, Bach: Prelude and United Methodist, El Dorado, AR Dec. 22: Fugue iu G minor, DUIJfi, }o'autJisie in A, Fralick; Yom Himmel hoch, William Albright, Ann Arbor, MI - Trinity LARRY PALMER J'achelbcl; I'aslorale and Aviary, Robern; La Church, New York NY Jan 13: Q rganbook I, Nativite, Langlais; Sonata I, serond move­ Albright; Chanu d'oisc.aux, Messiaen . Sinfoni e Organ - Harpsichord ment, Hindemith; J'relude and Fugue ill E Guerrierc et Alllurose, (second and third minur BWV 548, Bach. I'Jfu) , Castiglioni. Southern Methodist University Dallas, Texas 75222

CHARLOTTE WIWAM O.wald G. Orpnll' THE ATKINSON DUO FlutIst D. M. A. FIRST PRESBYTEltIAN CHURCH ARMY AND NAVY ACADEMY OCEANSIDE, CAUFORNIA CARlSBAD, CAUfORNIA RAGATZ BOX 78S, CARLSBAD, CA 92008 • 714/729-2990 Prahssor of Organ INDIANA UNIVERSITY

ARTHUR C_ BECKER, Mus D _, A_A_G_O_ Vernon tie Tllr DE PAUL UNIVERSITY F.A.O.O., Mus. Doc.. S.M.D. Church of the Ascension ST. VINCENTS CHURCH, CHICAGO Fifth Aven" at Tenth 5ttHt J.A.116S L6L.A.Nb New Yorle, N.Y. 10011 Juilliard School of MUllc HOLLINS COLLEGE Union Theological Seminary Edward D. Berryman, SMD Wonwn L Berry ..n, SMD Recitals B E RRY MA N Organ a nd Choral Workshops Organlst-Chofrmaster Head. Organ-Church MusIc Dept. WESTMINSTER PRESBYTERIAN CHURCH BALDWIN.WAllACE COLLEGE Mlnneapoli. Berea, Ohio LAWRENCE George Wm. Volkel SAC. MUS. DOC., FAG.O. Margaret Melvin ROBINSON All Saints Epbcapal Church D I CKINSON Drake College University of Loul.vllle VIRGINIA COMMONWEALTH UNIVEltSITY Lauhvllle 110m Society • RICHMOND, VIICiINIA Fert Lauderclale Calvary Episcopal St. Francls-ln-the-nelds EpiKopal FLotIlDA

Gary Zwicky DMA FAOO william whitehead Eaa_ 1_" Ualvon!ty Ch.r.... on 2344 center street, bethlehem, pennsylvania

FEBRUARY, 1972 21 organ. the principal chorus. O( coune, on 13rger instrumenu a moUer::lte num­ A Su rvey of Organ Literature ber of flutes anti reeds were fountl on the second and third manuals. But the first manual would still be constructed in the strict classic trndition, as a chorus of principals. In :1ddition, some & Editions: Italy builders :1dded to the pedal a single oc­ ta\,e of contrabass; pipes. permanently connected with the pcdalooard. A stOindard characteristic of all Italian By Marllou Kratzenstein organs was delicate, tr:lnspOlrcnt voicing. The division of the Ripieno into single ranks. moreover, provided many subtle ,'ariations of registration within the In Italy. no org... n music previous d'orga"o, cioe Misse Himni Magni/icati section toccata form in some, though principal family - \'ariations which to the 16th century has been preserved .. _ Libra secondo, no date. not all, of his toccatas. These are be· were impossible on a north European olber than the Codex Fatmut, discussed After the Cavazzoni's, the organists lie,'cd to be the carliest examples o( organ having only compound ranks at in the £irst article of this series. One who successl\'cly occupied the posu at the 5-part from which would become a the top o( its principal chorus. The would imagine, however. th:l.t organ the church o( San Marco in Venice be­ standard with many Baroque artists. sweet, silvery tone of the Italian or­ laying was a prominent art in Italy camc the (oremost leaders of organ Giovanni Gabrieli (c. 1557-c, 1612), go.... ns is the result, not only o( the voic­ r.aog before the major documents of or­ playing in northern haly. Most not:1ble s«olld organist at San r..f:1rco from ing. but o( the fact that one could com· gan literature began to appear. Fr.I.!,' among these were Butls, Padovano, 1584 and first org3ni51 from 1586, com· hine one or two of thc highc.."Sl princi. cesco 1...:andini (c. 1335·1!91). AntoOlo Andrr:! ilnd Ciovanni GabrieH, anti posed sc\'er31 org3n pieces, but made pals with the 8' or the 8' and 4', without Squarcialupi (1416.1480) :md olher MeruJo. J:lcques DUll5 (d. 1565), a no innovalions other than the intro­ the nc.."t:essity of drawing out all the famolls musicians were skillful organists. Flemish composer, was chief organist :It duction of Iivc1}" play(ul clements inlo principals in between.) The Italian organ, moreover. attained San Marco from 1541 to 1550. Four or· the sober ricercilr style. In general, his 'I'he transitional period from the its definitive character at OJ very early gan ricercars by him ha\'e been pre­ L:eyboard works were not as effecti\'e High Rcnaissance to Ihe Early Baroque age - in Tuscany in the 15th century, served in his Inlabolalura d'organo di a~ his ensemble and polychoral com­ "as a time o( intense crcath'ity. In and elsewhere in Italy in the 16th. llicercnri .•. Libro I. Venice, 1549. positions. Italian keyboard practicc this revealed The first book of keyboiml tabla­ One of these is a transcription for or­ While Venice was undoubtedly the it.!lclf somewhat in Ihe works o( north gan of :1n ensemble ricercnr (rom a most fascinating and influential center ltaliatl!. but was mo~ t strikingly present tures printed in Italy wa~ t~IC Fro~tole intabulale da jOnar orgam, l,bro primo, part·book collection of ricerc::ars which of organ cuhure in northern Italy. in the compositions of musiciOlns cen­ published by Andrea Antico in 1517. the composer {lublished in the samc tl,erc were also well·known org;lnisu in lefl,"C.I around Naples. Among the norlb· It cont3incd 26 frottolt: intabulations. l·car. A comp:a.nson of the organ p'iece other cities, One was Sperindio Uer­ ern composers, Adriano l1anchieri (c. in which one can see the evolving shape with the ensrmble composition ,11 us· toldo (c. 1530-1570), acth'e in 1'3dna, 15Gi· 1634) stands out because o( his trates how 16th.century composers Another was Girolamo Diruta (born c, lreatises expounding new ideas. He did of OJ keyboard style. added colora.tion to an instrumental 1550) , organist in Chioggia and later lIot compose very many organ works, More important was a collection work when :1dapting it to the org:m. in Gubbio, Diruta wrole :1 treatise en· hut he merits attention because he which appeared in 152~, the Ruer&lIari (See Kinkcldey, Orgel rHld Kltlvier in titled il TrarlSilvano which has the dis· helped prepare the way for Early motelli catlumi Libro I, of Marco An­ der Alwik des 16. ]al,rhundt:rts, 245 , tinction o[ being the first organ meth­ lIaroq~e organists. Ercole Pasquini (c. tonio CavallOni (born before 1490; died where thc organ composition and the od book. In it, the author treats organ 1560-1620) was another progressive after 1559). Two ricercan arc pr~nt in beginning of the ensemble composition playing as a separate entity instead of thinker. He compo5Cd in a transitional this collection and represent the first arc reprinted)_ handling alt keyboard playing together. lilyle. Of particular interest are two known usc of this tenn as the titlc of Annibale Pado\'ano (c, 1527·1575), In Brescia, the most famous name was pieces entitled Durene and Durene e an organ piece. Predominantly Ito.mo. t:hicf org:anist at San Marco from 1552 Costanzo Antegnati (1549·1624) , organ li;owre. The)' are among the earliest phonic, they contain relatively httlc 10 1566, composed tocallas and ricer· builder and composer. His treatise, c.: )(3mples of 3 type o( composition which imil:Uive material. Among Ihe motelS of cars prcsen'cd in a posthumous pub· I'ArU Organica, 1608. is extremely im· W:lS to become a fa\'orite with Baroque the collection, some were keyboard Iication dating from 1604, Tocrale t portant for tJle history of organ build· ClIlIlposers. Basically homophonic in transcriptions, while othen were newly· Ricercari. Noteworthy in one or Ihe IDg and [or registration. Since the An· texture, these pieces emphasized dis­ composed pieces based on motet toccatas is a line of suslained notes tegnati family, acth'c in organ building sonant harmonies (dureut) 3nd sus­ melodies. TflC eanzonas wcre probably which clearl)' calls for the use of the since the latter 15th century, were the pensions (ligature). tmnscriptions of French chansons. His­ pedals. This is the earliest documented foremost builders in northern Italy, In Naples a remarkably ad\'enturc· torically significant, they constitute (I}c usc of the pedal in hOlly. a brier description of their instruments sume .!iehool of keyboard playing de­ first appearance of the tenn can!D,?e In Andrea GabrieH (c, 1520·1586), second will be given here. \'eloped. It bcc::ame extremely in£1uenlial connection with inslrument:d musIc of orJ!ilnist of San Marco from 1564 or The usual Antegnati instrument had in the 17th century, but it bcg;tn some· any kind.' ISfMl and first organist from 1584, con­ one mantlal. which was much shorter what earlier, Antonio Valente (c. 1520- Other org'lin music o[ the IGth ccn· tributed greatly to the de\'clopment o( than present-day keybo:1rds. There were c. 16(0) is the earliest known repre. tury, p:uticularly [rom c. 1530·1550, two [onns, the ricerC:1r and the tocca.ta. generally a (ew pedal keys, but no in­ 5('ntath'e o( the Neapolitan school. He has been preserved in manuscripl!l in His ricercars are (ound in two posthu­ dependent pedal stops. The pedal could published two books o( keyboard mu· the Biblioleca Capitolare at C:1steU' Ar­ mous publications, Ricercnri di Andrea only be used for coupling down the sic, one for the harpsichord, lntavola­ qu:lto.' Included :1re threc m:15SeS for Gabrieli . , . I,H,ra secondo, 1595. and lower notes o[ the manual. The funda­ tllra de am bolo, 1561, the other for the Qlternatim practice, and other liturgical 11 terw libro de ricercnri di Andrea mental stop o( the organ was always a organ, Versi spirituali, 1580, (Sacred pieces, There are also several ricercars Gabrieli, 1596, Notable are the reduced principal made of tin. On large organs Versets). The VeTsets of the Verst by \':1rious composers, ricerc::an which number of themes. Some are even this was a 16', on smaller instrumenu s/JiriWali were free-composed. i.e., they TC\'eal a wide variance in construction. monothematic, representing the earliest an 8'. Abo\'e this fundam t:ntal were suc­ were not based on any pre-existent The ricercar first assumed a definilive Imown use of the monothematic ricerrnr cessive ranks o[ octave! and fifths, up Cregorian chant. Considering the early fonn under the hands o[ Girolamo in kcybo;trd Iiter3turc. His 10000tas, to the ~', ~', Olnd e\'cn sometimes the date of these pieces, such freedom was ~vaZ7.0ni (birth and deOlth dates un­ published in the Intonation; d'organo IA'. Although made o( h,-ad, the octa\'es qUite dOlring. Also interesting is the known) , son o[ M. A. Cavauoni. 1m ita· d; A"drea Gabridi et di Gio. suo and fifths were sc::aled like principals. rlHferencc in style between composi· live sections, few in number, but ex­ Fle/Jote. 1593 (Organ Intomnions o( Together with the fundamental prin· tions of the first, or cimbalo. tablature tcnsh'e in length, became characteristic. Andrea Gabrieli and of His Nephew, cipal they constituted the RifJ;eno# or and those of the second. A distinction in Each section had its own theme. Gio\'anni), arc possibly the earliest full organ. The higher registers repeated style between cimbalo music and organ eX:1mplcs of compositions bearing this one or more times at the distance o( :1n music continued to be dmracteristic of (Example I) .• title. Some (those which influenced the octave. Olher standard features of Ihe the NeapOlitan school. Also typical was In the area of canzon3 composluon, further de\'c!opment of the fonn) h:Ld Anlegnati organ were the presence of an increasing preference (or the Girolamo Cavauoni was equally pro· Ihree sections, with the first and third one or two flutes (normally at 8' and I stringed keyboard instrument over the gresslve since he wrotc what are thought in :1 fr~, improVisational style and the or 4' pilch) and the Filfaro, also known organ. to be the earliest examples of the in· middlc section in strict counterpoint. as I/od "mfme. This uniqucly Italian The Neapolitan sChool drew inspira. dependent keyboOlrd canzon:1. ~~Iicr Canzolla! OInd Iiturgic::at works (organ SlOp, the Fiffaro, was a ccleste-like prin. tion from various SDurc.es. One of its canZOnas had been mere transcnptlons masses and intona:ioni) were among cipal. A fa\'orile stop with Italian or· leaders was a composer o( Flemish ori­ of French chansons, but G. C:1\':1uoni's Gabrieli's other contributions. ~'lnists, it was used particularly for the gin, Giovanni Macque Oean de Mac­ canzonas were actually new composi­ Claudio Meroto (15!1!1-1604), second Elevatione :1nd at other mystical mom· que) (c. 1550-1614) , who certainly tions which used chanson melodies only organist at San Marco (rom 1557 to ents during the ltf:1ss. brought with him his nalivc heritage. as thematic material. Shon, concise 1566 :1nd (irst organist thereafter until With slight varialions at the hands of Spanish keyboardists, lutenists, and themes, an opening theme which had 1584. wrote some of the (inest organ each builder, (he instrument just de· harpists were also influcntial since the it~ initi31 tone repeated three times, and music to be found anywhere in Europe scribed was the standard type through­ kingdom of Naples had been under the (requent repetition o( sections were at that time. The climax of the Vene· out much, perh3ps one could evcn say Spanish crown since 1504. There :1re a chotracteristic of COIvallOni's canzonas. tian keyboard school was attained un­ most, of Iialy. It ttmained standard number of stylistic features, t~chniques, This piont.'Cring composer :1lsQ wrote der his creath'e spirit. He wrote toc­ during the Baroque em 3nd in many etc., which pro\'e an unmistakeable a 100rge number of lilurgic::al works in catas, McereaTS, canlOnas, \'arious litur­ cases continued until the advent o( the Spanish innuence.· In :.ddition, the which he it:1ntllcd the Gregorian ch:1nt gical works and masses. In all o( them. Romantic movement. Foreign buitd('rs southern Ita1i3n's impulsh'c tempera· with remarkable [reedom, subtracting one senses the majesty and tr.mquillity did inlroduce a few reeds anti rom· ment probably round its natural ex· and :1dding note5, and making rhythmic of :1 tme Renaissance master. Many pound SlOpS. But for the Italian crnfu· pression in the daring chromaticism anti alterations. Contrary to usuOlI 16th cen­ works were published during his life;­ men, such stops seldom became more the sudden Jlannonic ;and rhythmic sur­ tury lrncticc, C:1\'auoni did not (eel time or shortly therrafter: ricercari than accessories to the main body of the prises of Early Baroque music. It is well boun to presen'e the pure fonn of d'intttvolatura d'organo, libro Primo, 1576 (1605); Alesse d'intavolatura d'or­ the chant, but used it as free thematic Ex. l. C . Ca\'auoni, Ricercar, m. 1-3. 10.)S. material. His complete works appeared gano, libro quarto, 1568; Canwni d'inta­ in twO public::ations: lrltavolatura ciot: volQtura d'organo. libro primo, 1592 , Rect:rcan Cnnwni Himn; Magni/icati libro S~condo, 1600, libra primo, 1611; • • • Libra primo, 1543; IntalJula'ura Toccate d'intavalatura d'organo, libro primo, 1598, libro secondo, 1604. Merulo was particularly skillful at interweaving chordal structure and norid passagewonc. into one continuous fabric. As seen in his toccatas, canwnas, Mrs. Krat unstein is a graduate 01 etc" this tra.it rrpresents a technical and Ex . 2. Menllo, Cnnton "I.n R olanela," m , 12.14. Calvin Collegt: and Ohio Slate Univer­ artistic ad\'ance over the tOccatOl style: of I sity. She has also studied willa Andre Gabrieli, who had separated the chords n ~J Marcllal as a Fllibright grantu. Slit: and the passagework (rom each other. lias taught at Calvin Collegt: and Sam HOlutcm Stalt University. Tile prt:slml (Example 2) -~~"'..I: !~ " ~- ./', arliclt: is tile ucond ;rI a continuing Another aspect. of Mcrulo's creativity "'m i series. which is ~mportanl in his use 01 tbe 5· :ii 22 THE DIAPASON worth noting that the traits ;wociated music or general keyboard pieces, i.e., harpsiChordists. the olLl instruments are frequently left with FrescobaJdi and with Early Baroque playable on any keyboard instrument. A major contribution of the Neapo­ unrcpaired and unplayable. music in general appeared consistently Moreover, some of the pieces which we litans during tIle later Baroque period As for the technique of organ play­ at an earlier date In the Neapolitan are accustomed to considering as key­ was the evolution of the sonata form. ing, there has been improvement. Some school than anywhere else in Europe. board music may even have been wrinen While this was not immediately impor. credit [or this must be given to Fer­ In soene cases, these traits were already for instrumental ensemble_ There are tant for org:tn playing. the sonata. even· nando Gennani, prominent teacher and hinted at in the music of Rocco Rodio many unanswered questions concerning tually became a chief fonn for organ author of a 4·volumc organ method em· (born 1530·15401; di.d between 1615 the performance o[ Frescobaldi's musIC. composition throughout Europe. espe­ phtlSiling pedalling, ornamentation, reg­ and 1626). but they became u"mistake­ Although the classic Iblain organ has cially in the Romantic era. Istration. and other mallen which had ably clear in the works of Giovanni alre.ady been described, it would be well The great opera and oratorio com­ 10nq been weak points with Italian or­ Macque. His style can be most easily to remind ourselves that the instrument poser, Alessandro Scarlatti (1660-1725), gaDlsts. More reccntly, Luigi Tagliavini described by comparing it (0 the mad. which Frescobaldi had at his disposal wrote some keyboard works. They con­ has ht!come the [oremost organist among rigals of Gesualdo and Monteverdi. was similar to the Renaissance inSU'u, tain many harpsichord-like features. the Italians. He has done much to give menU played by Merulo and oLller Only one, a sonata in four movements, his countrymen (and others) an appre­ Ex. 3. l\.facquc, Consononze slrrrvagnuti. Venetians. Frescobaldi's organ was com· bears the inscriplion }ler cembalo t! per ciation of the Italian heritage and to m. 26·g0. posed rrimarily o[ delicately.voiced organo. promote stylisticdly.accurate interpre­ principa stops. which implies that it The most famous harpsichordist of lations of old music:. was incapable of making brilliant tonal the Neapolitan school. Domenico Scar- One would hope, at the same time, to contrasts or sharp echo effects of the 13tti (1685-1757), also wrote a few so­ see some significant modem organ works type practiced by Sweelinck and the natas which we know are for organ since being written, but aside from a few North Gcrmans during the same periud. he speciOed the registration. He may isolated exceptions there has been no Frescobaldi. moreover, rarely used the e\'en have played some of his harp:,i­ interesting organ composition in Italy For the next generation of Neapoli­ pedals. Of his nearly 200 compositions, chord son3tas on the organ, too. We in the last few decades. tans, the leaders were AscaRio Mayone only six rrquire pedal and in these know for a fact that many organists (d. 1627) and Giovanni Maria Trabaci cases, the pedal part consists only of tried to imitate his brilliant harpsi­ EDITIONS (c. 1575-1647). both Macque students. long pedal points. chord style on the organ. The creative Cavazzoni, M.A.: M.A.. Cavazumi, J. Mayone published two books of key­ period for Italian organ compodtion was FogliQno~ J. Segni e anonimi: Composi­ board music (I60S and 1609 in which Ex. 5. Frcscobaldi. ToccntQ soprtl ; Ped· dearly over. Organists had to rely on :iolli #Jt!r orgGno, cd. Benvenuti (I CltJj­ the Early Baroque mentality most de­ ali de' Organo e .senID, m. I-S, outside stimuli. Those who had con­ sid mwicali ilaliani, I) , Milano, Fonda­ finitely asserts itself, with conSlant ten­ nections with Bologna. a major center zione Eugenio Bravi. 1941. Cavauoni's sion. quivering motives. sudden, unex­ il=J-....- of violin playing. introduced violin· works can also be [ound in Jeppesen, pected rhythmic movement, and auda­ ¥r.~_~~!mJ1 istic figurations into their organ music. Die itnlienisclle OrgdmllSik am Anlang cious dissonances. The initial theme do­ ---- - i ;l.L l 1J;!i ... Others borrowed lyric features from dt!s C;nquect!IHo~ 11, Copenhagen, W. minates in M:I:yone's ricercars (and Italian opera, together with obvious Hansen, 1943/2nd ed" 0510. 1960. sometimes in his canzonas). Such hand­ programmatic details and long linC"; of ling of thematic material is quite dif­ par:ll1e1 thirds and sixths. Cav.:lzzoni, G.: OrgelweTkt!, 2 vols., ed. f~nt from that of the north Italians Domenico Zipoli (1688·1726) and Mischiati. Mainl. Schott S., 1958. Con­ who usually divided the ricerear into Padre Manini (1706-1784) were dmong tents of Vol. I: ricercars. canzonas, sections, each wilh its own theme. In this respect, Frescobaldi is typically Italian. It was not until the late 19th the [ew 18th century Italian organists: hymns. magnificats; Vol. 11: masses, Trabaci used basically the same prin­ who could employ current styles and h)'mns. The same works arc in I C/tzj­ ciple in his ricerears as did Mayone. and 20th centuries that pedal technique, as we think of it today. came to be cui· techniques, while stiU exercising re­ .sid dd/tl Music-II ltaliGna, VI, ed. Ben­ This compositional technique should tivated in Italy. straint and good taste. Zipoli is known \·enuti. Milano. Societa Anonima Notad be seen as a significant step in the pre­ In Frescobaldi's 'rocctlta e Parlitt!, for his expressive, song-like composi­ 1.:\ Santa. 1919. btlt the editing is not paration fOT the fugue fonn. tions. as good. Trnbaci wrote twO keyboard books Primo Libro, 1615. the composer pro· vides a preface which is most helpful for ( 160~ and 1615, respectively) . In the interpreting Italian Baroque music. The preface to his libro primo~ he states that the pieces contained therein may be preface can be found in the new edi­ tions of the T OCNte t! Partite .•. and played on any instrument. but are has also been reproduced in Apc1, Ges· most suited to the organ and harpsi. clliclltt! da- Orgt!l - und Klaviermluilt chord. In it Jerondo Libro he makes a bioi 1700, 441-448. Acconting to Fresco· similar statement, but mentions the baldi, one mwt exewte his pieces with harpsichord before. instead of after, the kind of freedom which makes them the organ, and states that II cimbalo,s Lord over all instruments in the world. sound thoroughly spontaneous. A frte­ dam at cadences is required, a freedom Padre Martini. a scholar of world-re· nuus: Ricercari 111 t! If'~ ed. Kastner, This attitude explains the presence of in tempi, and in specifiC rhythmic pat­ nown, is remembered for the skillfUlness Hilversum, Harmonia-Uitgave, 1957. so many idiomatiC harpsichord features terns (slightly comparable to the French with which he united strict counterpoint in kt!yboard music of the Neapolitaru. no'~s inigales).' to post·Baroque style traits. He "role 1.'rabaci also wrote many liturgu::al ver­ l·;u.lovano: An"illa/t! Padovano, Sptrin­ or Frescobaldi's many dudents, the numerous sonaLas for organ and harp:,i. dio Berto/do, d'/ncerlO (anonymow) : sel.!, but they art! extremely shon and most important wert South Gennans chord. less interesting than his secular pieces. Compositions lor Keyboard, ed. K. and Austrians who combined his ideas During the course of the 19th centurv, Speer (CEKM, XXXIV)', 1969. Com· The Dure:u: t! ligature technique, the with their own tradition, thereby creat­ interest in organ music almost disap­ chromaticism. the rhythmic innovations, p'0s;ziolli per orga"o~ ed. Benetti, Padua, ing a distinctively South Cennan school. peared. Not until the introduction of Zanibon. (Note: tbe 18 ricercari oC the and the forms which the Neapolitan In Italy, Frescobaldi's compatriots were Romantic organ building (near the end composers cultivated - all of these we!'e 1·jerront/Henneb3ins editions [Paris, generally limited to imitating his style. of the 19th cr:ntury) did organ playing L'Oiseau Lyre, 19M]. althougb adver­ brought to a hight!r d~ o[ «fine. receive new incentive. Now, (or the fint ment by the gtt:lt Girol3mo Fresrobaldi Michelangelo Rossi (c. 1600-(:. 1670). tised as 0ll;an pil'(cs, arc transcriptions the master's leading Italian pupil, did time in Italy, a pedal division with inde­ of enscmble music). (lM3-J643), organist at St. Peter"s in pendent SlOps was commonly considered Rome. display some individuality. but his works still bear a strong resemblance to his a necessity. Multiple manuals and many Gabrieli. A.: The best edition is Orgel­ ' ('acher s. nutes, reeds, and strings were other Ex . 4. Frescohaldi. Toccata cromaticha~ und Klavierwer/Ct!, 5 vols., ed. Pidoux, standard featu~s, particularly on larger m.I-3. A num~r of other organists and Kasscl. llarenreiler. 1941 ff. Contents of harpsiChordists were active at this time. instruments. Naturally, most organ Vol. 1: intonations, toccatas; Vol. II: builders tried (0 imitate the sonorities Among the north Italians, Tarquinio ricercars; Vol. 1I1: riurcars: Vol. IV: Merula (c. 1590; death date unknown) , of Ihe Romantic ouhestTil, 8' and 1& stops dominated the instrument. and a canzonas amI ricercari ariosi; Vol. V.: occur,ied a prominent place. Only a few canzoni alia francese. Three Organ of h s keyboard works have survived, 50 thick, dark quality occupied the posi­ we do not have an adequate picture of tion Connerly held by the crystal·clear Ma.ues, cd. Dallas Libera, Milano, He used the Ticercar techni9ue of May­ his compositional actlvity. Another Classic Tifit!no. Ricordi. Toccate, cd. D311a Libera, one and Trabaci, but combmed it with north Italian organist was Ciovan Fasolo A chic crusader for this tyPe of in­ Milano, Ricordi. the sectionalization of the nonh Italians. (born in the first half of the 17th c.), slrument was the concert org:lDlst, Marco Afler the entire thematic material was who wrote a sizea.ble collection of org;ln Enrico Bossi (1861-1925). Afte!' having Gabrieti, G.: Composition; per orgnno ~ prHented in the fint section, he built music lor liturgical use throughout the played large Romantic organs in ollter 3 vols., ed. Dalla Liber3, Milano, the successive sections as new vt!rsioru entire year_ European countries, Bossi Celt unduly Ricordi, 1956/57. (Note: Apel. Ce· or modifications of the original ma­ In central Italy, more specifically in limited by tht! Classic organ of his .scllichtt! •••, says that the authorship terial. The same principle ~came the Rome, the leading keyboardist was Ber­ homeland. He began writing composi­ of some of the pieces in this edition is basis for mOllt of his caDzonas, which nardo Pasquini (1657-1710). He wrote tions suited to the new orchestral in­ doubtful: moreover some may be pieces is why they are called "variation can­ numerous organ venets, but the works struments and requiring techmqucs [or instrumental ensemble rather than zonas." Like the Neapolitans, this pro­ which showed off his musical gifts: to which must have betn dlallenging for works for organ). lific composer was inspired more by the heM advantage were his channing dance his Italian contemporaries. Alfredo stringed keyboard instruments than by suites and secular variations_ Together Casella (1883.1947) , prominent pianirt Merulo: Carlwllen, ed_ Pidoux. Kassel, the organ. The one book which has be­ with the Neapolitans of the later 17th and composer, contributed one concerto Dfirenreiter, 1941. Contents: the 9 can­ come the most famous down through century, Pasquini is credited with ht!ing [or organ and olchestra (1926)_ zonas of the Canwtli d';ntavolatura the years happens to be the only volume one of the creatot1 of the keyboard Throughout the 20th century the d'Organo ••• Libra I~ 1592. Composi­ which he expressly dedicated to liturgi­ sonata. In addition. he may well have Romantic appro3ch to organ building zioni pa- oTJ:ano (Alonumt!nti di musica Cli organ music, the Fiori mwictdi, been the earliest composer in Italy to has dominated. While the Classic in­ iMUana, III) , Brescia, L'Orguno. LillTt! W3S. It contains compositions for three WTite keyboard suite!, although this strument undoubtedly had its limita· IV des Oeuvres d'Orgtu.s de CIt1udt! organ masses (hpie versels, plw toe­ fonn W.:lS alre3dy well known in France tions, the Italian Romantic instrument Cltas, canwnas and ricercars). Uke the had its own weak points. It was totally JUerulo~ ed. L3bat. Paris. Richault, and southern Gennany. 1865. Contents: the masses from the versets of Antonio Valente (the early In Naples, the keybo:lTd school which unsuited to contrapuntal music ht!cause Neapolitan composer) , Frescobaldi's toe­ had furnished much o[ the stimulatlun it lacked the necessary darity. and its Aleue d'intavolalurn d'organo Ljbro 40. Venice, 1586. Toccate, ~ vots" ed, Dalla [or F~scobaldi's work continued to stoplist was often no more than a con­ C:ttes. canzonas, and ricercars were com· Libera. Milano, Ricordi. pletely free of Olny connection with Btur­ produce distinguished keyboardists. Gio­ glomeration of orchestral sounds having gicd melodies. Still, they were intended vanni Salvatore (born at the beginning no logical arrangement or organized to fulfill a liturgical function, since of the 17th c.; died c. 1688) wrote litur­ function. Renato Lunelli, Luigi Taglill­ Rertoldo: Sec the Padovano entry they were given titles corresponding 10 gical music (mass versets) and a num­ vini, and other scholars have done much (CEKM,xXXII') • parts of the Proper of the MaSS. ber of pieces in the usual secular fonns. research on historic Italian instruments In addition to the organ works in the Noticeable in Salvatore's music Is a and organ bunding in general. As a re­ Antegnati: L'Antt!gntlta Intavolatura dt! Fiori mluicllli, Frescobaldi wrote a few tendency to modify the extremes of sult, one would expect to see, by this R;ct!Tcari d'Organo (1608) (The Anteg­ other pieccs which he specifically indl­ earlier Neapolitan music. a tendency time, a completely neo·c1assic trend in nati Tablature of Organ Ricercars). ed. C:tted for organ perfonnance, either by typiCiI for the mid·17th century. organ building, or perhaps a movement Apel (CEKM,lX)·. 1965. Th. sam. i. giving them a liturgical title or by pri)­ In the latter part of the century thele to combine the Classic instrument with a\':IIUable in an edition published in viding them with a pedal pan. Aside continued to be fine keyboardistJ In the best features of the Romantic: organ. Padua by Zanibon. from these, the vast majority of his com­ Naples (Bernardo Storace, Gregorio Yet. unfortunately, no widespread organ positions seem to be either harpsichOrd Strozzi, etc.), but they were primarily revival has taken place in Ital)" FNen (Continued, page 24)

FEBRUARY, 1972 23 B:mchieri A.: Toccata I dell III lono Zipoli: Orgt'l' ,md Cembalowerhe, 2 Schierning (Die Orgel, 11/9). Lipp. PEDAL (per l'Elevazione) • Padua. Zanibon. vols., ed. Tagli:l\'lni, Heidelberg, 'V. stadt, Kistner k Siegel. Subbai. 16 ft. 30 pipes e Padua, Zanibon. ltlfiller Verlag. Contents o[ Vol. 1: toc­ Offenb:u. 8 ft. 30 pipes R iurcare III I" to"o, L"bial Dulzian 4 ft. 30 pipes cata, canzonas, short liturgical pieces, I.ibcr Orgnnii \'01. III (pastorales of the Fladlnocte 2 h. 30 pipes Pasquini,E.: Collecled Keyboard Works, etc.; Vol. II: 4. keyboard luites. Se· Classical Era). cd. Dalla Libera, Vicen· Fason 16 ft. 30 pipes ro. Shindle (CE.J\.M, Xli) ·, 1966. lected Worb lor Orgnn or Cembalo, ed. za. Ediuicc SA.T. Content.s: pico.-s by Ruf, Dasel, Symphonic Verlag. Composi­ Lolli, Rossi. d'Aquin. Liber Organi, vol. Valente: I'ersi $pirituali, roo Fuser, zion; per Orgarlo e Cembalo (I Classici VIII (Raccolle di MusicJte i"edite per Schantz Builds for Padua. Zanibon, 1958. della MluicG Italia"a, XXXVI), gen' argmlo del Setleullto l'elleliarlo). cd. ed., d'Annunuo, T\.liIano. SocietA 00111:1 Libera, Vicenu. Editrice S.A.T. Kansas City Church Anonima Notari t..a Santa, 1919. Contents: works by M3rcc110. Caluppi, Rodin: Cillqut' IHcvctJte, U"a fiHlta ~ ia The Schantz Organ Company, Orr­ J1esccti. A. Hasse. ~ r organa, cla vicembala, clavicordo 0 Martini: Sanate d'intavolatllra per l'Or· ,·me. Ohio has completed the instal­ arpa (1575) (Five Ricercars, One Fan­ lation of a new 4'lI1anual organ at gano e il Cembalo (1742), (facsimile) . L'Orga"o lIaliallo (1567·1619). ed. tasy for Keyboard Instruments or Ncw York. Braude Bros. 12 Sonate per Country Club Christian Church. Kan­ Harp), cu. Kastner. Padua, Zanibon, Frotscher, Copenhagen, W. H,mscn. sas City, Missouri. Among its features Cembalo od Organo ([rom the 1742 Contents: 7 pieces. 1958. publication) , cd. Vitali. I\liIano, Ricordi. is a Schantz solid·stale combin3tion ac­ 6 Sotlrlttm (from Souale per l'Orga"o e tion. installed inside the console cab· Macque: Together with works by C. iI Cembalo, 1747). cd. Hof£mann/Er­ 10 Sonaten (from Arcsti's Souale da or· inet. In addition to the main organ Guillet and C. Luython, A-laeque's pre­ brecht. Wiesbaden. Dreilkopf &: IHl.rlel. garlo di var;; twtori, 1687). ed. A. in the chancel with pipes of the Creat. served pieces are in MotlUme"'a mu· 20 ComjJoj i%;oni orig;"ali per Organo, Reichling. Berlin. Merscburger. Con­ Posith' and Pedal dtvisions cxposed. sicae beligicae, IV, cd. Watclet. Ant­ cd. Fuser. J'adua, Z:1nibon, 1956. tents: pieces hy Aresti. l~onaroli. Kern, there is a 6·rank antiphonal organ in werp, "Dc Ring," 19~8. Giustiniani, Schiav3. Colonna, anony­ the rear balcony which can be playcd Bossi: The following are rcprcsem3tive mous. cit her from the front console or its own works, but by no me3ns do they con­ 2·manual console in the balcony. Spe­ Ma)'one: Secondo Lit,ro d,' divtrsi Cap ­ cifications of the instrument were dc­ ried per Sonare (1609) , ed. Kastner stitute a complete listing. Orgelwerlce, Examples of early Italian music can al­ 2 vols, Frankfurt, Peters. Contents of so be found in Die /tnlieniscl,e Orgel· "eloped by A. C. Strahle, Mid·West (Orgue et Lilllrgie, books 6:4 and 65) , rcpresentative for Schantz. and Daniel I'nis, Schola. C:mlorum, 1964/65. Vol. I: Allegretto, Ave Mariai Chanl dlJ musilt am Anlang du Cinquecentoi vol. soir, Elevation, Eutrie ponti/ica/e, II, ed. Jeppesen, Copenhagen, W. Han­ Smith. organi5t of the church. The or~ Idylle, Noel, O/lerloire, PUce hboique, ",n. I!H3/ 2nd «I .• 0<10. 1960. gan was fonnally introduced to the Trab:lci: CompoJizioni per organo e Redemplion, Ris;gnatiorl, Theme et public with a recital by Robert Clas­ cembalo, I. cd. O. Mischiati (Mo,,,,­ "ariations; Vol. 11: Piece de Concert, ~ow on Nov. 7. 1971. mellii di tnuJica ilalimla, 1/ 3), Brescia, NOTES Hora mystica, Alarclle lunebre, Inter· L·Organo. 1964. IRC!C5e, }'IUlU: ill ,It. R~lIaiu.llllle., 520. GREAT meuo Iirico, Ligende, 2 morceaux carae· 'Apc!I, GudicAl. J~r Or,~/.w"J KI.fJi~r­ Ponunrr 16 ft. 61 pilWJ "ristiques, Sludie, Hora g;acosa, 'rre musiA: bis 1700, 162· 165. Principal 8 rl. 61 pipl"! }'rescobaldi: A nearly complete edition Brevi Peni, Padua, ZanilxJR. Contents: 'An excellC!nt discussion of Italian OI'pM and Bourdon 8 ft. 61 pipes is the Orgel- tlnd Klavierwerhe, 5 \'015., Studio, I'iccolo cornie. Ricercare, Six a uthentic rigstmtion pructices an be found in Octa\'c 4 ft. 61 pilWJ ed. Pldou", Kassel, B5renreiter, 1950 ff. IJieces, Paris. Durand. CODlents: Prelude, The DiaP4fOll, Feb.. 1!J6G. Thu article is a ~Il:tlrote -I ft. 61 pipC!s Contents of Vol. I: fantasies and can­ Mtuetle, Choral, Scher:o, Cantabile A l­ tnmscription of LuiSi Tasli::avini'. leclu~ at the Twelfth 2~ ft. 61 pipt'S zonas; Vol. 11: C3priccios. ricercars, can­ A 1965 A.G.O. Mid-Winter Conclave, FiftC!C'nth 2 ft. 61 pipes le/uia /i'lal. Concerto i" MillOr, op. FOllrnitllre IV 2.... pilles zonas; Vol. HI: loccatas. partitas, etC.; 100 (for organ, string orchestra. 4 horns, 4Apd, "NC!apolitan Lina betwf:C!n Cabezon Vol. IV: toccat:t.5. elOzonas, hymns, etc.: and F~ldi," Allis a XXIV. 4 (Oct., Scharf 111 183 pipes &- tympani. Leipzig. I'cters. 1938), 419 fl. Trompetc! 8 ft. 61 pipes Vol. V: Fiori mwicali. Ausgewiihlte Or­ Etude sympho"ique op. 78, Ncw York. i 'Much valuable information relative to the J:e1werke (Selected Organ Works). 2 G. Schinner. SWELL mls .• ed. Keller, Leipzig, Peters. 1943. performance of earl, musie In hal, and in olhu European countries an be found in Eta Gerlackl 16 ft. 68 pipu Contenls of Vol. I : Fiori musicali; Vol. Tagliavini: Passacaglia per organo su Harich-Schneider'. Di~ Kud dn C,mbtJIo. GC!isC!n Princip::al 8 ft. 68 pipes II: toccatas. c:mzonas. ricercars, capric­ un tema di Hindemith, Padua. Zanibon. Ipj~ls. Hohnale 8 ft. 68 pipet cios, etc. AlugeJlJr'ihlle Orge/siilu, 2 1954 . Cantabile (in the collection. Hora VIOle a ft. 58 pipes Viole Cdestc (TC) 51i pipes \ '01., new edition. ed. Haberl/Richter, M),sticni Padua, Z::mibon, which con· MUSICAL SOURCES Wiesb:KIen, Brcitkopf k H5rtel. The Geisen Od,vC! .. h. 6B pipes uins works or 20th century Italian com­ U. 1. His'oricat A,..ltolo" 0/ AlNJie. I, ed. Orglle series. Paris. Schola Harmonic Flute -I fl. 68 pipd et Lilrtrgie posers). Corale pastorale: Puer nalus Davisoa/Apc!I, CambriclJe. Ha~'al'd Univcnify Waktn6te 2 fl. 61 pipH Canlorum, also h:Js some of the Fresco· est (in the collection. PnstoralitJ, Zani. Prat, p. 121 . Pkin Jeu IV 2+1 pipes haldi works. RIo:. 26 of the series: Toc­ bon. containing 28 pastorales by old and E.s:. 2. CkJ .. Jio Atuwto: (.'OIlZ"",,., nI. Pi. &uon 16 ft. 68 pipe! callu,' Dk. ~2 : Farllois;~s; Bk. 35: Fan­ new composers). dow:, p. 1:1 . Trompc!tte 8 ft. 68 pipeJ Cluioo 4 rt. 68 pipes tn;sies.· Bk. 41: Toccntas. Keyboard Com­ fu;. 3. His'orinil A."lo'olY 0/ "'utie. I, T~mulant I,osilions Preserved in Maruucrip's, cd. There are also numerous general col­ II. 201. Shindle (CEKM,XXX)'. 196R. Con· CHOIR lections of halian organ music. The fu;. -I. Fiori "ulJi~tJI;, cd. Pidoux. p. 18. tents: compositiom which were not Spril2:priocipal 8 h. GI pi~ following constitute a selected list. Ex. 5. FreleobtslJi: Aru,~w.llldl'. Or,~/Ul.rb. published during Frescobaldi's lifetime, RohrflOte 8 ft. GI pipes Allilalie,,;u:he OrgeimlLSili, cd. Gaun. II, ~. Kellu, p. 2. Flauto Dolce 8 ft. 61 pipes plus some which were published but Tiibingen, C.L. Schultheiss. Contents: Ex. 6. A,.,ItDlo,y 0/ 0,,0,. AlUlie, ed. Espo­ Flute Celestc ('fC) 8 ft. -19 pipes which ilre not now a"ailable in other 32 pieces by Frescob:1ldi. Cabrieli, Lotti, sito, Berpmo, Edixioni Camln!.. p. 132. Principal 4 ft. 61 pipes modem editions). Nove Toccate in· l'ait.'5trina, Zipoli, etc. Koppelflotc! ... ft. 61 pipes edile per organo (Monume"a di mu­ ABBREVIATIONS Natat 2~ h . 61 pipes sica italiana, 1/2). Brescia. L'Organo. BI«knote 2 h. 61 pipes Altilnlienische Orgelme;sleT, cd. KaUer ·Corpus 01 &r/y Keybo.lll,J AllUie, Dallas, TC!fZ lK 61 pipes (Uber Orgmli, IV). Mainl, Schott S. AIIIC!rican Institutc of MusicololT. 1963- Krummhorn 8 ft. 61 pipes Rossi, M.A.: cd. Works lor Keyboard, Contents: works of B3nchieri, Fasolo, ··D~""'na"er Jer To,.A: .. II.J' in 1hIy."" Rohnchalmd ... ft. 61 pipel White (CEKM,XV)·, 1966. This hi the Frcscobaldi, Zipoli. Braunschwei,. H. LitoUf's Verb,. 1900-1931. best edition. The same pieces (his com· ···De"J,;mlJtI~r de, l'OItA:WIt!f i" O's,.,­ POSITIV plete works) were pubhshed under the Altitalienisclle J'erseUen in nllen reielt. Vi,,,"a/Lip:.;,, A,'.IIIns/B"i,A:opl 6: NaWJnnotc 8 ft. 61 pipel title Composiuoni per Organo e Cem· Kirchentonarlen, ed. Kastner, Maim:, Hartel (btu. Vienna, Universal EditioD) Preslant .. ft. 61 pipes baloi ed. Toni, 35 vol. XXVI of I Clas· 1894- • Nachthom 4 ft. 61 pipes Schott S. Contents: liturgical versels Principal 2 ft. 61 pipes sici della Altuica Italiana, Milano, from the 16th century. Societ~ Anonima NOlari La Santa. 1920. QuintC! l Y, 61 pipes Silnote I ft. 61 pipes Zymbd HI 183 pipes Merola, T.: Composition; per organo e Antologin orgauidica italiano, ed. Dalla Libera. Milano, Ricordi. Contenu: works cembalo, roo A. Curtis. Kassel. Btiren­ PEDAL reiter, 1961. from the 16th and 17th centuries. (The editing is not always good). New Schlicker Organ to Rt'iultant I (from Pecl. Violont:) Resullant 11 (from Prd. Subb:w.) Fasolo: Annuale (1645). ed. Walter. Stillwater, Minn. Church Principal 16 ft. 32 pipes Heidelberg, 'V. MOiler Verlag. CArie Musicale in ltalia dal Seco/e XIV Subbau 16 ft. 44 pipes al XVIII, 7 \'Ois .• cd. Torehi. l\fi\lInfl. A new 2·manual and pedal organ Violone 16 It. 44 pipes Ricordi. 18971908/ new edition, 1959. built hy the Schlicker Organ Co., Buf· Pomm~r 16 ft. (Grcat) Salvatore: Collecled K~board Works, Vol. 111: Composir.ioni per organa 0 fOlio. N.Y. has been installed in the Fint Gedackt 16 h. (Swdl) ed. Hudson (CEKM,lIl) •• 1964. cembalo, secoli XIII, Xl'II, e XJlI/I. Presbyterian Church, Stillwater, Minne· Principal 8 h. 32 pipC!1 Contents: 169 compositions by a wide sota. The instrument has mechanical Spiufl6te 8 ft. 32 pipes Stroui: Caprice; da sonare cembali t!l variety of composers. key action, electrical SlOp action. and Flute 8 It. organ; (1687), ed. Viola 8 ft. Hudson (CEKM, it is encased and free standing in the Pommer 8 ft. (GrC!al) XI) '. 1967. Cantant;buJ Or,(anis, ed. E. Kraus, building. Dr. Paul G. llunjes. chairman Grdadr.t 8 ft. (Swcll) Regensburg, Verlag Pustet. Bk. 2: Or­ of the music department at Concordia Chorulb:us 4 ft . l2 pipes Storace: Selva di wrie compositioni gelmw;1t an europiIisd,c" Katl,edralen: Teachers College. River Forest, 111. Nachthorn fugues, sonatas; Ok. 2: luites, arias; Bk. Delli and Fasolo. Dk. 11: Orgelmwi}C Octa\'C! 4 It. 3: variations; Bk. 4: variations; Bk. 5: an europtiiscllen Kat/,edralen# pan Ill: Supcr Octave 2 It. toccatas; Bk. 6: toccatas: Bk. 7: figured Bergamo, Passau. Contents: works by GREAT ORGAN bass {,ieees. 7 Toccate di Pasquini, ed. Dassani, nrignol,i Cavaccio. Scandello, Rohrscdackt 8 ft • .56 pipes ANTIPHONAL posmv Espostto, Padua, Zanibon, 1956. etc. (Note: not all of the compositions Principal 4 It. 56 pipes Bourdon 8 ft. in these books are original organ works; Duhnocte

24 THE DIAPASON NEWS OF CHAPTERS rram were Kathy AddISon, Jack Bookhardt, PmIoala. Lutheran Church, Kingsport, Tenn., undu Warnln Coker. CharlCl Cas, Stephen Cur­ On Nov. 6 the membeR of the Chapter the direction of Robert W. Andrews. present· neeld, and Walter K:imble. - Howard S. participated in an organ crawl of five new 2· ed the Dec. (?) program. The ,elections 0: AND ORGAN GROUPS Fleminr manual organs installed within the last two Chri.tmas mu.ic followed a dinner meetins yean. Each host organist presented a .hort held at First Presbyterian Church. Johnsotl BaDpI' Chapter AGO. MaiD(! redtal followed by an explanation of the in· City, Tennessee. - Rose S. Slonaker Calnl Amc.na Chapter AGO. Phnmf. An inform, l dedication of a new orzan at stallation. Memben were pennitted to play • • . held it. merlin\( on Del:. 6, 1971 lilt the Old To"n United Methodist Church. Old the organs. The final organ visited was an Richmond Chapter AGO. Va. St, Thoma. ttte "\n""t'e C1"1lholic: Church. Town, Maine WIIS held Dec . 6 in conjunction 1871 Johnson that had been recently restored. The Dec. ( ?) meeting was held at St. The hoot organist. William Chnev, presented with the Chapter's monthly meetinr. Fred Dec. 4 and 5 WIll MnrilYD Mason Week. Stephen's Episcopal Church. Following din­ a pre-dinner recital cansi, tinll' of work. of Thorpe ol Augwta phynl the conct!rt. Mwic End in Syracwe. Mia Mason was presented ner " student recital and Christmas con­ UvtnA' comJMHcn. Arter dinner. Dr. Ll:roy was al.o performed by an ecumenical choir in a master-class on contemporary music on ct!rt WIIS presented in Cannon Chapel, Uni. Murinll' Rave A short demonstration on "Row and the congrqation, and it included hymn NoY. 4 at Crowe Auditorium, Syracwe U •• versity of Richmond, by students from metro­ to make: YOl1r own cyrnbdltem cheaply." The singing and an anthem "Hymn for a New and students from Ithaca and Eastman School polit:m univenities and the girb chorus or host choi r director, Preston Heinle. and the Orpn" by Ware and al'1l!.nlled by dean Rich. Joined Chapter members for the event. On Ginter Park Metbodilt and Bon Air Pres. 51. Thoma. Choir Prftented a pro.. ntrn of arel J. Snare. A coHee hour followed. - Allen Nov. 5, the Chapter cooperated with Park byterian churches. - Mary Jan Mcintosh "Mulic of the Catholic Publishing House," C. Fernald Central Presbyterian Church in presenting Mr. Heinle stmsed that the music: presented MilS Mason in redtal as pnt of the church's H: wdut lor ,,11 faith., - Marjorie Haas Boston Chapter AGO, Mass. 125lh anniversary celebration. "The Organ Wnrks of Cesar Franau Will the topic di.cussed and demonstrated in No­ Cindanati Chapter AGO. Ohio Pa~den. ChaDter AGO, c"Ilir. vember at the Central Consrq-ational Church Memben of the Student Group of the Cin­ VIVA ZAPATA ! Ballet Folklorico Juvenile of Newton. Artists were Monsieur and Ma­ dnnati Chllptcr presented a program of organ Zapal", that is! The brilliant and colorful dame Durun~. A dinner preceded the lecture. music Jan. 24 lit Calvary Episcopal Church. troupe of younl{ Mexican-American dancen. The next eveninA'. the Durun~'1 presented a The program was followed by a " Gala Mwic who, mbed with Roodly portlnns of Iteamin, recital, also at the Newton church, Ceaturing Sale" of used organ and choral music, as well punch. Medean food, anti J:ght red wine. works 0{ Bach, Couperin, Franck, Toume­ as books for the AGO member. - Ruby pve memben a taste of an "old-world" mire. Durun~ and Dupre. - Margaret ltrew. StepheDl "South of the BOrdl'f," Christmas, when th~ ... gathered at Siena Madre's Episcopal Church of the ASO"nsion, Ilecember 13t". for the Dayton Chapter AGO, Ohio Ann-.I ChristlllU "Bash." - Richard W. Southeastern Minnesota Chapter AGO ••• met Nov. 7, 1971 al Westminster Maler In lieu of the October meetins. the Chap­ Presbyterian Church, Xenia, Ohio. DarTYl ter CO'lponSOred an organ recital by Lionel Miller was in charge of a lovely Guild ser. ROSW, Geneva. 5wil2erland. with Zumbro vi~. Eugene Foiles, choir dirTCtor of the host San Pnacltco Chapter AGO. CaW. Lutheran Church. Closed-circuit l-elevision church. directed sco.·era) numbers. and Mar­ Peter Hallock, o~nilt-choirm ..ter of St. w.. installed 10 the capacity audience could jorie Street pillyed the postlude. Mark's Cathedral, Se.ttTe, sanl a Ch'!lpler Jet: liS well III hear Mr. Rogg. A candlelight The January ( ?) meeting was held at ~ponSDred recit..! at St. Ilnatim Church, Slln rec~ption was held followins the recital. Chri.t United Methodist Church, Dayton. Francisco, Oct. 29. He was accompanied by The Chapter held their annual clergy-organ. Two local composen, La.ni Smith and Gilbert ~athleen Farr:. harpsichordist; Penny Hann:!!. i.t dinner meedns November 15, 1971 at Martin. presented .everal of their interesting ViOla da gambilt ; and Mary Gromlln, violinist. Mount Olive Lutheran Church, RochClter. numben for organ. - ViTginia Robertson TIle prognun. included works by Campra. with 55 memben and guests present. After Dowland, Purcell, Busani, and Lochren John. a fine dinner and announcements, the meetiDg Pitubul'lh Chapter AGO, Pa. son. On the following day Dr. Hallock con. was adjourned 10 the sanctuary of the church • ••• held a dinner meeting Jan. 24 at where a panel dilCtllSed "New Trends in Chatham CoIlC!e. Charlotte Schlleffer Price. ducted a work.hop; dlscuuion centered on Mildred Kammeyer played the premiere the new Episcopal "Songs for LitursY and Christian LiturJT." Memben of th. panel saptano, and Lee Kull. violist were presented More Hymn. and Spiritual Songs." were: Richard Wagoner, Hennepin Avenue in recital for the PrDKram. Rwsell Wich· performance of "Death Valley Sketches," mann was the hOllt organist for the meeting. II new improllionistic suite for organ by Dr. La.wrence Moe of the U. of California, Methodist Church, Minneapoli.; Father Riy· • hared a po.-tion of his aabbaticcal leave with en, Mankato State College Newman Club • - Mary C. Hardy Frederick M. Barnes, in a recital sponsored memben of this Chapter on Nov. 19. He Mankatoj the Rev. Charles Anden, minister by the Los Angeles Chapter AGO on Jan. spoke about many historie orgaDi in Europe, of mwic. St. Olaf CollCF. Northfield; aad Oklahoma City Chapter AGO, Okla. 3 at Grace Lutheran Church, Culver City, usinl slides and recordings as ilJustrations. He the Rev. Charles Thayer, chaplain. St. Mary'. The December ( ?) meedng was held in the Calif. The short suite of five movements School. Faribault. - Mn. P. L. Godtland Chapel of St. Edward the Confessor at Cu· I'Specially emphasized organs usoclated with ("The Valley, Tumbleweed, Stove Pipe Weill, J . S. Bach. - Oscar Burdick ady School. a private Episcopal day school. Syracuse Chapter AGO, N.Y. James J. Lytton, director of music at tbe Desert Storm, Scotty'. Castle" is inKribed ••• met Oct. 19 for a dinner at the Erwin IChool, led his junior hiSh and hish school to Mn. Kammeyer, and the work was re­ Central Florida Chapter AGO United Methodist Church. Dean Robert P. choin in a meaningful alld well-performed ceived with deUght by the large audience. • • • met Nov. 9, 1971 at the home of Andenon introduced the Chapter of£i~n and service of lessons and carob. Following the Mr. Barnos, formerly organist of Fint Con­ Howard Fleming to hear 6 Chapter memben also 30 memben of the Central New York pr~ram, Dr. Robert Woolsey. headmaster gregational Church, Los Angeles, now lives dedic-.te the newly rebuilt 2-M Louisville or. Chapler who were !'uests for the evening. Fol· lit Casady, entertained w most gmciowly in Newport Beach. Mn. Kammeyer also in­ in his home. - Elu..beth M. Banks san originally built in 1946. Arter the pro­ lowing dinner, memben and guests travelled cluded works by Dunstable, Bach, Buxtehude. gram other membeR or the 41 present played to the Episcopill Church of the Saviour for Ilnd enjoyed the new music room built to a red tal by John T. HoUman, profcuor of FraakUn Caapter AGO, TenD. Karg-Elert, DriKhner. Vleme and Langlois howe the olll'an. MembeR playing in the pro- organ at the State Univenity of N.Y. at The Recorder COl15Ort of Holy Trinity an her program.

SHAllWAY FOUNDATION foreign boy singers visit American boy" choirs for three· week pcriods. has ere· ENTERS NEW PHASE ated the American Boychoir Federation to plan and administer meetings of Shallway Foundation, Connellsville. boys' choin and direclon, has initiated Pa., has entered Phase III of a world­ a program of European Audition Tours wide study of the boychoir movement. for &elected American boy singen, has and has introduced a series of new assisted in the establishment of a sum­ services to assist boys' choirs. In mer music camp open to all boy singers, Phase I. the foundation catalogued over and has set up a free telephone coasut­ 500 concert boys' choirs plw nearly tation service for boys' choir directon 2.000 church boys' choirs in the U.s.A. wishing to explore with foundation In Phase II, the foundation investigated executives the experience of other boys' the mind, discipline and character de­ choirs in spccific aspects of boys' choir vclopment cffect5 of boys' choral music administration. training and performance. The foundation has published a ser· In Phase III, the foundation has es­ ies of "How T o" papers on organiza· tablished fonnal recital managelnent tioll, recruiting, publicity. fund-raising. services to assist boys' choin to per­ professional management. and other form in major concert haUs, hu.s intro­ aspects of boys' choir administration, duced personal management aervicea and operates a film Hbrary of boys' ehoir motion picture films. The foun­ Randall S. Mullin has been appointed for boy soloists, has offered belp to opera companies and other organiza­ dation provides free services to boys' auociate music director and organist of the choirs in tour planning, concert book· Cathedral of Mary Our Queen, Bahimore. tions needing boys' choirs or boy 10- loists, has established a "Boy Singen ing, recital management, and public ~ Maryland. He is Q graduote of the Peabody lations. Conservatory in Baltimore, and Is presently in Residence" program under which working toward his Master', degree at the , ______• ______• ______David Engen has become organist of Calholic Univonity of America. Gloria Del Lutheran Church, Iowa City. Iowa, where Dr. Daniel Moe is choir di· A CONCERT OF VIRGIL TIlOhlSON'S ntdor. A native of Minneapolis, Mr. Engen SACRED MUSIC was performed at the 10 DELAWARE began organ study with Ronald Nelson at D.m. wonhip service of St. Gcorxe'J Episcopal Westwood Lutheran Church and graduated Church, Bridgeport, Conn. January 9, the magna cum loude from St. Olof College opening day of the Univenity of Bridgeport', ORGAN COMPANY, INC. with the MusB degree In church music. Mu· week.lons festival honoring the 75 fear Did sk ItudJeI there were with Kendall, composer. The concert, under Ernest Whlte'. a progress1ve company with traditional Ideals Robert direction, was done al the composer', requMt. Kenneth Jennings and Charle. Anden. While at the Unlvenity of Iowa, Mr. Engen designing and bulldlng custom p1pe organs II a teaching auistan. working on the MA and DMA degrees In organ with Gerhard 252 FILLMORE AVE. TONAWANDA, N. Y. Krapf. He represenb the Charles Hendrkk. THE TEMPLE son Organ Ca., St. Peter, Minn •• In Iowa Clevelancl, Ohio 44106 and illinois. CANNARSA WILLIAM ALBRIGHT, compolei' aad or· DAVID pnlst of tha facalty of DUllie, Unlv.mty of ORGANS Michigan at An I! Arbor. plared the world ClassHied Advertisements premiere of bis "Orpnbook fl" tor 0I'pJl GOODING INC. aIId elactronie tapa at the Cathedral of SI. John tho Dlviae. New York City, January 14. TH1! CLEVELAND ORCHESTllA in THE DIAPASON NEW SElECTIVE Dr. Albritht', ·'Orp.booIt . " won &he Queen ORGANS REBUILDING ~JOI6 Pm La 196B. the flnl work for MUSICAL HERITAGe SOCI!TY Grpn to wIa this major Buropeaa ward. AlIa P.O. BOX :l3B Hollidaysburg, Pt!. 16648 iDcluded aD tho propu:a Car cqaa aDd piano RECORDINGS bring results were worb br William BeIc:om., Bupae 1C.\A1I:, 814·695.1613 Icott JoplIn, aDd Iva.

FEBRUARY, 1972 25 CLASSIFIED ADVERTISEMENT

POSITION WANTED WANTED - MISCELLANEOUS MISCELI.ANEO US HARPSICHORDS POSITION WANTED - MINISTER OF WA!'HED - USED MOLLER PIPE OR­ ORGAN SERVICE MEN - WE WILL HARPSICHORDS AND PEDAL HARPSI­ Mwic. Master dcgTt'c plus Europtllln .tud,.. 23 gan.. Gh'e complete .pecifications, rob price. rccoWT Cata\,utt and Skinner pouchboanls, chords _ the ideal instruments for organists, fun orpnist and choir dirT:C':lor multiple Address B4, TilE DIAPASON. primary and .Ulet ac,mns. Write Burnes. As. Individuals, and schools. For hroc:hllre 1end 251 chain. litursical and non.liturwical Icrvices. sodales, 1907 SUJoquehanna Rd., Abingtoo, P;).. to S. Sabathil a: Snn Ltd .. Dept. D , 10M Ho­ Concert o'PRist. H yean lASt position. 3 yean WANTED - AEOLIAN !iIR STRING MIX­ 19001. mer, Van(:ouvrr. B.C., C:l nada. f1cucnl pcnitton. congreption of 1800. Excel­ I" re wl chest, Aeolian and Duo-Art or«an SERVICE MEN DO YOU LACK SHOr lent rderrnces. Available on 30 cia", notice. roIb, books AIMI pamnhkb on A~i:ln eluamher space? We 1fM!cialize in katht'r work. reCO\'er. HARMtcHORD AND VIRGINAL KITS patterned a hrr 17 tl& u ftC ucy instncmC'nts . Fmm AddC'lSl A-4, THE DIArA50 N . nfUn a nd Conc.. rtola. A. n. Remnn. 6309 ins ,tneuma ia. po·or.hcs. actions, enwr;avinll. Md 'tlenon. SI. Louis, Mo. 63130. etc. Write R. M. Minium A: Setn. 80" 293, $3-t5. Wmiam Post R oss, H a~M:hnnl M,ku. POsmON WANTED AVAILABLE WWMUrT. Pa. 17837. 791 Tremf)nt 51 ., Room SIS·D, Iknton. Maa. durinl sabbatical June 1972-Au,!US1 1973, or WANTED - TWO, THREE, AND FOUR· 02118. rort~n . church or college. Charles Finney, manual u~ AUltin consoles. Addrcu H·3, QUALITY DIRECT ELECTRIC CHESTS Ph.D. Eastman (TIleory) . FACO, a!lc 60. TilE D,APASON. made 10 ordt'r, 1000 delivery. Aikin Auociatcs. FINE HARPSICHORDS, CLAVICHORDS. Fine Arts Chainnan. Houl hlon Collesc, 8n" 143. BI'mll:ly u. Pa. 1881 3. made in wvene cnll(jlllll"3 tiu n' :1I1l1 disposition ... Houahton. N.Y. 14744. 716/ 567-8138. WANTED AEOLIAN RESIDENCE HI·FI COI'IES MONO RECITAL TAPES. Write, phone. vi,it sbn". E, O . Wilt. R3 . plarcr organ or player unit noly. T . GraUelo, Write: MTCS, Bo~ Hi34, Nt'w Haven, Conn. Three Rh'en, Mich. 49')93. 616/244·5128 , POSITION WANTED ORGANIST- 1211 San.;. Clara, Alameda, California !H501. 06507. choir di~tor rdoeatins in Phoenix area be­ FOR SALE - IIARPSICHORDS. CLAVI· cause of husband', tnmstcr. 15 yeAn upericnce, WANTED MUSIC ROLLS FOR AUS- PII'E OROAN NOTE CARDS (b 7 ) WITH chords by NeupC'rt . world', (inest, oldest envelopes. Fint in A series or outstanding con· 2 dCJ«cs. member AGO. Addrcu &'5, Tile tin, Welte , Skinner, Aeolian, Duo-Art and m3kcr, Calaln'!! nn request . Malnamwic, Sh.· temporary OITolDt in America, Opus #1 features DIA.. M ON. Estey pipe orpn piayen, J. V. Mao rlney, mn, Conn. 06069 . 406 Ha\'erford Ave., Nathe"h, PII. 19072. the Reuter olpn io United Methodist Churm, PhOt'nix, Arizo na. Send $3.00 ror plg of 12 in H AR PSICHORDS, CLAVICHORDS POSITION AVAILABLE WANTED AEOLIAN DUO.ART OR· full color, (Sol.mpk $.50) Organ Art, Bo~ 309, MapirlCent tone " handsome QPpcarance at gan roll. or ~ordinp of lame. Hilhcst prien Burlingame, Calir. 94010. n'asnnablc cost. l.hluric:e de Angeli, 80~ 100, Ilaid. R. Smith, 115O .... lIt St.. Oklrn, N.Y. R.D. #1, PennsbllfW. Pa. 18073. 11218. HARPSICHORDS LARGE EASTERN BUILDER. long SI'ERRHAKE HARPSICHORDS AND CLA· C$t4blishcd. is looking {or • knowledscablc MISCELLANEOUS FOR SALE - FRENCH HARPSICHORD, vichords. Excdlcnt dependable healltiful. Roh­ penon with his r~t on the «mund to ,insle manual , 2 x 8', I x 4' and bufr. Sweet , ert S. Taylor, 8710 Q.ufitld 51 ., Bethesda. heJId up • TRACKER ORGAN DEPART­ dear, raonant tone. Brilliantly decorated. Md. 2:Kl34, MENT. a. an adjunct to our work on THE NEW 7·OCTAVE PETERSON CHRO. the electro.pneumatic l)'Item . matic luner, model 300 is now a\... ilable (mm $1500. Write Keith Hill, 71 -8tlh St., Bymn Center, Mkh. 4931 5. HAR i'SICHORD OWNF.RS A FULL Uac or Ilule ChdU, caacwork, open toni. stock. Contillllously variable Vrrnirr control line. q( aucflO and vdu.al Chromatic TunC'n is "oidn! and limtlkst pr;actic:a l acttan is a allo", you tn compensate 1m- temperntun Of FOR SALE SABATIUL BACH III CON· '"".. aV

Builders of Fine Tracker and Electro-Pneumatic Pipe Organs McMANIS Inquiries are Cordially Invited KANSAS CITY, KANSAS W. ZiIllIller & Sons I N COft PORATEO 66104

",.lIlng Add,... : P. O. Bo. 11024 • ChaltoU., N. C, 28208 NATIONS FORD ROAD' CHARLOTTE, N. C. D.S. WENTZ, INC. CHESTER A. RAYMOND, INC. Pipe Organs Harpsichords PIPE ORGAN BUILDERS P. O. Box 222 Rebuilding, Maintenance and Additions Clavichords Worth, III. 60482 P.O. Box 55 Princeton, N.J. 08540 WA 5-0534 GI8-0534 Phone: 609-924-0935

ORGAN SERVlCE- J. E. Lee, Jr. KNOXVIUE, TENNESSEI! 37901 BERKSHIRE ORGAN COMPANY lox 2061 68 So. Boulevard, We,t Springlleld, Massachusellt lun'-' - McNntHa .. c. - RHulWin. ConlUhanh + Membc-r: Inlerllillionni Society or Or,an Bunders ORGAN LEATHERS CONRAD O. DURHAM lulld.e.conlultan'.TDnal Flnl.... ,. WHITE, SON COMPANY P.O. I •• 2125, Tallaha ..... Fla. 32304 Sperrhalce 286 ~ummer Sirret 80"lon, l\ln ...chusrlls 02210 Harpsichords CREATIVE ORGAN BUILDING FOR ARTISTIC MUSICAL RESULTS DO IT YOURSElf' PIPE OROAN KITS Custom sp.dflutlonl for chureh or resid.nc., co:tlet. or p.m, fvll In· ,trudlons lIy ebUsh.d orille .....Uel.n. Greenwood Organ Company Passau IW. -Germany COLKIT MfG. CD. P.O.... 112 CHARLOTTE, NORTH CAROUNA 212JJ.5 HU.r Stefl.. , luff,ro, N.Y. IUD Box 532 ~ "TNlIEE GfNE/lAflONS 01 OIlGAN JUIID/NG" 26 CLASSIFIED ADVERTISEMENTS CIas.ifled advertiling rat": pet' word, $.20; minimum charge, $2.50, Ito. number, additional $1.00. Replies to box numbers should b ...... • /0 The Dlapason,.Q4 S. Walla'" Avenu., Chicago, ilL 60605.

FOR SALE - PIPE ORGANS FOR SAI.E - PIPE ORGANS FOR SAI.E - PIPE ORGANS FOR SALE - MISC.

FOR SALE ~ AEOLIAN RESIDENCE OR. FOR SALE - TWO MANUAL 1920 24- FOR SALE - PIPE ORGAN FACADE FOR SALE - 3·MANUAL WICKS CON­ lI'an from famolls William Wrigley estate on r.mk HilSfff'n, Lane Of!;fBASSOON, EXTENDS Greater Buston area. Thfte.manual, twenty· to manual 8'. Moller pipes, exc cond, FOR SALE - KIMBALL THEATRE OR­ 1!158 one ranks in playing condition, needs 50me crated FOB $1500. Orig 1905- edition, Auds_ gan. Thfte ranks - count 'em - three. AI· 500 TRADE·IN ORGANS ALL MAKES, work. Great chest seven, Choir four new in ley: The Art of Organ Building $150; OrJe­ 1957. earl Fftnning, 5-1- Chule Road, Dedham, so six-rank church organ ; also set of Wurli odd lots al Blue Book Prices. Why not make prdal Bourdon and cheslS; also 12 eight.foot a rompamon room of all makes of organs. lectra type 12-410·A $45. J. Rossfeld, 8440 Mass. 02026. Bliss, Elida, Ohio 45807. Diapasons large scale. Tom Walton. 1015 Ul4 er MIJving arranged. Vietar'_ Piano &: Organ FOR SALE - 3-MANUAL ESTEY PIPE St., Mobile, Ala. 36608. 20$/342·9463 . Warehouse, 300 NW !Hth St., Miami, Fla. urgan. Best offer indudins removal. Will .ell 31 127. !IOSn51-7S02. FOR SALE - MISCELLANEOUS LOW as colIIl.lete organ (less some parts to be reo pressure ranks, Melodia, Vox, Principal, Oc_ FOR SALE - LINK THEATRE ORGAN. tau, nlso pedalboard, ben .. h etc. 312/935- used ) or components can be purchased separ­ t!4 cODlplelely restored, with two tuned per. FOR SALE - MISC. 7915. ately. Must be removed by March I . 1972. cl1S.lions and full ~ rtment of traps and other Contact Rev. Paul Spohn, c/o Trinhy Luther­ noilemaken. Can be ICen and heard by ap­ FOR SALE - BEAUTIFUL NEW FA_ FOR SALE COLLEarOR'S ITEM: 61- an Church, 3rd St., Lehishton, Pa. 18235. pointment. Send SSAE for full details. B. E. " de pipes; 8' Helltrumpet, 61-notes (copper n~te free-reed clarinet Itop (Aeolian) ; to LeUarron. Amity Road, Bethany, Conn. 06525. boots, sockeb and polbhed high tin raona­ highest acceptable bid. Unitarian Church FOR SALE - 1925 MOLLER 3/ lt, OP. 203/393.3838. ton). Also new 8' Krummhom, 49 noles (50% 1535 Santa Barbara St., Santa Barbara. Calif: 4321, rebuilt and plavins, piano, Wurli vibes spoiled) . BeiJecker. Box 38, Ray, Ind. 46737 93101. • and Ileishbelb, Deasan barp celeste, many FOR SALE - WURLITZER, BARTON, or call 51;/ 492·9313. t'-xtras. Marten,. 4076 Lakespur, Palm Brach Kimball, pipe organ collection, largest in the FOR SALE ESTEY REED ORGAN Garnens Fla. 33400. West . All must be sold, consoles, electronic two-n!4nuals, full pt'dab, 10 ranb, ICparat~ FOR SALE - NEW ORGAN PIPES, 51% electnc blower, $-150.00. R. L. Twing, 2624 and pncumatic reia}'1, post horns, thrti: traJ' spotled metal, Mixtures, Scharffl, Cymbeb, Whitman Drive, Wilmington, Del. 19808. FOR SALE - I1·RANK PILCHER TUBU­ h'ts, pcrawions. Send JClf-addrcued stamped Octaves, etc. promptly available. Excellent lar plleumattc. Partially assembled in residence. envelope (or catalog. Jay Himes, 5511 Sunny workmanship. Write to: Exp.. rb on Organ FOR SALE USED PIPES CHESTS Must lell at considerable loss. David ArtnJtrollS, Slope Avenue, Shennan Oab, Califonlia I'ipes, Gebrudrr Kas, 53 Bonn-Beud, West consoles, misc, parts. OrJan Servb Bo:z 2061' Box 566, Bladenboro, N.C. 28320. 919/863-3167. 91401. 213/994·2946. GennallY. Knux\'ille, Tenn. 37901. ' ,

COMPLETE LINE OF ORGAN SUPPLIES WIND CHESTS - REED AND FLUE PIPES Send $1.00 for your copy of our complele, illustrated 1972 Catalogue. The deposit Is deductible from the first purchase of $10.00 or more made during 1972. DURST " CO.~ INC. P. O. BOX 1165M • ERIE, PENNA. 7<~INC. "THE LARGEST AND MOST COMPLETE ORGAN SUPPLY HOUSE IN MANUFACTURERS OF QUALITY ORGAN COMPONENTS NOIUH AMERICA"

LOum~MOHB&COMPANY HANSEN E. H. HOLLOWAY ORGAN ORGANS CORPORATION MAINTENANCE Constructors 2899 V.I.. IlI"" A... 8ulld... of New York 61, N. Y. & Tel

That 1o .... ly ...ad ••• Felix Schoenstein Reid Organ Co. of tile Soutla Germa. laroque. P.O.lox 3D F. C. DREWS & CO. & Sons Pipe Organ Bullde.. OIGAN .UILDERS SINCE 1"0 (4011 241-3167 NEW WORK FIlOM $6,000, G. F. ADAMS • REBUILT FIOM $4,000. SAN FRANCISCO, CAUF. It.ED. #1 Boll 577, Stan. "Id~., N.Y. 124M III Santa Clara, California 212-32'-J213 Organ Builders, Inc. PIANO TUNING liFE STYLE Learn PJano tunJng and repaJ, with easy PELS &VAN LEEUWEN 204 West Houston Street to follow home study co ...... Wiele open PIPE ORGANS PIPE ORGAN CO. n.1d with good earnings. Make, .~ .. ALKMAAR, HOLLAND New York, New York 10014 rent "extr~' Write 1117 Shdfn, .oad fob. Johann HHrspink Au,o,... III. 6030" AmerIcan School of Plano Tunlntl 3020 Oakwood Drl.,e, S.E. Telephone ORelon 5.6160 Ph...,,,, ~11/191'ln3 Dopl. D, 10. 7111 on...,. Calli. Grand Rapids, Mkh. 49506

FEBRUARY, 1972 27 L l. 1. I. a. 'll lVI' 'U: r 1; a, II b COI:-cer-c lVI'a,l:-a,ge ~

ANNOUNCING

European Artl.,. Season 1972·73

MICHAEL HADULESCU NITA AKIN Ocl.·No,'. '72

GILLIA WEIll Nov. '72

KAMIEL D'HOOGHE Jun.·F"b. '73 HEI 'IZ WUNDERLICH Feb. 'n .r. ROBERT ANDERSON JElIALU HAMILTON ~IONIKA HENKIN .. Mor.·Apr. '73

~ IICHAEL SCHNEIDF.H Apr .. '73

FRANCIS JACKSOi'i lila)' . 'n

ROBERT BAKER GERRE HANCOCK DONALD McDONALD

DAVID CHAIGHEAD CLYDE HOLLOWAY MARILYN MASON LADD THOMAS

CATHARINE CROZIER WILMA JENSEN FREDERICK SWANN JOHN WEAVER

~ RAY FERGUSON JOAN L1PPINCO'IT WILLIAM TEAGUE WILLIAM WHITEHEAD

BOX 272 CANAAN, ~ONNECTICUT 06018 203-824-7877