sign in sign up
<<
Home , Iglesia ni Cristo

THE DIAPASON APRIL 2015

Iglesia Ni Cristo , Cover feature on pages 24–26 "The World's Premiere Duo-Organ Team" --- The Atlanta Journal & Constitution

20th-21st Century Organ ForMusicTwo VOLUME FOUR ElizabethDUO ORGANISTS& Raymond Chenault

The Triumph of the Stephen Paulus 1 | The Flight and Failure of St. Anthony 4:37 2 | St. Anthony in Meditation 11:20 3 | Temptation of St. Anthony 5:28 "No one can contest the spectacular facility, 4-12 | Variations on Veni Creator Spiritus David Briggs 11:19 musicianship, and ensemble 13 | Conditor Alme Siderum Pamela Decker 6:05 that these two offer in every 14 | Patriotic Medley Charles Callahan 13:14 musical style represented. Amazing artistry and 15 | Shenandoah Nicholas White5:05 technique, creative and 16-21 | Phantom of the Opera Medley Andrew Lloyd Webber 9:11 diverse programming, and arr. by Raymond  Elizabeth Chenault an accurate sense of what the TOTAL TIME: 65:25 public -- from casual listeners to highly trained musicians -- will enjoy and appreciate." (The Journal of the Association of Anglican Musicians)

Historic Organs by E. M. Skinner & Aeolian-Skinner Washington National -- Washington, D. C. St. Andrew's Episcopal Church -- Amarillo, Texas [email protected] www.concertartists.com THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Sixth Year: No. 4, In this issue Whole No. 1265 This is being written on a snowy day, with icy roads pre- APRIL 2015 dicted for the day following. We long for more light and more Established in 1909 warmth, and both should have arrived by the time you read Joyce Robinson ISSN 0012-2378 this. In this issue we list the 2015 conventions, conferences, 847/391-1044; [email protected] and classes that are available for your continuing education www.TheDiapason.com An International Monthly Devoted to the Organ, and edifi cation during the summer months. the Harpsichord, Carillon, and Church Music Marcia Van Oyen reviews 2014’s University of Michigan 20 under 30 Organ Conference. This event dates back to 1961. The 2014 The members of our 20 under 30 Class of 2015 were CONTENTS edition honored Michele Johns’s 33 years of teaching, and announced in early March. View the list of winners on our web- also highlighted the changes in the University of Michigan’s site, TheDiapason.com (click “20 under 30”). We received over FEATURES organ department (now led by James Kibbie). The conference 100 nominations and found the task of selecting just 20 young The 2014 University of Michigan Organ Conference September 28–30, 2014 featured contributions by new faculty members Kola Owolabi leaders to be a challenge. This will be an annual event, and by Marcia Van Oyen 20 (organ), Joseph Gascho (harpsichord), and Vincent Dubois we hope you will participate in submitting nominations for the Remembering Charles Dodsley Walker (permanent visiting professor of organ). Class of 2016 (no one can be selected who wasn’t nominated). (1920–2015) Neal Campbell offers a tribute to Charles Dodsley Walker, Members of the Class of 2015 will be introduced to you in by Neal Campbell 23 founder and conductor of the Canterbury Choral Society in our May issue. We look forward to presenting them to you! New York City and past president of the American Guild of NEWS & DEPARTMENTS Organists, who passed away this January. In preparation Editor’s Notebook 3 John discusses valves this month, and how the tiniest Other feature articles that will be forthcoming in future Here & There 3 Appointments 6 bit of dust can derail a performance by causing a cipher. issues include an examination of the organ works of Pamela Nunc Dimittis 8 Gavin Black continues the discussion he began last month, Decker by Edie Johnson, and a remembrance of Nigerian Harpsichord News by Larry Palmer 12 about listening closely while playing, and about actually experi- composer Ayo Bankole, who would have been 80 years old this On Teaching by Gavin Black 17 encing the emotional content of what you are playing. year, by Godwin Sadoh, plus an interview by David Wagner In the wind . . . by John Bishop 18 Our Nunc Dimittis section this month announces the pass- with Pamela Ruiter-Feenstra. ing of John Obetz, Almut Rössler, and John Jay Tyrrell. All these and more (including access to subscriber-only REVIEWS This month’s cover feature is A. E. Schlueter Pipe Organ material on our website) await you in future issues of The Music for Voices and Organ 13 Company’s new instrument at the Iglesia Ni Cristo in Quezon Diapason. Encourage your friends to subscribe! Have them Book Reviews 13 City, Philippines. contact me and I will help get everything started. Q New Recordings 14 New Organ Music 15 New Handbell Music 16 Here & There NEW ORGANS 27 SUMMER CONFERENCES 28 Events CALENDAR 29 First Presbyterian Church, Arlington Heights, Illinois, concludes ORGAN RECITALS 33 its concerts: April 1, Christopher CLASSIFIED ADVERTISING 34 Urban; May 3, choral concert. For information: www.fpcah.org.

Washington National Cathedral continues concerts: April 5, Christopher Betts, Benjamin Straley; 4/12, Kurt Ison; May 3, Jeremy Filsell; July 4, Christopher Betts, Benjamin Straley. For information: Left to right: David Wagner, Stephanie Yu (2nd prize), Phillip Radtke (1st prize), Mari- www.nationalcathedral.org. lyn Biery, Edward Maki-Schramm

Polyphony: Voices of New Mexico, Eight organ and sacred music majors at the University of Michigan participated presents McCullough’s The Holocaust in the 2015 Schoenstein Competition in the Art of Organ Accompaniment on Cantata, at Las Placitas Presbyterian February 25, 2015 at the First Presbyterian Church of Ann Arbor. The competition COVER Church, Placitas, New Mexico, April 12. was made possible through a generous grant from Jack M. Bethards, president and A. E. Schlueter Pipe Organ Company, Lithonia, For information: www.polyphonynm.com. tonal director of Schoenstein & Co., Organ Builders, , . Phil- Georgia; Iglesia Ni Cristo, Quezon City, Philippines 24 lip Radtke, a graduate student in sacred music, was awarded the fi rst prize of $1,000. The American Guild of Organists Stephanie Yu, a doctoral student in organ performance, received the second prize of Endowment Fund Distinguished Artist $500. The competition was judged by Marilyn Biery, Edward Maki-Schramm, and Editorial Director JOYCE ROBINSON Award presents a recital and gala benefi t David Wagner. The jury evaluated the competitors’ artistic use of the Schoenstein and Publisher [email protected] reception honoring Cherry Rhodes and organ at First Presbyterian in a variety of organ accompaniments, including hymns, 847/391-1044 Ladd Thomas at First United Methodist a vocal solo sung by University of Michigan graduate student Mysti Hawkins, and VP/Group Publisher DIANE VOJCANIN Church, Glendale, California, on April choral anthems performed with the Chancel Choir of First Presbyterian Church, [email protected] 17. Rhodes and Thomas will present a Tom Granum, director. 847/391-1046 recital at 7:30 p.m., and a reception will Editor-at-Large STEPHEN SCHNURR follow. The reception will benefi t the [email protected] AGO Endowment Fund. Tickets are Bach’s A Musical Offering, in Sleepy St. Vincent Ferrer Church, New 219/531-0922 $20 (recital only) or $150 (recital and Hollow, New York. For information: York City, presents Bach, Magnifi cat in Sales Director JEROME BUTERA reception). For information: agohq.org. www.juilliard.edu. D Major, and works by Schubert and [email protected] Sumsion on May 3. For information: 608/634-6253 The St. Andrew Music Society The Indianapolis Symphonic Choir www.stvincentferrermusicnyc.com. Circulation/Subscriptions VY DUONG of Madison Avenue Presbyterian continues its music events: April 24, Fauré [email protected] Church, New York City, concludes Requiem, Mohammed Fairouz, oratorio St. Paul Cathedral, Pittsburgh, 847/391-1043 its concerts: April 19, New York City Zabur; June 12, 13, and 14, Beethoven’s Pennsylvania, presents its 2015 organ Children’s Chorus; 4/26, Margaret Mills, Ninth. For information: indychoir.org. concert series: May 3, Kenneth Danchik; Designer DAN SOLTIS piano; May 3, St. Andrew Chorale and June 22, Nathan Laube; July 12, Sarah Associate Editor LYNNE FORT New York City Children’s Chorus. For The Cathedral Church of St. Paul, Wannamaker; 7/19, Ethan LaPlaca; information: www.mapc.com/music/sams. Detroit, Michigan, continues music 7/26, John Henninger; August 9, Jeremy Contributing Editors LARRY PALMER Harpsichord events: April 26, May 14, Choral Even- Bruns; 8/16, Don Fellows; 8/23, Anthony Juilliard Historical Performance song; May 2 and 3, Three Williams; 8/30, Alistair Stout; September JAMES MCCRAY concludes free lunchtime concerts at Choir Festival Concert (choirs of St. 20, Annie Laver; October 27, Thiemo Choral Music Holy Lutheran Church, New Paul’s Cathedral, Buffalo, Detroit, and Janssen. For information: BRIAN SWAGER York City, Tuesdays at noon: April 21. , Ontario, ). For informa- [email protected]. Carillon On May 16, Juilliard Baroque performs tion: [email protected]. ³ page 4

JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2015. Printed in the U.S.A. GAVIN BLACK 5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. On Teaching Subscriptions: 1 yr. $38; 2 yr. $62; 3 yr. $85 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Foreign subscriptions: 1 yr. $48; 2 yr. $75; 3 yr. $96. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading Reviewers David Herman Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: at the rate of one copy for every fi fteen students. Such copies may be reused for other James M. Reed Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington courses or for the same course offered subsequently. John L. Speller Heights, IL 60005-5025. Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the Charlie Steele issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, Leon Nelson should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 3 Here & There

³ page 3 specifi c country, region, or builder, or any combination thereof. Album, work title, composer, organist, and organ, and links for more information are listed on the website, with links for purchasing CDs, MP3s, or sheet music, or downloading free PDFs of works performed. The sta- tion is completely free to hear, just visit the station website at www.organexperi- ence.com to tune in; most mobile devices can access the stream at this URL. The foundation also announces the Dobson Opus 47 anniversary cake at Hope United Church of , Sturgeon Bay return of At The Organ, a weekly podcast about the classical organ and its music. On December 7, 2014, a recital was held in celebration of the 25th anniversary of Hosted by Jim Logue of Jim Thorpe, the installation of the Dobson Opus 47 mechanical-action organ at Hope United Sebastian M. Glück (photo credit: Steven Pennsylvania, it includes interviews with , Sturgeon Bay, Wisconsin. Sarah Mahler Kraaz, professor of E. Lawson) music makers, educators, and organ music, college organist, and chair of the music department at Ripon (Wisconsin) Col- builders. Shows, including back epi- lege, was the recitalist. The program included organ, instrumental, vocal, and congre- The Sebastian M. Glück College sodes, can be heard at www.attheorgan. gational music for Advent, Christmas, and Epiphany. Guest musicians included Mary Scholarship has been created, one of com, or on Organlive.com on Sundays at Hall and David Robertson. A cake created in the image of the organ was the focal a trio of scholarship programs estab- 7:00 a.m. or 7:00 p.m. central time. point of the fellowship time following the recital. lished twelve years ago by the Suffolk The Organ Media Foundation is a Pictured left to right with the cake: Amanda Biank (baker), Mary Hall, Sarah County Chapter of the AGO. The 501(c)(3) tax-exempt organization, char- Kraaz, Robert Nickel (resident organist), and David Robertson. scholarship will be awarded to a college tered in January 2011 to encourage and undergraduate or a high school senior help those who seek to share the art and about to enter college who has declared music of the classical organ in its many a major or minor course of study in organ forms with a wider world through the performance, demonstrating their com- use of both traditional and emerging mitment to the pipe organ and its music. media forms. Projects are funded by The award is granted through a pro- supporters, and the foundation’s other cess of audition and jury and is one of streaming audio stations, Organlive.com, three tiered scholarships presented by and PositivelyBaroque.com. For infor- the chapter, including one for secondary mation: www.organmedia.org. school students and another for those of any age who are just beginning their The Philadelphia Singers has studies. Winners will be acknowledged received an Art Works grant from the by an annual scholarship recital by a National Endowment for the Arts to guest artist, with Mr. Glück’s stipulation support its “Women Aloud” perfor- that the recital be performed on an all- mance project. The $10,000 grant will Recitalists at St. Michael and All Angels Episcopal Church pipe instrument. support the collaborative performance The 2015 scholarship recital will be project focusing on women in music. Five students from the studio of Laura Ellis, organ instructor at the University of performed by Scott Montgomery at St. In March 2016, the group will partner Florida and regional councilor of the American Guild of Organists, played an organ Patrick’s Church, Huntington with Sister Cities Girl Choir and the recital at St. Michael and All Angels Episcopal Church, Sanibel, Florida, on Feb- (Long Island), New York, on Sunday, Anna Crusis Women’s Choir to present ruary 14. Shown left to right are: Hyun Ji Son, Lauren Wittine, Dr. Laura Ellis, Jason May 3 at 3 p.m. For information: “Women Aloud,” a performance series Joseph, Nicholas Cioli, and Colin Chan. www.SuffolkAGO.org. featuring an array of women compos- ers, past and present. The performance project seeks to engage with the larger Pacifi c Symphony of Santa Ana, community by demonstrating the infl u- California, and its music director Carl ence and importance of women compos- St. Clair announce the 2015–16 concert ers in the vocal arts and classical music. offerings, including one event of par- Composers to be featured include ticular interest involving the organ. The Fanny Mendelssohn, Libby Larsen, and “American Composers Festival” will take Jennifer Higdon. For information: place February 4–6, 2016, and feature [email protected]. organists Paul Jacobs and Christoph Bull, who join the Pacifi c Symphony and The Grand Prix Bach de Laus- the Pacifi c Chorale for performances The Organ Experience anne, Fifth International Competi- of Morten Lauridsen’s Lux Aeterna, a tion in Interpretation will take place world premiere by Wayne Oquin, and The Organ Media Foundation November 14–21 as part of the 18th Stephen Paulus’s Concerto No. 4 and has launched its third streaming audio Lausanne Bach Festival. There is no Pilgrim’s Hymn. For information and station, The Organ Experience (www. age restriction for applicants. Prizes tickets: www.pacifi csymphony.org. organexperience.com), which broadcasts and awards are as follows: Grand prize, Jordan DeRouen classical organ music 24 hours a day. CHF 5,000; second, CHF 3,000; third, Groups of 30 minute, one- and two- CHF 1,500; and audience prize, CHF People Toccata on Victimae Paschali Laudes, hour blocks present similarly themed 500. Deadline for applications is August Jordan DeRouen is the winner of an composed in January 2015, is a three- music from particular periods, countries 20, 2015. For further information, visit organ composition competition sponsored minute toccata of medium diffi culty. or regions, composers, or organs of a www.festivalbach.ch. by the French Organ Music Seminar. His ³ page 6

MANDER ORGANS

New Mechanical Action Organs

³ St. Peter’s Square - London E 2 7AF - England Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 Continuo Organs [e] [email protected] AUSTINORGANS.COM www.mander-organs.com t8PPEMBOE4U)BSUGPSE$5

Imaginative Reconstructions

4 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Michael D. Boney Daniel Bruun Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Presenter Organist/Conductor Organist Organist/Harpsichordist Indiana University Montevideo, Uruguay Charlotte, North Carolina Indianapolis, Indiana Copenhagen, Denmark Ann Arbor, Michigan

Leon W. Couch III Joan DeVee Dixon Rhonda Sider Edgington Laura Ellis Henry Fairs Faythe Freese Organist/Lecturer Organist/Pianist Organist Organ/Carillon Head of Organ Studies Professor of Organ Birmingham, Alabama Hutchinson, MN Holland, Michigan University of Florida Birmingham Conservatoire University of Alabama

Simone Gheller Sarah Hawbecker Johan Hermans James D. Hicks Michael Kaminski Sarah Mahler Kraaz Organist/Recording Artist Organist/Presenter Organist/Lecturer Organist Organist Professor of Music/Organist Oconomowoc, WI Atlanta, GA Hasselt, Belgium Bernardsville, NJ Brooklyn, New York Ripon College

Angela Kraft Cross David K. Lamb Mark Laubach Colin Lynch Yoon-Mi Lim Philip Manwell Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Conductor Assoc. Prof. of Organ Organist San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania Boston, Massachusetts SWBTS, Fort Worth, TX Reno, Nevada

Christopher Marks Katherine Meloan Scott Montgomery Shelly Moorman-Stahlman Anna Myeong David F. Oliver Organist/Professor of Music Organist/Faculty Organist/Presenter Organist/Pianist Organist/Lecturer Organist U of Nebraska-Lincoln Manhattan School of Music Champaign, Illinois Lebanon Valley College Mission, Kansas Morehouse College

Ann Marie Rigler Brennan Szafron Edward Taylor Michael Unger Rodland Duo Christine Westhoff Organist/Presenter Organist/Harpsichordist Organist/ Choral Conductor Organist/Harpsichordist Viola and Organ & Timothy Allen William Jewell College Spartanburg, S. Carolina Carlisle Cathedral, UK Cincinnati, Ohio Eastman School of Music/ Soprano & Organ St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 a non-traditional representation celebrating its 28th year of operation Here & There Appointments ChristChurch Cathedral, in the city of Christ- ³ page 4 professor. He founded the Seton Hill church, New Zealand, has appointed John Judges for the competition were Jill Hunt, University Chapter of the American Linker as director of music. Linker replaces Jens Korndoerfer, Charles Ore, E. Ray Guild of Organists in 1983. Highberger Brian Law, who has retired after serving the Peebles, D. H. Clark, and Kiyo Watanabe. was accompanist for the Westmoreland cathedral since 2004. The director of music over- DeRouen studied organ with Fred Choral Society from 1977 until 2010. sees all aspects of the cathedral’s music program, Sahlmann, earned his bachelor of sacred The Ed Highberger Music Fund, including the cathedral choir, the oldest profes- music at Northwestern State University established with gifts at the anniversary sional musical entity in the city, the only profes- in Natchitoches, Louisiana, studying with celebration, will be used to enhance the sional choir of men and boys in New Zealand, Mary deVille, and studied organ improvi- musical offerings at the church. and one of only two in the southern hemisphere. sation with E. Ray Peebles. Currently a A compact disc entitled Celebration: The choir was established six months before graduate student in organ performance Fifty Years of Preludes and Postludes, a the opening of the cathedral in 1881, to ensure at Southern Methodist University in Dal- sequel to Mr. Highberger’s disc entitled the group was prepared for the dedication cer- las, studying with Stefan Engels, he has Signature Preludes and Postludes, was emonies. The twenty boys sing fi ve services and John Linker been a scholarship student in the French produced for the occasion. Five of its ten rehearsals most weeks of the year, as well as Organ Music Seminars (www.bfoms. nineteen organ pieces are performed special services and performances. The men and boys sing approximately 800 com), receiving instruction from Louis with instrumentalists who are colleagues works of literature each year. Robillard, Sophie-Véronique Choplin, of Highberger. His wife, Joanne Salvador The 1881 cathedral was severely damaged in the earthquake of 2011. Since Frédéric Blanc, François Espinasse, and Highberger, reads poetry from the works then, the Transitional Cathedral (a.k.a. “Cardboard Cathedral”) has been in Jean-Baptiste Robin. of John Dryden and John Milton which use a few blocks distant with a full calendar of daily services. Plans are in Currently organist and director of offer tribute to what Mozart referred to formation for the removal of the old cathedral ruins and construction of a new music for St. Luke’s Episcopal Church in as “The King of Instruments.” Both discs cathedral in the central city’s Cathedral Square, a project to include restora- Dallas, DeRouen has served in Louisiana are available through the church offi ce: tion of the cathedral’s Hill organ. The Transitional Cathedral was designed by as director of music and organist for St. [email protected]. Japanese architect Shigeru Ban and has been internationally acclaimed as a Joseph’s in Zwolle, model for emergency that speaks to the future while respectfully organist for the Basilica of the Immacu- bowing to the past. late Conception in Natchitoches, and A native of Princeton, Illinois, John Linker has been organist and choir- organist-choirmaster for St. Timothy’s master for the Church of the Good Shepherd in Lexington, Kentucky, for Episcopal Church in Alexandria. fourteen years. There he reinstituted the choir’s treble program and led the group on numerous tours to England, , and France. In 2013, Linker oversaw the installation of a four-manual Goulding & Wood organ in the Church of the Good Shepherd. He holds degrees from Northern Illinois University and Roosevelt University in Chicago and is a doctoral candidate at the College-Conservatory of Music at Cincinnati, Ohio. For information: www.christchurchcathedral.co.nz.

Doreen Rao has been appointed as the new David & Jeannine Jordan artistic director of the Chicago Chamber Choir. Rao succeeds Timm Adams, who has conducted Jeannine and David Jordan per- the group for fourteen years. The two will con- formed their organ and multi-media pre- duct the group in its spring concert series in Edgar Highberger, Charles Callahan, sentation, Bach und Söhne, at the Bach April. Rao recently served as director of choral Joanne Highberger Wedding Church (St. Bartholomäus programs for the University of Toronto, where Kirche) in Dornheim, Germany, on Sep- she directed the International Bach Festival with Edgar Highberger celebrated his fi f- tember 6, 2014. (Johann Sebastian Bach Helmuth Rilling and founded the university’s tieth anniversary as of music and married Maria Barbara Bach in this vil- Centre for Advanced Studies in Choral Music. organist of the First Presbyterian Church, lage church on October 17, 1707.) Jean- Prior to her work in Toronto, Rao worked with Greensburg, Pennsylvania, where he nine narrated the show in German and the Chicago Symphony Chorus and Orchestra, Doreen Rao oversees a comprehensive program of performed works of Bach and his sons and the Glen Ellyn Children’s Chorus (now choirs, handbell ensembles, and a concert on the Schönefeld organ. David’s visual Anima Young Singers), leading to four Grammy Award-winning recordings. series, now in its fortieth year. presentation completed the multi-media Rao holds the Ph.D. degree from Northwestern University and was mentored Charles Callahan was commissioned event. While in the Bach region of Ger- by Margaret Hillis and Robert Shaw. Chicago Chamber Choir is a 40-voice by the church to write Suite of Five Eng- many, Jeannine Jordan also performed a choral ensemble founded in Chicago in 1996, taking its current name and lish Hymn Tunes, which he performed at solo concert of works by Johann Sebas- leadership in 2000. For information: www.chicagochamberchoir.org. a celebratory concert on December 12, tian Bach and his eldest sons, Wilhelm along with works by Alexandre Guilmant Friedemann and Carl Philipp Emanuel, Connecticut Choral Artists (CON- (teacher of Bertram Smith Webber, on the 1730 Silbermann organ in the St. CORA) announces the appointment of organist of First Presbyterian Church at Georgenkirche of Glauchau. For infor- Christopher Shepard as its second the turn of the 20th century) and Gor- mation: www.bachandsons.com. artistic director, succeeding artistic don Balch Nevin (organist of the church director emeritus Richard Coffey, who in the early decades of the 20th century). French organist Christophe Man- founded the ensemble as the region’s fi rst Highberger was associate professor of toux will make his fourth tour to the all-professional choir in 1974. The ensem- music and university organist at Seton United States under the auspices of ble has been led by guest conductors Hill University, Greensburg, Pennsyl- Penny Lorenz Artist Management from throughout its 2014–15 season, as a two- vania. Named Professor of the Year in February 18–March 7, 2016. M. Man- year nationwide search for a new leader 2005 and recipient of the 2009 faculty toux is professor of organ and improvisa- was concluded. During this season, three award for Excellence in Liberal Arts tion at the Conservatoire Régional de fi nalists led the ensemble in concerts as Christopher Shepard (photo credit: Teaching, he continues to teach organ Paris and titular organist at the church of guest conductors. Dr. Shepard will begin Algis Kaupas) and sacred music as an adjunct associate ³ page 8 his duties with the 2015–16 season. Christopher Shepard founded the Sydneian Bach Choir and Orchestra in Sydney, Australia, where he was music director of Bach 2010, a project to perform all of Johann Sebastian Bach’s choral works. Since returning to the United States in 2008, he has served as music director of the Dessoff Choirs in New York City and the Worcester Chorus in Worcester, Massachusetts. Shepard was guest choral conductor at the College of the Holy Cross in Worcester from 2011 to 2013, director of music for the Sydney Grammar School (1996–2008), and leader of the choral program for the Taft School in Watertown, Connecticut. Since 2004, he has been music director of the Hotchkiss Summer Portals Chamber Music Program. He earned the Ph.D. in 16355, avenue Savoie musicology from the University of Sydney, as well as degrees from the Hartt Saint-Hyacinthe (Québec) J2T 3N1 School, Hartford, Connecticut, and the Yale University Institute of Sacred Canada Music, where he studied choral conducting with Marguerite Brooks. For more information, visit www.concora.org. Q T 450 774-2698 [email protected] www.letourneauorgans.com Listen to the Music of Denice Rippentrop DeniceRippentrop.com BeautifulStar.com Email: [email protected] F O L L O W U S O N F A C E B O O K

6 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM A MODEST PRICE

Granted, we occasionally err on the side of modesty. We are modest about our innovative technologies, which put us at the front of our field. About our long history, which gives us an international advantage. About our years of experience, allowing us to know what you want as an organist. Our price is similarly modest. The unique way that we combine our rich experience, cutting-edge technology and musical history is what enables us to offer you a fair price. We feel no need to be modest about that.

Vivaldi 370 60 voices, 12 lifelike reverbs, 3 keyboards Here & There

³ page 6 Mantoux is also a jurist for competitions concerts with conductor and department join the books for Epiphany, Advent, and in Europe and the United States. His chair, Dr. John French, solo recitals twice Christmas, published in summer 2014. management is now booking dates for yearly, convocations, and other offi cial Oxford Hymn Settings for Organists concerts, workshops, and masterclasses. services. Morrison was fi rst brought to provides newly composed practical and For availability and information, con- the attention of Ursinus College while concise pieces based on frequently used tact Penny Lorenz at 425/745-1316 or still a student at Curtis and was asked to hymn tunes, at intermediate level, suit- [email protected]. make a CD (Organ Power) on the rela- able for church musicians working in all tively new Austin instrument (Heefner major denominations. For information: Memorial Organ). Shortly after, a new www.edition-peters.com. position was created to help the organ achieve an identity in the area and Mor- rison was offered this post. Morrison con- tinues as the Haas Charitable Trust Chair Christophe Mantoux in Organ Studies at the Curtis Institute of Music in Philadelphia (since 2002) and St. Séverin in Paris. Winner of the Grand faculty member at Westminster Choir Prix de Chartres, he has performed in College of Rider University (since 2006). North and South America, Japan, South He is under the exclusive management Korea, and Europe. Recent concerts of Karen McFarlane Artists, Inc. Visit have included Notre Dame de Paris as www.alanmorrison.com for more news. part of the celebration of the renovation Alan Morrison of the grand orgue, and in Milan; upcom- Co-editors Rebecca te Velde and ing concerts will be in Lübeck and Què- Alan Morrison recently played his David Blackwell have added two new Karen Thielen, James Welch, and bec. Last August Mantoux led a Historic 40th recital at Ursinus College (College- volumes to their Oxford Hymn Settings Michael Adduci Organ Study Tour of 40 participants from ville, Pennsylvania) where he has just for Organists series, of chorale preludes the United States and Australia, visiting completed 20 years as college organist. In and hymn settings for Lent and Passion- On February 1 James Welch pre- more than 30 historic organs in Belgium. this role he has played countless choral tide and for and Ascension. These sented a recital at St. Mark’s Episcopal

Nunc Dimittis USS Henley. The ship was on its way to Japan, John Obetz, of Leawood, Kansas, died Feb- just prior to Hiroshima, when it was torpedoed ruary 12, 2015. He was 81. Obetz, known for his and sank within ten minutes. The crew was in “The Auditorium Organ” radio program, broadcast the water for ten hours, with John clinging to from the Community of Christ (previously RLDS) a lifeboat after having given his life jacket to a Auditorium, taught for more than 30 years at the fellow crewman who had lost his. University of Missouri-Kansas City’s Conservatory Following the war, he entered Washington of Music and was a key fi gure in the installation University in St. Louis, where he met and of the Casavant organ in Helzberg Hall at the married his wife, Penny, in 1948. He sub- Kauffman Center for the Performing Arts. Active sequently graduated from the University of in the American Guild of Organists, he served as a Illinois in 1949, with a degree in architecture. chapter dean, regional chairman, and on the AGO John started his organ-building career at National Council for two decades. the Aeolian-Skinner Organ Company of Bos- A full obituary will appear in a future issue of ton, in 1951, fi rst as a draftsman working in John Tyrrell The Diapason. John Obetz the engineering department, under the tute- lage of G. Donald Harrison. Following Har- Almut Rössler died February 14, 2015, in rison’s death, he was made vice president of Düsseldorf, Germany, after a long illness. Born the fi rm in 1956, president in 1960, and chair- on June 12, 1932, in Beveringen (Ostprignitz), in man of the board in 1966, working with tonal 1977, Rössler was appointed honorary professor director Joseph Whiteford. During his tenure of organ at the Robert-Schumann-Hochschule; there he was involved with instruments at she also served as church musician at St. John’s Lincoln Center, the Mormon Tabernacle, and Church, both in Düsseldorf. St. Paul’s Cathedral, Boston, among many. She was an acknowledged expert on the organ I fi rst remember John from his visits to Nameplate acknowledgement music of Messiaen, whose complete works for Knoxville, Tennessee, in connection with the organ she recorded. (See Marijim Thoene and sale and design of the organs at Church Street United Methodist and Broad- Alan Knight, “The University of Michigan 51st way Baptist Churches, in the mid 1960s. At a time when many organbuilding Conference on Organ Music,” The Diapason, fi rms employed high-pressure salesmen, he was a congenial person, always December 2011.) In 1972 Rössler played the Almut Rössler pleasant, always a gentleman in every way—someone who left a good impres- European premiere of Méditations sur le Mystère sion on this college student. de la Sainte Trinite; in 1986 she played the world premiere of Messiaen’s last After the decline of Aeolian-Skinner, he worked with a number of fi rms, major organ cycle, the Livre du Saint Sacrement. retiring in 1988. During his lifetime, while living in various parts of the coun- try, he held church music positions too numerous to mention. John Jay Tyrrell, 94, of St. Petersburg, Florida, architect, organ builder, In his retirement years, it was our distinct pleasure to have him associ- and church musician, died January 19, 2015, following a brief illness. Born in ated with our fi rm from about 1992, during which time he made architectural Delavan, Wisconsin, on January 3, 1921, he graduated from Beloit College with a renderings and sold several organs, including the large rebuilds at Rollins degree in music in 1938. He was drafted into the U.S. Navy from 1942 until 1946, College and First United Methodist in Orlando. He had originally sold the reaching the rank of lieutenant and serving as a gunnery offi cer on the destroyer latter organ, for which he also did the mechanical layout. John Jay Tyrrell is survived by Penny, two children, six grandchildren, and four great-grandchildren. Following interment in the church’s columbarium, a memorial service, which he had planned, was held for family and friends at Maximo Presbyterian Church, in St. Petersburg, on February 9. John Tyrrell was a prince of a fellow, who lived a long and full life. He will be sorely missed by all who knew him. Q —Randall Dyer

The Sound of Pipe Organs M. McNeil, 191 pages A new technical study of the relationships between scaling, We are working in your area, how can we help you? voicing, the wind system, and tuning. Search on the title at the Organ Historical Society and Amazon websites.

8 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM Here & There

Church in Palo Alto, California, joined Cramer Organ Publications by two colleagues from the Santa Clara announces Pedalling for Organists, by University Music Department, harpist Anne Marsden Thomas. This method Karen Thielen, and Michael Adduci on book offers exercises for the beginning, oboe and English horn. Works included intermediate, or advanced player. The Sonata for Oboe by Alessandro Besozzi, 37 chapters, covering the basics from Rhapsodie on a Breton theme by Camille bench position and posture through to Saint-Saëns, and Percy Grainger’s double pedals, include color photos and Handel in the Strand. hundreds of exercises, most from three centuries of organ repertoire. Catalog number 90670, £18.95. For information: Publishers www.cramermusic.co.uk. Bärenreiter announces Organ Events: Concert Organ Music from fi ve Dr. J. Butz Musikverlag announces Centuries (BA 11220, €25.95), edited by the publication of Kölner Fanfare, a col- Martin Weyer. The volume presents easy lection of “festive organ pieces” by sev- to moderately diffi original works enteen composers from seven countries; and arrangements, from 17th-century it was dedicated to the high-pressure Portuguese compositions to French and “Fanfares” of the Cologne cathedral’s American 19th-century music. For infor- organ and to its organist, Winfried Kölner Fanfaren mation: www.baerenreiter.com. Pedalling for Organists Bönig. The collection includes Stephen ³ page 10 Vibrant Sounds! When Belin in Murrells Inlet, South Carolina, realized that their two-manual organ was falling into disrepair, it was decided a new state-of-the-art digital organ was the way to go. Having long-term plans to enlarge the current building, members wanted an instrument that would handle their parish growth. “We had been looking at Allen organs for several years, and chose a three-manual QuantumTM/Custom. The entire installation had an overwhelming positive reception by our congregation. “I never knew it could sound that good”, was the common reaction. We included a pipe facade to not only dress up the chancel area but to satisfy our pipe organ enthusiasts. They love it and can’t believe howtrue it sounds. In the few short months since the installation, we have been creative with the MIDI sounds. The very first Sunday we played it, everyone – even our – thought we were singing to an orchestra recording. They cannot get over the flexibility and range of soundsvailable. a The orchestral instruments not only enhance our music but allow us to have orchestrations without hiring additional musicians. eW look forward to many years of creative, vibrant sounds from our Allen Organ.” Jim Sellers Director of Worship Arts Belin Memorial United Methodist Church Murrells Inlet, SC

Allen offers organs for worship spaces of every size, THE WORLD’S MOST CHOSEN CHURCH ORGAN! shape and acoustics, as well as solutions for every Allen Organ Company LLC musical need and preference. Bring us your dreams and 150 Locust Street, Macungie, PA 18062 USA we will create an instrument as unique as your music! tBPTBMFT!BMMFOPSHBODPNtXXXBMMFOPSHBODPN

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 9 Here & There

³ page 9 Recordings Organ Builders Tharp’s Easter Fanfares, which the com- Divine Art announces the release of poser can be heard playing on YouTube, Masque, a new recording of organ music and works by Gereon Krahforst, Harold by Carson Cooman, played by Erik Sim- Britton, Peter Planyavsky, Daniel Roth, mons on the Marcussen & Søn organ of and Christopher Tambling. Laurenskerk in Rotterdam, Netherlands. Dr. Butz Musikverlag’s new product Simmons performs nine preludes and line, “The Special Genre,” offers individ- fugues, Preghiera, and Symphony for ual volumes dedicated to genres such as Organ (DDA 25127). For information: pastorales, carillons, toccatas, marches, www.divine-art.co.uk. scherzi, evening music, and more. The latest edition contains “Sorties” from the French Romantic era. The series aims to revive forgotten or out-of-print music. Scores for organ and orchestra include editions of baroque masterpieces, new editions of out-of-print compositions of the Romantic era, and fi rst issues of contemporary music. All scores can be ordered through the Organ Historical Society or Dr. J. Butz Musikverlag directly. For information: www.butz-verlag.de. University of Florida Professor Laura Ellis (left) and Reuter President JR Neutel (center) with organ students and voicing staff Forte Notation announces its latest musical notation software, FORTE 5 The Reuter Organ Company has just fi nished a comprehensive tonal renovation Worship edition. The software permits of the Andrew Anderson Memorial Organ at the University of Florida. Located in one to locate, create, print, and share Messiaen, La Nativité du Seigneur University Hall, this fi ve-manual, 99-rank Moller instrument includes vintage pipe- music with a congregation, choir, or band. work from earlier Skinner and Aeolian-Skinner installations. Twenty-four new ranks Created for musicians, choir directors/ Naxos announces the release of new of pipes were built to revise and enhance the Great, Swell, Positiv, and Choir cho- leaders, and anyone involved with hymns, recordings. Messaien: La Nativité du Sei- ruses. Reed pipes in all divisions were rebuilt or replaced. Other stops were rescaled the new worship edition is a special ver- gneur features organist Tom Winpenny and wind pressures adjusted. Finally, the entire instrument was revoiced to achieve a sion of the FORTE 5 Premium edition at the Cathedral and Abbey Church of St. new tonal balance, characterized by abundant fundamental tone and greater clarity. with more than 750 traditional hymns. Albans, St. Albans, UK (Naxos 8.573332). Users can create lead sheets, scores, Vincent Warnier is featured on a record- and parts quickly and accurately. For ing of Saint-Saëns works, made at information: www.fortenotation.com/en/ the Auditorium de Lyon in France. It products/writing-scores/forte-worship/. includes Danse macabre, Cyprès et Lauriers, and Symphony No. 3, with the Hal Leonard announces the publica- Orchestre National de Lyon, conducted tion of Musical iPad, a book by Thomas by Leonard Slatkin (Naxos 8.573331). Rudolph and Vincent Leonard that is a For information: www.naxos.com. guide through apps for the iPad 2, iPad (3rd or 4th generation), or iPad Air and Oehms Classics has released Vol. iPad mini running iOS 6. It also provides a 9 of The Britannic Organ, a series of comprehensive approach to learning and recordings of historic Welte rolls played making music on Apple’s tablet devices. back on the Welte Philharmonie organ Musical iPad presents ways to confi gure of the ship Britannic, by Welte’s United an iPad for music creation, connect it States organists and Edwin Lemare. to other musical devices, suggests iPad (See David Rumsey, “Welte’s Philhar- St. Raphael, 5-manual console Movable 4-manual stopkey console music apps, and explains how the iPad monie roll recordings 1910–1928: My can be used as a tuner, metronome, and afternoons with Eugène Gigout,” The St. Raphael the Archangel Catholic Church, Old Mill Creek, Illinois, has acquired practice aid, and emulate instruments. Diapason, March 2011.) The record- the historic 1915 Austin Organ Company Opus 558, built in 1915 for the Medinah A companion website includes video ing includes works by Bossi, Buck, Temple of Chicago, Illinois, and housed there until the building was closed and repur- tutorials and updates. Includes a DVD- Eddy, Farnam, Guilmant, Lemare, posed in 2001. In storage for the past fourteen years, the organ will be revived and ROM; $19.99. For information: Saint-Saëns, and others. For informa- slightly expanded by the successor fi rm to its builder, Austin Organs, Inc., of Hart- www.halleonard.com. tion: www.naxos.com. ford, Connecticut. Once fi nished, the organ will be installed in St. Raphael’s newly constructed church edifi ce, designed acoustically to accommodate the large organ. It is intended to be put to church and concert use. The new edifi ce has an interesting story in itself. The exterior of the long-shuttered St. John of Catholic Church, which once faced Sherman Park on Chicago’s A Precious Gift South Side, was salvaged for the exterior of the new St. Raphael. Even the church’s twin 140-foot steeples were removed stone by stone for the new installation. Built between 1918 and 1920 to the designs of Chicago’s famed Catholic architect, Henry from the Past J. Schlacks, St. John of God eventually housed 1937 M. P. Möller Opus 6317, a three- manual organ supervised through fi nishing by Richard O. Whitelegg. St. Raphael’s for the Present interior, including Italian marble altars and statuary, wood carvings, and stained glass, was salvaged from another church that closed in 2007, St. Peter Canisius Catholic Church, built in 1935 and 1936 on Chicago’s West Side to the designs of Meyer & and the Future Cook. St. Peter Canisius housed Möller Opus 5688, built in 1930 and apparently Supremely beautiful and blendable moved to the 1936 church from the original installation. Austin Opus 558 was built for the mammoth auditorium of the Medinah Temple tonal color – a Gift from the Venetian in downtown Chicago. The Moorish-styled edifi ce was dedicated in 1912, featuring School of organbuilding, a monumental part of our an auditorium to seat 4,200 persons, designed by Harris W. Huehl and Richard JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH G. Schmid, members of the temple. The auditorium’s acoustic was notable to the SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN extent that the Chicago Symphony Orchestra often utilized the space for concerts and recordings. The design of Opus 558 was infl uenced by Chicago’s J. Lewis Browne, organist of Medinah and the Church of Our Lady of Sorrows (now a minor Intriguing? Let us build your dream. basilica). The 72-rank organ was among Chicago’s largest at the time of installation, controlled by a fi ve-manual drawknob console in a gallery as well as a moveable four-manual, stop tablet console (which was replaced in 1931). When Medinah was repurposed for commercial use, the organ was safely removed to storage in April 2001, a project that received considerable regional television coverage. For information: newoldchurch.org.

Builders of Fine Pipe Organs to the World www.ruffatti.com

Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370

10 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM Here & There

Parkey OrganBuilders announces project completions and new commis- Quimby Pipe Organs announces the signing of a sions. Completed projects include those contract to install a new fi ve-manual and pedal organ of the M. P. Möller organ at Grace Episco- of 143 ranks at Fourth Presbyterian Church, Chicago, pal Church, Anniston, Alabama, and the Illinois. The new instrument, which makes limited Möller at Fort Valley United Methodist use of extant pipework from the church’s former 1914 Church. Each project received mechani- Skinner and 1971 Aeolian-Skinner organs, is con- cal renovations and electrical upgrades ceived as an American symphonic organ, with English with strategic additions to enhance the Romantic leanings. Casework from the 1914 Skinner organs as worship instruments. and 1992 south transept Goulding & Wood façades Casavant Opus 3160, First Presbyterian Parkey, a member fi rm of APOBA is being retained, with new casework constructed for Church, Lake Forest, Illinois (Associated Pipe Organ Builders of installation in the north transept. Project completion America, www.apoba.com), has been is scheduled for November 2015. For information: Casavant Frères, Limitée, of Saint- commissioned to build its Opus 15 for quimbypipeorgans.com. Hyacinthe, Québec, Canada, is building Ebenezer Lutheran Church, Greens- its fi rst two organs for installation in boro, North Carolina, a new two-man- Fourth Presbyterian Church organ case (courtesy of and South Korea. Dongshin Presbyterian ual, 23-rank instrument to be housed with permission from Fourth Presbyterian Church) Church of Seoul has commissioned a in two freestanding cases. Installation is three-manual, 33-rank organ, Opus scheduled for late 2015. Following that 3908, which will be installed in the project, Parkey will build Opus 16 for Spencer Organ Company the front of the cathedral and includes fall of 2015. Saemoonan Presbyterian First United Methodist Church, Dalton, announces that it has been chosen to many vintage Kimball pipes along with Church, Seoul, has commissioned a Georgia. This three-manual, 47-rank build a new antiphonal organ for St. a new soft 32′ Bourdon and hooded three-manual, 79-rank, mechanical- instrument will be installed in new John’s Cathedral in Denver, Colorado. solo reed. The antiphonal organ will be action organ, which will be installed expanded chambers with a new façade as This antiphonal organ, to be situated built in collaboration with J. Zamberlan when the congregation has built its new part of an extensive chancel and sanctu- in two cases on the back wall, features & Company of Wintersville, Ohio, and sanctuary to seat 3,000 persons. ary renovation. Installation is scheduled 18 ranks across two manuals and pedal. Jonathan Ambrosino of Cambridge, For the Jack H. Miller Center for for 2016. For information: It completes the original 1938 W. W. Massachusetts. Completion is scheduled Musical Arts at Hope College, Holland, www.parkeyorgans.com. Kimball pipe organ, K.P.O. 7231, in for early 2016. Michigan, the fi rm is building its Opus 3903, a three-manual, 54-rank organ designed in the French Symphonic style. The organ will be ready for the inauguration of the concert hall in the autumn. Among the fi rm’s other projects is restorative work being carried out on Casavant Opus 3160, built in 1973 for the First Presbyterian Church of Lake Forest, Illinois. The three-manual, 44-rank organ has mechanical action. For more information: www.casavant.ca.

J. H. & C. S. Odell and Gawthrop Organworks have created a partnership to be known as Odell Organs, located in East Haddam, Connecticut. Edward Odell brings to this endeavor his expe- rience in drafting, cabinet work, chest design, mechanical action, pipe making, and voicing, while Bradley Gawthrop contributes skills in three-dimensional solid modeling, engraving, and hand tool work. J. H. & C. S. Odell was founded in 1859 by brothers John Henry and Caleb Sherwood Odell in Manhattan. For information: odellorgans.com.

Design for Nordlie organ at Mt. Calvary Lutheran Church, Eagan, Minnesota

The J.F. Nordlie Company, pipe organ builders of Sioux Falls, South Dakota, announce that Mt. Calvary Lutheran Church in Eagan, Minnesota, has signed an agreement for design and construction of a new 29-rank, two- manual electro-pneumatic action organ. The organ will be housed in a case of rift-sawn red oak located on the chancel platform. Completion of the instrument is scheduled for late summer of 2015. For information: www.jfnordlie.com.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 11 Harpsichord News By Larry Palmer

Words and music harpsichords), William Dowd, Wolfgang Ralph Kirkpatrick: Letters of the Zuckermann, and Alec Hodson. American Harpsichordist and Scholar, Kirkpatrick’s considerable interest in edited by Meredith Kirkpatrick. Uni- contemporary compositions for harp- versity of Rochester Press, November sichord is documented by important 2014, 186 pages, $60. correspondence with American compos- Framed by illuminating and affection- ers Roger Sessions, Elliott Carter, Otto ate foreword and afterword essays from Luening, Quincy Porter, Vincent Persi- guitarist Eliot Fisk and harpsichordist chetti, Henry Cowell, and Mel Powell, Mark Kroll (both writers Yale University as well as Europeans Frank Martin and students who treasured Professor Ralph Bengt Hambraeus. Kirkpatrick’s musical mentoring), this Literary connections include a letter slim volume goes a long way toward fl esh- to music critic Olin Downes and two ing out our knowledge about one of the (apparently unpublished) well-argued most prominent and respected fi gures in missives on musical topics addressed “to the 20th-century American harpsichord the editor” of the New York Times. Corre- revival. Widely known for his pioneer- spondence with author Thornton Wilder, ing study of the composer Domenico arts administrator Oliver Daniel, patrons Scarlatti and as a prominent harpsichord Alexander Mackay-Smith, Elizabeth performer and recording artist, Kirkpat- Sprague Coolidge, Lincoln Kirstein, Paul Ralph Kirkpatrick: Letters of the Ameri- Frank Ferko: Triptych for Harpsichord rick (1911–1984) has not received a lot of Fromm, and Boston Symphony music can Harpsichordist and Scholar posthumous attention. Carefully selected director Serge Koussevitzsky give some and annotated by his niece Meredith, insights into the resourcefulness required in 1996, come to mind), as well as highly The slow, chordal fourth variation brings a librarian and bibliographer at Boston to buttress Kirkpatrick’s efforts at estab- regarded choral works, including an a the fi rst probable diffi culty: widely University, this compilation of letters lishing the harpsichord more regularly cappella setting of the Latin Stabat Mater, spaced chords in both hands, requir- (largely “from” but also occasionally “to” as a component in America’s concert life. interspersed with aptly chosen sung com- ing stretches that are not feasible for the eponymous harpsichordist) reminds An especially charming letter (dictated mentaries in English (available in a superb all players (tenths, occasionally in both us of Ralph Kirkpatrick’s contributions “tongue” in “jack” by RK’s favorite Dowd recording by His Majestie’s Clerkes on hands simultaneously). and wide-ranging infl uence during the harpsichord “Flora”) thanks neighbors Cedille Records, CDR90000 051). Since I have dealt with similar prob- middle years of the past century. Mr. and Mrs. George Young for taking Ferko’s fi rst published harpsichord lems in quite a few works that I have Beginning with a large group of care of his instrument during the player’s work is Triptych, composed in 2000, in commissioned, I contacted Dr. Ferko 28 letters to family members (often absence. A 1977 missive to friend Wilton which he displays an equally individual to ask the question, “Would you be retyped for distribution by Kirkpatrick’s Dillon details the deteriorating state of compositional voice while utilizing a offended by some judicious re-scoring— stepmother) detailing RK’s student and Kirkpatrick’s health, and a fi nal selection, mostly harpsichord-friendly texture. shrinking of chords—in these passages?” European travel years, the epistolary sent to editor Meredith Kirkpatrick in Dedicated to the Russian harpsichord- His gracious response: history continues with communications 1984, outlines plans for attending a Boston ist Tatiana Zenaishvili, a harpsichord to teachers Nadia Boulanger and Wanda Symphony concert together, plans sadly professor at the Moscow Conservatory, Regarding the wide hand spans in Var. IV, I can play those myself, so I write Landowska (the latter, one of the parties unfulfi lled due to RK’s sudden death. this work was specifi cally crafted for her them with the understanding that anyone to an uneasy teacher/student relation- This fascinating book includes 18 single-manual instrument’s G to D range. else who can manage them should do so ship as outlined in Kirkpatrick’s memoir, pages of pictures, a generous index, The three movements are intended to in performing this piece. However, I also Early Years). Colleagues and students comprehensive bibliography, and com- last approximately eleven minutes. acknowledge the fact that many keyboard players cannot manage those wide spans, represented include the pianist John plete discography. To uphold “truth in In the opening Toccata Ferko alter- so I am perfectly happy with practical but Kirkpatrick (not a relative), violinist duo- advertising” I should mention that I was nates a motto of slow repeated notes and musical alternate solutions. partner Alexander (Sascha) Schneider, involved with this publication both as an very light, fast single sixteenth-notes, [E-mail communication, January 10, organist/harpsichordist John Hamilton, early reader of the manuscript and later which fi rst expand to alternating fi fths, 2015.] and pianist Edward Steuermann (listed as a technical consultant. then acquire a chordal, tenor-range in the book as Steuremann); harpsichord- melodic fi gure above these sounds and Variation fi ve consists of rapidly ists Albert Fuller, Colin Tilney, Kenneth Frank Ferko: Triptych for Harpsi- transition to slow arpeggiated chords. repeated sixteenth-note chords and Gilbert, and essayist Eliot Fisk; histori- chord. E.C. Schirmer Music Com- This pattern is repeated three times with octaves: again a diffi cult, but not impos- ans Oliver Strunk and Harold Spivacke pany (a division of ECS Publishing), gradually rising pitches. sible exercise in relaxation of the wrist. (two successive heads of the music divi- No. 5774, $13.15. The second panel, Theme with [Five] I have been experimenting with alter- sion at the Library of Congress), Donald Born in 1950, Frank Ferko has com- Variations, is based on an ancient Rus- nating the notes of the left hand part, Boalch, and Arthur Mendel; instrument posed a number of signifi cant works for sian folksong. Variations one and two are especially the octaves, and fi nd that, to makers John Challis (in a fascinating organ (the 70-minute Hildegard-Zyklus Bicinia, with opportunity for many quick my ears, the texture does not suffer, and group of letters documenting an increas- from the early 1990s and his shorter left-hand scales in the second. Variation wrists remain supple. I would offer this ingly thorny love/hate relationship with evocation of bell sounds, Les carillons three (“Elegantly, with spirit”) is a jovial as a possible performance suggestion the American maker’s clavichords and de la destinée et de l’éternité, completed single line to be played on the buff stop. when this piece is played. The fi nal movement, a Fugue à 4 voix, is based on a theme from the opening Toc- cata. With gentle but sometimes surprising chromatic harmonies, here, as throughout the entire printed score, one needs to pay close attention to the composer’s printed National Association of Pastoral Musicians rubric: “All pitches are assumed to be natural unless specifi cally preceded by a fl at or sharp.” To give more variety to the Building on the past fugal texture, I have been experimenting with playing single bass notes rather than Serving the present octaves in measures 22 through 31; and, to gain a more resonant sound I have transposed the right hand parts down Nurturing the future an octave beginning with the middle of measure 24 through measure 32. As these J experiments may indicate, I have fallen in oin us in Grand Rapids for prayer, love with Frank Ferko’s beautiful score week-long institutes, master class- and fi nd that his music grows on me with es, inspiring and challenging ple- each successive practice session. I urge our readers to consider buying num sessions, workshops, perfor- this just-published work. We must real- mances, exhibits, interest meetings, ize that if we do not support publication of worthwhile new repertoire, publishers conversation, and more! will not continue to offer it to us. Bravo to ECS Publishing for bringing this splendid new piece to our attention. Q

Comments and news items are always welcome. Address them to Dr. Larry Brochure and registration online at npm.org or phone Palmer, Division of Music, Meadows for a brochure copy toll-free 1 (855) 207-0293 School of the Arts, Southern Methodist University, Dallas, Texas 75275. E-mail: [email protected].

12 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM Reviews

Music for Voices and Organ There Will I Be, Craig Courtney. part for duplication are supplied at the Book Reviews by James McCray SATB, violin, and cello, Beckenhorst end of the setting. Delightful music. New Songs of Celebration Render: Press, BP 2031, $2.10 (M+). Congregational Song in the Twenty- SATB with one or two Courtney’s new anthem is also avail- Our Father, We Have Wandered, First Century, compiled and edited solo instruments able in SSA (BP 2032) and TTBB (BP Ralph M. Johnson. SATB, piano, oboe by C. Michael Hawn. GIA Publica- 2033) versions. The text is based on or clarinet, and optional assembly, tions, Inc., G-7658, $42.95. Opportunities multiply as they are seized; scripture passages from Ruth and John, Augsburg Fortress, 978-1-4514-9257- This substantial 460-page volume they die quickly when neglected. which help provide a very strong mes- 6, $1.95 (M). comprises seven chapters, each by a Life is a long line of opportunities. sage. The string instrument parts are There are three verses to this refl ec- notable scholar. The presence of Erik —John Wicker not included in this choral score or on tive text by Kevin Nichols; the assembly Routley, a leading spirit of 20th-century the back cover, so it is impossible to joins on the last verse, and their music hymnody, is felt throughout the book— Adding a few extra instruments to the comment on their level of diffi culty. is on the back cover for duplication. words from one of Routley’s hymns weekly anthem increases interest for the The piano plays a key role and adds The extended introduction for oboe and provide the book’s title, and there are choir and the congregation. Often those signifi cantly to the music’s character. piano sets a meditative character, which numerous other citations and references. instrumentalists are known to the con- There are brief solos for each section is then followed by the fi rst verse that is One might ask: for what purpose is gregation, especially high school students of the choir. Flute and bassoon may be primarily in two parts. A choral descant this book intended—as a text? A refer- who play in their school’s band or orches- substituted for the strings. above the third verse, which also adds ence work? Is it directed to the general tra. A wise church choir director always the congregation, leads to a closing reader or specialist? Yes to all, I think. identifi es those students (and others) for We Are Called, David Haas, arr. passage for the instruments. Sensitive, It is thorough, well written and edited future use with or without the choir. Mark Hayes. SATB with violin, hand lovely music! (although an unknowable amount of It is highly recommended that church drum, and piano, Hope Publishing text is missing from my copy, beginning directors attend local school music con- Co., C 5896, $2.10. Still Shining in the Holy Light, Glenn at the bottom of p. xi), and enjoyable. It certs to discover the talents of those who Instrumental parts are not included, L. Rudolph. SATB, English horn, both looks to the past of hymnody and might be in the congregation. Simple but are available as C 5396P; however, viola, and organ, MorningStar Music offers insight into its future. Of particu- announcements in the church bulletin this score indicates where the violin. Publishers, MSM-50-1250, $2.00 (M). lar value are the many charts and tables or newsletter may be helpful in fi nding This music by David Haas has long Since there are very few anthems with that appear throughout the chapters. It other in-house musicians, although that been a favorite with choirs, so this new a solo English horn (or saxophone), this is, however, neither an anthology nor a might require some kind of evaluation to arrangement should be popular. Primar- Christmas work is reviewed early so that complete history of hymnody. determine a performer’s level of ability. ily using block chord harmony, the choral it could be ordered in the fall, giving the Let us begin at the end. Appendix The more advanced instrumentalists setting is easy. The piano part is busy, but director lots of time to fi nd a performer; A, “Seven Streams of Song,” is a sum- may also be willing to perform as soloists not diffi cult. it will make a wonderful addition to the mary since Vatican II, including themes, without the choir. Playing an offertory or usual Christmas music. It opens with a precursors, and examples. Appendix “special music” in a service almost always The Peace of God, Russell Schulz-Wid- long unaccompanied solo for the English B, “Sources of Hymns Cited in Stream generates new interest from the congre- mar. SATB, keyboard, and optional horn in a rubato style; then the organ Seven,” references eight hymnbooks and gation. Usually these performers have a cello, GIA Publications, G-7395, $2.05. enters to help set the tempo for the choir. supplements. An extended bibliography, prepared solo, which frees the director The cello’s music is in the score and The sad, somewhat haunting music of biographies of the contributors, and 60 from having to seek out new music. separately on the back cover for the the opening is then repeated by the pages of indices round out the book. An As we are quickly approaching the performer. There are alternate introduc- choir. Also, the fi nal section may be used accompanying CD (referenced below) summer, this is a particularly good time tions (with and without cello). Use of the as a benediction in the same service. The provides recorded examples of 21 hymns. to identify possible performers who can keyboard is limited in the opening, with horn’s music is included separately on Quotations below, unless otherwise attrib- fi ll in during the choir’s vacation hiatus. extended unaccompanied singing. The the back cover. Highly recommended! uted, are those of the chapter’s author. It is not too early to begin these searches; cello plays throughout the setting and I. Roman Catholic Liturgical Renewal getting a commitment from performers adds warmth to the tender music. All Creatures of Our God and King, Song, by Sr. Kathleen Harmon, deals now certainly will add to the “spirit of William H. Draper, arr. Steven Strite. with the post-Vatican II period and the summer vacation” for directors. And this Choir with solo woodwinds SATB, piano, and optional fl ute, Hope history of American Roman Catholic is the time of the year when many high Your Kingdom, O God, Is My Glori- Publishing Co., C 5925, $2.15 (M+). hymn singing, including hymnbooks. school players are preparing for spring ous Treasure, Scott M. Hyslop. SATB, This popular text is bathed in a fresh GIA produced a series of hardcover solo music contests, so they are actively organ, oboe, and optional congrega- setting that avoids the usual tune. The hymnbooks in a series called Worship. learning and practicing new repertoire. tion, Concordia Publishing House, joyful music often dances along in a No mention is made, however, of the The works reviewed below range 98-4162, $2.50 (M+). 3+3+2 rhythmic background while the admirable (and Anglican-leaning) The in diffi culty from very easy to more In this joyful setting there are fl our- choir soars above it. The fl ute’s music is Catholic Hymnal and Service Book, challenging for the instrumentalist. In ishes for both the organ and oboe to help separate at the end, and it has fl ashy solo edited by Frank Campbell-Watson and closing, it is a good idea for directors to set the exciting, attractive mood. There passages punctuated with brilliant trills. published in 1966 by Benziger Editions. keep a roster of instrumentalists within are three verses with the congregation The choral music is not diffi cult, but The author mentions challenges in the congregation and their general level joining on the last verse; the fi rst is for a many in the congregation may miss the post-Vatican II hymnody, including musi- of performance ability. As John Wicker soloist and the second is a cappella. Both festive and usual melody to which they cal quality; achieving a balance between suggests in the quote at the top of this a separate oboe part and a congregational are accustomed. ³ page 14 column, “Life is a long line of opportuni- ties.” Seize this one!

Choir with solo violin and/or solo cello The Summons, arr. Sondra K. Tucker. SATB, piano, and violin, GIA Publi- cations, G-7111, $2.05. The music combines two Scottish tunes (Kelvingrove and Macpher- son’s Lament), and has a jaunty 12/8 meter. The text concerns being sum- moned by the Lord to “use the faith you’ve found to reshape the world around.” The violin part, while indicated, does not appear in the score , but is avail- able from the publisher as G-7111INST. The violin only plays with the singers once, and is usually a soloist with the Moscow - Strawinsky Musikschule - Russia - 2014 piano during the introduction and inter- ludes. There are fi ve verses, always with the folk melody present. Rieger builds classics

Shine Like the Sun, arr. Karen E. for the future. Black. SATB, keyboard, and violin, Augsburg Fortress, 978-1-4514-8594- 3, $1.95 (M-). Also based on a Scottish folk melody, this text tells of the “love of God’s salva- tion.” The violin’s music is in the score Rieger-Orgelbau GesmbH and as a separate part on the back cover; A-6858 Schwarzach-Vbg., Hofsteigstraße 120 it is very easy, and used in 60 of the 84 T +43 (0) 5572/58132-0, US: 212-289-0615 measures. The warm music is sensitive, www.rieger-orgelbau.com, [email protected] with almost half of it in a choral unison. Vitznau - Switzerland- 2012

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 13 Reviews

³ page 13 author suggests that “the central focus of 1960s, I remember well the explosion of [my italics] of musical styles and sounds innovation and tradition; and, issues with revival hymnody has moved away from new hymnody. Many of the hymns of that [discussed] in this book,” I found that to which all denominations are concerned, the song to other types of hymns,” period served a useful purpose—then. be not always the case. There is a certain language and aspects of multiculturalism. including “praise” and other contempo- Whether some of these should continue sameness in both arrangements and per- Nevertheless, the author notes that “the rary Christian songs. life through two or three succeeding formances. The accompaniments draw custom in the United States of singing V. Folk Hymnody, by Deborah generations could be questioned. upon sometimes-odd combinations of hymns and songs during the liturgy has Carlton Loftis, provides an account VII. Ecumenical and Global Stream, instruments, as with the piano chunking become cemented in place by more than from the medieval carol through John by C. Michael Hawn; Lim Swee Hong along with an “organ” sound in “When in two generations of use.” Wesley’s use of folk tunes to Vaughan wrote the section on Asian hymnody. At Our Music.” Indeed, this listener wished II. Classic Contemporary Protestant Williams’ settings for early 20th-century 136 pages, and with 300 endnotes, this for far fewer digital sounds throughout. Hymnody, by Emily R. Brink, provides hymnbooks. This history of folk hymns, is the book’s most extended chapter. The more engaging and genuine in an accounting from the middle of the including 18th- and 19th-century It includes: interpretation tracks include “The Storm 20th century, beginning with the land- American and British folk hymnody of • Historical perspectives of ecumeni- Is Passing Over Me;” “How Great Thou mark Lutheran Book of Worship (1978), the 20th, begins with the monumental cal global song, beginning with Watts Art,” with its enthusiastic organ play- which resulted from the period of liturgi- The English Hymnal of 1906, edited by and the Wesleys. The author reminds us ing (and singing); and some authentic cal renewal within the (then) branches of Percy Dearmer and Vaughan Williams, that “where once 70% of baptized Chris- sounds in the songs of Africa, Asia, and American . Concerns in the and addresses the nature of folk music. tians lived in the Northern Hemisphere, Taizé (including a goodly number of last quarter century included language Authors are generally unknown; songs now only 30 to 35% of do.” repetitions in the latter). change, concerns for social justice, are orally transmitted; texts are often He emphasizes that “Music making is C. Michael Hawn’s short conclusion, and multicultural goals (these to be narrative and in “ballad form” (typically, a universal phenomenon, but it is not a The Final Stanza: Streams and Tribu- addressed more extensively in 1989 by four iambic lines). Melodic ingredients universal language,” hence world music. taries, addresses the future of congre- the new hymnal for United Methodists). include pentatonic or hexatonic scales • An introduction to African hym- gational song. Methodist Bishop Joel III. African-American Congregational and/or melodies “modal” in nature (i.e., nody, beginning with characteristics of Martínez proposes, “Each generation Song, by James Abbington, clarifi es the with lowered leading tones). traditional African music such as tonal must add its stanza to the great hymn distinction between “gospel music” and VI. Praise and Worship Music, by infl ections; the importance of dance; of the church.” The editor’s introduc- “gospel hymns” (the former identifying Greg Scheer, begins with this music’s the nature of African instruments and tion encourages worship leaders “not to certain religious music of the 1930s, origins in both pop (contemporary) cul- drumming; and use of call and response. limit their songs to a single stream, but especially in Chicago, while the latter ture and American . The The discussion of “the African sense of to dip into several streams for an abun- was used in such settings as the religious author offers insightful analyses of texts time” is quite interesting: “African musi- dant, sung faith . . .” and he concludes by Moody and Sankey). The and tunes and is candid in mentioning cians are not in a hurry[!].” (An observer that “Finally, all our songs are, at best, chapter includes useful tables: hymns weaknesses along with strengths. He reports an instance of hymn singing in penultimate in their signifi cance. As and their authors, and a listing of Afri- reveals, by way of linear (Schenkerian) the Dominican Republic in which the long as the Spirit moves, the church will can-American hymnals and supplements analysis, the use of species counterpoint people repeated the same song more continue to sing and create new songs.” published since Vatican II. in underpinning a song’s melody and than 80 times, fi lling almost an hour. Amen, amen! This be done: IV. Gospel and Revival Song, by David its elaboration! A discussion of carols Would that American parishioners could So sing we, “Hallelujah!” W. Music, discusses revival hymnody’s includes the historical use of “burden” be so unconcerned about the time spent —David Herman roots, going back to the 19th century’s and “stanza” being extended into chorus at worship!) University of Delaware “Second Great Awakening.” Common (group) and stanza (soloist). A section on • An introduction to Caribbean and features include frequent use of the “emerging worship: 1999–present” takes Central and South American hymnody, refrain; the notion of text and music this subject into the 21st century. in which we note (as with carols) the New Recordings written by the same person, as did Fanny The author concludes that “Time will prominence of the refrain (estribillo) and Howells from Salisbury: David Crosby; and frequent use of fi rst person winnow the wheat from the chaff.” I’m stanza (estrofa). A spirit of fi esta runs Newsholme plays the ‘Father’ Wil- pronouns (I, me, my) emphasizing the not so sure of this. As a church musician through this “stream.” lis organ of Salisbury Cathedral. personal relationship with . The in a Roman Catholic church during the • An introduction to Asian hymnody. Regent Records, REGCD407, www. Author Lim Swee Hong reminds us, regent-records.co.uk. “Asia cradles a wide variety of cultures, Flourish for a Bidding; St. Louis THE EIGHTEENTH ANNUAL history, and traditions, all of which have a comes to Clifton; Intrata II; Rhapsody I direct signifi cant impact on the practice in D-fl at; Rhapsody II in E-fl at Minor; of church music in this region.” Rhapsody III in C# Minor; Rhapsody IV Albert Schweitzer East Asia’s music is characterized by ‘bene psallite in vociferatione’; Sonata II. pentatonic scales, unison singing, nasal David Newsholme is a fi ne young Eng- vocal production and, especially interest- lish musician, currently assistant organist Organ Festival ing, the “symbiotic relationship between at Canterbury Cathedral, and his affi nity A Weekend in Celebration of Excellence in Organ Music: tonal infl ections of the spoken language with the marvelous romantic music of to the melodic line.” As above, the role of Herbert Howells is quite evident in this A Gala Concert, ORGAN COMPETITION, Services, and Masterclass missionaries is discussed, focusing here recording. The works performed here on Bliss and Mildred Wiant. are not the more famous of Howells’ High School Division First Prize: $2,000 South Asia (including Pakistan and output—his two sets of psalm preludes Other prizes also awarded India) uses melismatic melodies, drones being perhaps his most recognized organ and ostinati, and scales and modes compositions—and as such it is refresh- related to the ragas. The United Method- ing to encounter a disc of Howells with College/Young Professional First Prize: $3,500 ist Hymnal (1989) is given credit for its his less-known works. The four Rhap- Through age 26 Other prizes also awarded groundbreaking work in including hym- sodies presented here are infrequently nody from many nations. recorded, and indeed this is the fi rst This includes an appearance on our Southeast Asia uses gamelan instru- recording of the Organ Sonata (appar- 2015 – 2016 Concert Series 2015 ments; bamboo in making a variety of ently his second for the instrument, the JUDGES instruments; melodic ornamentation and fi rst having been quickly discarded after AUDITION CDS: gliding tones; and unique melodic scales. serving its purpose as an admissions sub- Music from Ecumenical for the Royal College of Music Due on June 8, 2015 Diane Meredith Communities, a “European Addendum,” in London). The repertoire here is not Belcher discusses the Taizé Community and the the warm, lush, and lovely Howells of his THE COMPETITION: Scottish Iona Community and the con- many settings of the evening canticles September 11-13, 2015 tributions of John Bell, Graham Maule, for choral Evensong (Magnifi cat and and the Wild Goose Worship Group—all Nunc dimittis). It would be unrealistic infl uenced by Scottish, Irish, and Eng- to paint this as an easy-listening disc, For Information & lish folk songs. but the repertoire does, however, reward Application: Peter This outstanding book—a unique, the effort and concentration demanded, Conte thorough, and valuable contribution to despite feeling a little unrelenting and hymnody—is not well supported by its oppressive occasionally. First Church accompanying CD, whose 21 tracks total The superb ‘Father’ Willis organ in one hour, three minutes. The performers Salisbury Cathedral (which Howells of Christ are not identifi ed, nor where the record- himself knew rather well and played 250 Main Street ings were made, nor (with one excep- frequently) is a fi rst-rate instrument on Wethersfield, CT 06109 tion) are the identities of those who which to record this program. Its specifi - John made the arrangements provided—all cation is as follows: 2 firstchurch.org/asof Walker important information. Some of the set- Great: 16 8 8 8 8 4 4 4 2 ⁄3 2 IV 16 8 4 tings are more imaginative than others. Swell: 16 8 8 8 8 4 4 2 III 16 8 8 8 4 860.529.1575 2 3 The choral performances are adequate Choir: 16 8 8 8 8 4 4 4 2 ⁄3 2 1 ⁄5 8 Ext. 209 but do not inspire. Although the editor Solo: 8 8 8 4 16 8 8 8 4 music@firstchurch.org asserts that the recording “should assist Pedal: 32 16 16 16 16 16 16 8 8 8 4 4 the listener in perceiving the variety IV 32 16 8

14 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM Reviews

Regent Records has done their The recording quality is of the high on the anointing with Jatamansi ointment basement, I have Lionel Rogg’s record- customarily fi ne job of capturing the standard that has come to be expected at Bethany, is quiet and contemplative in ings on vinyl made in the 1960s of the atmosphere and rolling acoustics of the from Regent Records, and the booklet character. The second, featuring the meal organ works of J. S. Bach, recorded on cathedral, with an interesting, informa- contains interesting repertoire notes, at the house of Martha and Mary that fol- the Metzler organ at the Grossmünster tive booklet, and running in excess of 76 as well as details of the instrument and lows the anointing, is playfully energetic, in Zurich, and a recording of Dr. Rogg minutes, this CD represents excellent performer. Scriven’s incredible technical symbolizing the evening’s entertainment. playing the Hindemith sonatas on the value. Perhaps we can look forward to a skill is evident throughout, and there The fi nal movement sees the guests sleep- same organ, so he clearly had a special sequel recording of the Psalm Preludes is some very fi ne music mixed into this ing in tents under the stars after the meal interest in Hindemith, which is espe- and the Six Pieces for Organ, including collection, but for my own part, a little and is again contemplative in character so cially apparent in the fi rst movement. the magnifi cent Master Tallis’ Testament certainly goes a very long way indeed. far as the organ part is concerned. Above It has its moments of excitement, but and Saraband for the morning of Easter? —James M. Reed this the fl ute plays more energetically, I would primarily describe this compact Such a subsequent disc would be most Worksop, England symbolizing Jesus spending the night in disc as “refreshing”—offering refresh- welcome, as the chemistry here between ardent prayer while his friends sleep. ment to the spirit, and also including a performer, repertoire, and instrument is Jatamansi. Due Solisti (Žofi e After this we shift from the Mander great deal of music that is refreshingly quite evident. Vokálková, fl ute; Kathleen Scheide, organ to the Dobson, with a work by different. I recommend it as an excellent organ). Mander organ, Presbyterian Czech composer Michal Macourek (b. recording to play when one’s spirit is in Piping Blues: Philip Scriven plays the Church of Chestnut Hill, Philadel- 1972), professor of composition and con- need of calm at the end of a long day. Hill organ of Lichfi eld Cathedral. phia, Pennsylvania; Dobson organ, ducting at the Jaroslav Ježek Conserva- —John L. Speller Regent Records, REGCD304, www. St. David’s Episcopal Church, Rad- tory in Prague, an institution specializing Port Huron, Michigan regent-records.co.uk. nor, Pennsylvania. Raven Record- in jazz and contemporary music. His This recording should come with a ings OAR-922; www.RavenCD.com. Duo per fl auto e organo (Andante maes- health warning—it’s a collection of con- Sonata for Flute and Organ—Alle- toso), specially written for Due Solisti, is New Organ Music temporary organ music, all in blues and gro, Lento, Allegro, Jirí Ropek; Chant, a gentle contemplative work that suits Chelsea Chen, The Moon Lady: A jazz styles, which is certainly not for the Ave caeli janua (Jennifer Elaine Young, the tonalities of the fl ute and organ well. Chinese Folktale for Organ and Nar- faint-hearted, and is a disc that is certain soprano); Chaconne on ‘Ave caeli janua,’ This is followed by Jody, a suite for rator. Wayne Leupold Editions, Inc., to polarize listeners. The performer, Pamela Decker; House of Jatamansi fl ute alone, by Yen Barabas (1901–39), WL600267, $13.50. Philip Scriven, was Organist and Master (John Cook, narrator)—Narration I, Twi- a Polish Jew who died in Prague dur- Hal H. Hopson, A Pipe Organ Primer of the Choristers at Lichfi eld Cathedral light, Narration II, Moonsong, Narration ing World War II. The unpublished for Organ and Narrator. Wayne from 2002–2010 after which he moved III, Reverie, Lynn Job; Duo—Andante manuscript of this suite was discovered Leupold Editions, Inc., WL600259 to Cranleigh School, one of England’s maestoso, Michal Macourek; Jody Suite in Žofi e Vokálková’s house, although we $17.50; www.wayleupold.com. more recent public schools. He is there- (for fl ute alone)—Fantasie, Meditation, are not told how it came to be there. The These two works are part of the organ fore well acquainted with this fi ne instru- Con brio, Yen Barabas; Sonate for Organ meditative mood of its fi rst two move- demonstrator series published by Wayne ment in what is, perhaps, one of the most and Flute—Allegro giocoso, Adagio, Con ments—Fantasie and Meditation—con- Leupold Editions, Inc., a series of com- disappointing acoustical environments of spirato, Lionel Rogg. trasts with the more vigorous rhythms of positions developed to introduce specifi c any of the English cathedrals. This is the second CD produced the third, Con brio. age groups to the pipe organ as a musi- The specifi cation of the instrument is by Raven Recordings of the duo Due Finally, we come to Lionel Rogg’s cal instrument. These multi-movement as follows: Solisti, comprising Czech fl autist Žofi e Sonate for organ and fl ute. Lionel Rogg works are designed so that each move- 2 Great: 16 16 8 8 8 8 8 8 4 4 4 2 ⁄3 2 IV Vokálková and American organist is better known as a performer than as ment demonstrates one of the basic fam- II 16 8 4 Kathleen Scheide. The fi rst recording a composer. I have already suggested ilies of organ sound (principals, fl utes, Swell: 16 8 8 8 8 4 4 2 III II 16 8 8 8 4 featured a historic Czech tracker organ. parallels between Jirí Ropek’s Sonata strings, reeds) and/or other aspects of 2 3 1 Choir: 8 8 8 8 4 4 2 ⁄3 2 2 1 ⁄5 1 ⁄3 8 By contrast, this one features two recent and the Three Organ Sonatas of Paul the organ. Many of the compositions use Solo: 8 8 8 4 16 8 8 8 8 8 tracker organs in Pennsylvania: the III/65 Hindemith, and similar parallels are a narrator, who may tell a story or pro- Nave: 16 8 8 4 4 2 V–VI 16 8 4 Mander organ (2000) at the Presbyterian apparent here, as the leafl et points out. vide information about the organ. Pedal: 32 16 16 16 16 16 8 8 4 IV 32 Church of Chestnut Hill in Philadelphia In some rather neglected boxes in my ³ page 16 16 8 and the IV/47 Dobson organ (2007) in Nave Pedal: 16 8 16 St. David’s Episcopal Church, Radnor. The disc opens with Scriven’s own The disc takes its name, Jatamansi, from transcription of Leonard Bernstein’s Can- one of the featured compositions that in dide Overture, before moving on to three turn takes its name from the Himalayan blues chorale preludes—Go Down herb Nardostachys jatamansi. This, by Jürgen Rehberg, a dance-like prelude according to some scholars, was the on Lobe den Herren by Johannes Mat- Biblical ointment spikenard, with which thias Michel, and Die ganze Welt hast du Mary anointed Jesus at Bethany. uns überlassen by Hans-Martin Kiefer, The disc begins with the Sonata for which marks a return to the improvisa- Flute and Organ by Jirí Ropek (1922– tory, blues style of the fi rst. Norwegian 2005), whom I remember well from his composer Mons Leidvin Takle’s Blues annual recitals on the 1864 Willis organ at Toccata follows with its syncopated St. John’s, Taunton, England, in the 1970s ‘stab’ chords, succeeded by the rather and 1980s. Dr. Ropek, professor of organ more palatable Aria on a Chaconne of at the Prague Conservatory, was the lead- Joel Martinson, and Mouvement by the ing Czech organist of his day and presided French organist (and pupil of Marcel over the four-manual organ in the Basilica Dupré) Jean Berveiller. of St. Jacob the Great in Prague. The two main works on the recording There is something very refreshing are Sarasota (from Trois Préludes Ham- about this beautifully crafted sonata, writ- bourgeois) by Guy Bovet and a dance- ten in a compositional style that reminds inspired suite titled Fiesta! from the young me a great deal of Paul Hindemith’s Three English composer, Iain Farrington, with a Organ Sonatas. After the Ropek sonata, total of seven movements (Celebration, the Due Solisti play the Chaconne on Conversations, Stride Dance, Song, Fast ‘Ave caeli janua,’ by Pamela Decker (b. Dance, Nocturne, and Finale). The Bovet 1955), with Jennifer Elaine Young fi rst work seems to meander a little without singing the plainsong theme. In this warm much obvious direction and calls for some and gentle piece, Kathleen Scheide has remarkably unusual registration combina- an opportunity to explore the soft strings tions! Fiesta! certainly enjoys some nice and fl utes of the Mander organ in Chest- moments, particularly the cheeky second nut Hill, before successively building movement, Conversations. Three other up to climaxes and dropping back again, short pieces are included—Peter Plan- throughout which the fl ute carries on an yavsky’s famous Toccata alla Rumba, and interesting dialog with the organ. two works by the Hungarian composer We come then to what is probably Zsolt Gárdonyi: Mozart Changes, which the most interesting composition on the was written for the OK Mozart Festival recording, Lynn Job’s House of Jata- in Bartlesville, Oklahoma, and takes for mansi. This consists of three explanatory its material the opening theme of the fi nal narrations, spoken by lyric baritone, movement of K. 576; and a rather lovely, John Cook, followed by three musical gentle arrangement of the Irish melody meditations. Dr. Job is something of a Slane (Be thou my vision), the only “Renaissance Woman” and has expertise piece on this disc which I could imagine in many fi elds, including music, theology, ever using in a liturgical context (that is and poetry. The meditations—“Twilight,” to say, without goading an employer into “Moonsong,” and “Reverie”—are deeply exercising right to work provisions!). theological in character. The fi rst, based

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 15 Reviews

³ page 15 for creative programming. For a suc- holds degrees from Concordia College of usefulness of this third volume of Light Highly acclaimed as a concert organ- cessful and rewarding performance, the Moorhead, Minnesota, Wittenberg Uni- on Your Feet, the fi rst two volumes in the ist, Chelsea Chen is a graduate of the piece demands adequate preparation on versity in Springfi eld, Ohio, and Shenan- series warrant exploration. Juilliard School of Music, where she the part of the organist. doah University in Winchester, Virginia. —Charlie Steele received both her bachelor’s and master’s Well known in the church music His compositions include over 200 organ Brevard-Davidson River degrees. In addition, she earned an artist world, Hal H. Hopson has been a major and choral works. In addition, he is an Presbyterian Church diploma at Yale University. The recipient contributor to the fi elds of choral music, active clinician and has served as a work- Brevard, North Carolina of the 2009 Lili Boulanger Memorial handbell music, and psalmody. Hopson’s shop leader for numerous organizations. Award, she also won the 2005 Augustana/ organ demonstrator, A Pipe Organ Primer Light on Your Feet, Volume Three is Reuter National Organ Competition, for Organ and Narrator: An Introduction designed for organists who are profi cient New Handbell Music and she received the 2008 Robert Baker to the Sounds and Traditions of the Pipe on the keyboard but who have limited Savior, Like a Shepherd Lead Us, Scholarship and the Charles Ives Prize at Organ, will work especially well with experience with pedal technique. The arranged for 3–5 octaves of hand- the Yale School of Music. those who have little or no knowledge sixteen settings in the volume include bells and C or B-fl at instrument by Ms. Chen has added composing to her of the organ’s sounds and its mechani- works from the eighteenth through the Bob Burroughs. MorningStar Music list of accomplishments. Her organ dem- cal parts and accessories. The narration twenty-fi rst century. Ten of the chorale Publishers, MSM-3-860, $4.50, Level onstrator, The Moon Lady: A Chinese provides information about the different preludes were composed by Dr. Wold; III (M+). Folktale for Organ and Narrator, was sounds of the organ and defi nes such the remaining six, judiciously edited This is a solid, creative, brief arrange- commissioned by the American Guild of terms as manuals, pedalboard, ranks, by Wold, include works by G. Winston ment of the familiar hymn we all know; Organists for the 2011 Region I and II expression pedals, and pistons. Each sec- Cassler, Alexander Guilmant, Johann G. however, I would have enjoyed another convention in Morristown, New Jersey. tion of narration explaining a part of the Walther, and Michel Corrette. Several of 10–15 measures of music. The melody The folktale used in the narration organ is immediately followed by a musi- Wold’s original compositions are quite alternates between the solo instrument centers on two main characters, Hou Yi, a cal example that demonstrates it. delightful and useful, particularly his and the bells. Beginning in the key of C brave Chinese archer, and his wife, Chang- As a unifying musical theme in the set of variations on Noël Nouvelet. major, it transitions nicely to the key of e. The movement titles include “Hou composition, Hopson utilizes the famil- Though the variations are given the Eas- A-fl at. If you have a solo instrument in Yi and Peng Meng,” “Elixir,” “Chang-e iar tune Yankee Doodle. The composer ter title (Now the Green Blade Riseth), B-fl at or C, this is a great piece for fea- Rising,” “Hou Yi Chasing the Moon,” and is quite imaginative and creative in his they work equally well for the Christmas turing it. Separate parts are available in “Hou Yi Visiting Chang-e.” The character manipulations of this tune. It is pre- season. If an organist has insuffi cient the back of the score, one set for a B-fl at of each movement is infl uenced by the sented in the style of several pieces, time to master Marcel Dupré’s Varia- instrument, the other for a C instrument. action of the story and each features a including Bach’s Toccata in D Minor, tions on a Noël, this work will suffi ce as specifi c organ sound or combination of Clarke’s Trumpet Tune, and Widor’s an easy and enjoyable alternative. When I Survey the Wondrous Cross, sounds. Chen incorporates imaginative Toccata. The “subtle and not so subtle The sixteen settings use tunes associ- arranged for 2 or 3 octaves of registrations and techniques to highlight ways,” as Hopson states in the preface, ated with both the major seasons of handbells with optional 2 octaves of the sounds and tonal qualities. These tech- are, at times, entertaining and somewhat the liturgical year and Ordinary Time: handchimes by Karen Thompson. niques include the use of a mixture alone humorous. The music will require the Beach Spring; Erhalt Uns, Herr; Choristers Guild, CGB818, $4.50, as an accompanying registration and the organist to spend some time in prepara- Jesu Dulcedo Cordium; Llan- Level 2 (M-). use of double pedaling. Two well-known tion; the music is in the easy-medium to fair; Martyrdom; Morning Star; From the “Ring More with Less” Chinese folk songs are quoted in The Moon medium level of diffi culty. Nettleton; Noel Nouvelet; Nun series, this piece is arranged for 5, 6, or Lady. According to the composer, one is This demonstrator is an excellent Komm, Der Heiden Heiland; Praise, 7 ringers, and assignments are noted on associated with the female title character, resource to use in a church or academic My ; Salzburg; Song 13; Sussex the inside cover for the number of ring- Chang-e, and the other one with Hou Yi, situation to introduce the organ as a musi- Carol; Veni Creator Spiritus; Veni ers used. Here is a lovely setting of this Chang-e’s husband. The two tunes, easily cal instrument to high school students Emmanuel; and W Zlobie Lezy. familiar hymn, with options for 12 hand- recognizable, are beloved and commonly and adults. With some judicious editing, Organ volumes of this type help to fi ll chimes as well. Highly recommended. sung by the Chinese people. The score it will work equally well with children. two needs: useful settings of hymn tunes contains a page of artwork depicting the For churches entering into or just com- for those who are new to playing the Celebrate with Gladness, traditional main characters in the story; permission is pleting a new organ or a renovation proj- organ—particularly students with good Hungarian folk song, arranged for granted to copy this art as a handout or to ect, A Pipe Organ Primer is an invaluable keyboard facility but limited pedal expe- 2–3 octaves of handbells by Susan E. be projected on a screen. tool for educating a congregation about rience—and quality pieces for organists Geschke. Agape (a division of Hope The publisher specifi es this demon- this unique instrument, the organ. whose positions require a large amount Publishing Company), Code No. strator as one for use with high school of service music for which prepara- 2668, $4.50, Level 2 (M-). students or adults, though the story and Wayne L. Wold, Light on Your Feet, tion time may be limited. As Dr. Wold The folk tune Járba, Màré, Járba music may also be suitable for middle Volume Three: A Collection for indicates in the foreword, referring to comes to life in this creative arrange- school students. With its legend-based Organ with Minimal Pedal. Augs- the chorale settings in this volume, “you ment set in the key of G minor. Several story, the demonstrator will work well burg Fortress, ISBN 978-0-8066- will fi nd them appropriate for worship, special effects are used to enhance the in an academic situation. Because of the 9802, $25.00. concert, and teaching situations.” Wold effect of the music: mallets, martellato, musical quality of The Moon Lady, the Wayne L. Wold serves as associate is to be commended on the martellato lifts, shakes, the echo tech- work can be performed in an organ con- professor of music and college organist at and quality of the music contained in this nique, and even grace notes. Here is a cert, therefore offering the opportunity Hood College in Frederick, Maryland. He collection. Based on the contents and nice challenge for any choir.

Starting Point, Volume One, reproduc- ible music for 2 or 3 octaves of hand- bells or handchimes, by Sandra Eit- hun. Choristers Guild, CGB858 (2–3 octaves), CGB859 (3, 4, or 5 octaves), $34.95, Levels 1-, 1, and 1+ (E). The purpose of this collection is to provide simpler music to beginning ring- ers that will foster success by providing the limited use of techniques and no page turns. The pieces include selections from folk, classical, sacred, and original repertoire, and they are ideal for just about any occasion. With the purchase of this collection, you are granted permis- sion to duplicate these arrangements for the sole use of your ensemble.

My Faith Looks Up to Thee, arranged for 3–5 octaves of handbells by Mat- thew Prins. MorningStar Music Pub- lishers, MSM-30-307, $4.50, Level III (M+). This creative and artistically writ- ten arrangement of this beloved hymn seems to bring the text alive. Set in the key of E-fl at throughout, the fl owing, and beautifully written melodic line Visit the conference website at www.LivingVoice2015.org is clearly heard inside or on top of the music. This is a piece worthy of learning and performing. —Leon Nelson Vernon Hills, Illinois

16 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM On Teaching By Gavin Black

Listening Carefully II playing while I am playing it. One of these the composer intended, but the abrupt As I wrote last month, I want to con- is that I know that if I am getting some- breaking off that I fi nd so powerful is tinue to muse about aspects of listening thing meaningful out of what I am play- not what the composer intended either. carefully to one’s own playing while actu- ing, then it is possible for someone else I recall being essentially overwhelmed ally playing. I say “muse” because this is to do so. If I am not, then I can’t be sure. by the effect of the premature end of the not cut-and-dried. It is about the psy- I can try to know. I can rely on people long piece that evening. I was in a state of chology of playing, of motivating one’s telling me that they got something out of collapse and had to spend quite a while self, of being honest with one’s self, of a performance. I can make predictions collecting myself before I turned around trying to shape the playing beyond what about what ought to work in performance to the audience. Now, amongst the things can be planned for or expressed through and then try to do that in such a way that that I can’t re-capture from that day is specifi c ideas. At least that is what it is I can know that I did it. (Both of these are whether my performance was in fact about in part—it is also about just plain very real and important). There’s the faith particularly effective—of the piece as knowing what is going on and keeping in the music, the pieces: if I am playing a a whole or of the moment that I found things together. great piece, and playing it basically well, so powerful. I also don’t know whether I At the end of last month’s column, I with appropriate sounds, and so on, then was in a similar state of enrapture with said specifi cally that I wanted to muse most likely something good is going to the emotional content of some or many about “the project of listening for the come across. I suppose that the desire to earlier passages in the work: probably so, notes, fi ngers, and pedalings. (I should overall impact of what you are doing.” allow myself to be caught up in or swept but I don’t have a vivid memory of it. I say that it surprised me what a large This is, I would say, the most potentially up by what I am playing is in part a desire also don’t know how well I avoided the percentage of the responses to this ques- fascinating part of listening closely while to go as far as possible towards making a pitfalls of being that caught up in what I tion were skeptical or negative. My own playing, the most philosophical or theo- performance as powerful and effective was playing: very possibly not very well. (I desire to embrace this sort of approach retical, and perhaps the most controver- as possible. didn’t record that performance, or else I to the player as listener is by no means sial or subject to being thought about would know some of this.) shared by everyone.) very differently by different players, Motivation So I am telling this somewhat unsatis- I think that my own response to these teachers, and students. I myself divide it The second of these two other rea- fyingly incomplete story because of this: concerns is something like this. As to the into two components, clearly related to sons is one of motivation. Of course I the memory of how I felt as that perfor- fi rst one, I would suggest not worrying each other but somewhat distinct: fi rst, can be motivated by “professionalism,” mance of The Art of the Fugue ended about it until there is a reason to. I think listening to make sure that what you are by a sense of responsibility, by wanting has been a signifi cant and very specifi c that most listeners want more expressive trying to do interpretively (rhetorically, to be seen to give good performances motivating factor for my work as a player rather than less expressive playing, and expressively: there are a number of ways (“heard”, really), by fi nding it gratifying ever since, including through various that the dynamic that might lead some to describe it) is coming across; second, to get reports from listeners that they moments of frustration or what seemed players to overdo emotion in perform- listening in such a way that you yourself got something out of a piece or a con- to me like loss of direction. Therefore, to ing if they are caught up in hearing that are actually moved or affected by the cert, and so on. (Also to justify whatever return expressly to the world of teaching, emotion themselves is perhaps in fact expressive/interpretive impact of what I am being paid!) However, actually I encourage students to allow themselves just a corrective to a common tendency you are playing, in a way that is analo- experiencing directly a version of what I to create this same sort of motivation for for reticence and shyness about expres- gous to what you hope and expect that think I can get out of the kind of music their work. sivity. If there is feedback from trusted the (other) listeners are experiencing. that I play is an important component of I often suggest to students the follow- listeners—or from your own experience It is the second of these that I think what keeps me wanting to do it, and what ing practice tool. Once they have identi- listening to recordings, assuming that is actually potentially controversial. I motivates me to work hard at it and to fi ed a spot where they want to make a they are accurately engineered—telling should say that it is also something that accept the inevitable tension that comes rhythmic gesture (usually of the sort that you that what you are doing is overblown, greatly intrigues me, and that I try to with public performance. This may be might be described as “rubato”) they then you can take that into account. It do myself, when I think that I can. I selfi sh or self-indulgent. It is powerful, practice that gesture, in the privacy of would be a shame to assume in advance believe that it is actually an integral part however, and probably does no harm, the studio, in as exaggerated a manner as that this will be the case. of my performance process, and that I even if selfi sh. (It does have pitfalls, possible: take the risk of executing a ges- As to the second concern, I think that would have trouble playing effectively however, which I will get to below.) ture that is utterly tasteless, mannered, preparation is the main key. If a piece without being—at least much of the Here’s a very personal story about “schmaltzy.” This is to counter the fact or passage is solidly learned, then the time—open to experiencing directly the this—one that has an essential compo- that we usually only visit the gestures that need to think consciously about the next feelings, moods, thoughts, affects, etc., nent or two missing because of the lapse we think we want to make “from below” fi ngering or pedaling or note is limited, that I hope that my playing will create of time, but that I still fi nd important. (so to speak), that is, only compared to and the vulnerability to distraction is in other listeners. One of my two graduate degree recit- and judged in comparison to not making small. The particular kind of distraction als consisted of The Art of the Fugue. such a gesture, or to a modest version of that comes from the content of the music Rhythmic infl ection I played the whole work on the organ the gesture. This stems from and then itself is also at least correlated with what Part of the reason for this is specifi c (the Fisk organ at Westminster Choir reinforces a philosophy that teaches a is going on in the notes of the piece. It is and concrete as a set of performance College, just for the record). It was by kind of reluctance about such gestures. If always necessary to be ready to pull back techniques. Some of the time—not far the hardest thing I had done up to you hear a rhythmic infl ection from both and shift focus to just keeping it going, at every instant during any piece, but that point. It is almost certain that I sides, you get a different sense of exactly and an emotional or affective involve- recurrently and frequently—I try to cre- “shouldn’t” have done it. My level of skill how it might be effective. I mention this ment in the content of the music is only ate (or enhance) expressiveness through and experience at that point was such because the only way I know of to make one sort of thing from which a player the use of rhythmic infl ection. This hap- that it would have been diffi cult to pre- that judgment as to when something is might sometimes have to pull back. I pens on both a small scale—individual dict with any confi dence that I could pull exaggerated, when it is too slight, and don’t think that there is any particular notes of small rhythmic grouping being this off, even at a minimal level of suc- when it is just what you want is by experi- reason to be afraid of being unable to do made a little bit longer than other notes, cess. However, I was highly motivated in encing the actual result. Only if a student so when the need arises. Q for various sorts of emphasis—and on a advance by my existing very strong—and is willing and able not just to listen, but longer scale—stretching the rhythm or very emotional—relationship with that to feel, to experience, can that student Gavin Black is director of the Prince- timing of phrases or sections, slowing piece as a listener. Clearly my teacher, say “Yes, that was effective,” or “That was ton Early Keyboard Center in Princeton, down the tempo, cranking it back up, Eugene Roan, thought that I could do it too exaggerated: the intensity burst and New Jersey, teaching harpsichord, organ, and so on. (I should acknowledge that I or that it would be worth trying. I believe was lost,” or “That wasn’t enough to do and clavichord. Gavin can be reached by didn’t create this idea. I think that I do he had a lot of respect for the motivation anything for me.” The ability to do this e-mail at [email protected]. more of it than many players, especially factor, and in general believed in letting is a step in moving away from too much with Baroque keyboard music, where a people do or try that which interests and reliance on other people’s reactions to tendency has existed for many years to excites them the most (as do I). your playing—not that those can’t then deny or limit these sorts of interpretive The main moment that I remember also be taken into account. possibilities. That is a large subject, and from that performance is the very end. one for another day.) The Art of the Fugue is incomplete: Other opinions These are all gestures that cannot, as Bach died before he could compose (or So what are the drawbacks? Well, I far as I can tell, be completely defi ned perhaps just before he could dictate) the have recently been asking fellow musi- or measured or completely planned out fi nal section. The piece actually breaks cians, “What do you think about actually in advance. It is necessary to get them off in the middle of a line. Everything is experiencing the emotional content right at the very moment that you are unresolved. To me at the time (and still of what you are playing, while you are performing them, on a quasi-improvised now) this moment when the counterpoint playing it?” And when I have gotten basis. (Or planned up to a point and abruptly breaks off and there is silence concerned or skeptical responses, the refi ned on a quasi-improvised basis). where there should have been music is reservations expressed have been mostly Since the goal of these sorts of gestures one of the most powerful moments in all one of these: that if you are looking to is affective or emotional, at least one way of the arts. Of course it is a moment that experience the emotion behind the to gauge the rightness of the gesture is to the composer didn’t intend. It was created music directly yourself, you are likely let yourself experience the emotion and by a coming together of random things, to make that emotion come across too to shape what you are doing accordingly. not all of them good. And it is certainly strongly, and this sort of listening and There are two other, less technical or possible to debate whether it is a good reacting can distract you from just plain concrete, reasons why I am interested in idea to fi nish the piece, as many people accurate playing. In other words, if you embracing the idea of trying to experi- have done over the centuries. Clearly any get too caught up in what you are hear- ence the emotional content of what I am such completion is not, cannot be, what ing, you will forget to stay on top of the www.pipe-organ.com

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 17 In the wind...

Valve jobs, ring jobs, half-inch to three-inches. They gradu- and protection ate in 64ths up to one inch, 32nds up to Most faucets and spigots have rub- one-and-a-half, 16ths to two-and-a-half, ber washers that act as gaskets. When and 8ths up to three inches. I have two you turn off a faucet, the washer is sets of “numbered” bits (1-60 and 1-80), compressed, sealing the opening to the one of twist drills from 1/16 to one-inch, pipe and stopping the fl ow of water. If graduated by 64ths, and one set of “let- you turn faucets too hard when shutting tered” bits (A–Z). off the water, you compress the washer If you’re interested in knowing more more than necessary—not too big a deal, about those sets, follow this link: www. except the washer will squish and wear engineersedge.com/drill_sizes.html. out more quickly. You’ll fi nd a chart that shows the num- The smooth operation of your automo- bered, lettered, and fractional sizes com- bile’s engine is all about controlling leaks. pared to ten-thousands of an inch: #80 is Piston rings, which are metal washers .0135″, #1 is .228″, just under ¼″ (which that seal the pistons against the cylinder is .250). If you have all three sets, and walls, isolate the combustion chamber mine are all packed in one big drill index, above the pistons from the lubrication you’re covered up to nearly half an inch of the piston rods and crankshaft. When in tiny graduations. Looking up at pipe valves A V-8 engine the rings fail, the oil from below splashes Why so fussy? Say you’re building up into the combustion, and now you’re tracker action parts, and you’re going How many notes do you play on a into oblivion. (Ciphers never happen in “burning oil.” That’s what’s going on to use #10 (B&S Gauge) phosphor Sunday morning? The has 32 the Aeoline when no one is around!) when excessive black and stinky smoke bronze wire (.1018) as a common axle. four-part chords. That’s 128 notes. If you I’m thinking about valves—how they is coming out of your tailpipe. You need You want the axle to be tight enough so play it using 25 stops, that’s 3,200 notes, work, what they do, what are their toler- a ring job. there’s minimal slop (no one likes a rat- just for the Doxology! Are you playing ances, and how many times they repeat Above that combustion chamber are tly action), but loose enough for reliable that Widor Toccata for the postlude? to accomplish what we expect—because the valves that open to allow the air/fuel free movement. A #38 drill bit is .1015 There are 126 notes in the fi rst measure. I was recently asked to provide an mixture from the carburetor or injector in B&S Gauge—too tight by 3/1000s. Next Using 25 stops? That’s 3,150 notes in the estimate for the cost of covering and to be ignited by the spark plug, and those one bigger is #37, .1040″. That’s a margin fi rst measure! There are 61 measures. At protection of a large pipe organ during that open to allow the exhaust to escape of 22/1000s, the closest I can get with my 3,150 notes per measure, that’s 192,150 a massive renovation of the interior of a after the cylinder fi res. (I know, I know, sets of bits. to fi nish the piece. (I haven’t counted church building. There are organ cases you diesel guys are waving your arms in the pedal part, and while the last three on either side of the huge west window, the air, saying “OO, OO, OO . . . ” We’ll And there are lots of holes. measures have big loud notes, there and another big organ chamber in the talk about diesel combustion another day.) Lots of the holes in our organs allow aren’t that many.) Using this math, you front of the church, forming the corner The valves are operated by the the passage of wind pressure. In the Pit- might be playing four or fi ve hundred between transept and chancel. There are camshaft, which is also lubricated by man windchests found in most electro- thousand notes in a busy service. And lots of mixtures, and plenty of reeds— the engine oil. If the valves leak, fuel pneumatic organs, there are toe-holes remember, in those Pitman chests, four and with something like 3,500 pipes, a and exhaust can trade places, and the that the pipes sit on and rackboard holes valves operate for each note (magnet, slew of valves. engine’s operation gets screwed up. You that support them upright. There are primary, secondary, pipe valve), which The stained-glass west window will be need a valve job. holes that serve as seats for primary and means it takes 12,800 valve openings removed for restoration, and the general Perhaps you’ve had car trouble caused secondary valves. There are channels to play the Doxology, and 768,600 for contractor will construct a weather-tight by a worn timing belt. That belt turns bored in the walls of the chests to allow the Widor. Let’s take a guess. With four box to close the hole. That’ll be quite the camshaft at just the right ratio to the the exhausting of pouches and there are hymns, some service music, an anthem a disturbance for the organ, with its engine’s revolutions, so that intake valves exhaust ports in the magnets. All of those or two, plus prelude and postlude, you Trompette-en-Chamade and mixture open, letting in the fuel before the spark holes, except in the rackboards, have might play 1,750,000 valves on a Sunday. choruses. The plaster walls will be plug ignites it, and exhaust valves open valves pressed against them to stop the (Lots more if your organ still has the sanded and painted. The wooden ceiling after the fi ring, letting the exhaust out. fl ow of air. original electro-pneumatic switching with its complex system of trusses and My car’s engine has eight cylinders, and Let’s take that a step further. A fi fty- machines.) No ciphers today? Organ did beams will be cleaned and refi nished. at highway speed, runs at about 2,500 stop organ has over 3,000 pipes. That’s pretty good. It’s a wonder it works at all. The entire nave, transept, and chancel revolutions per minute, which is 41.6 3,000 pipe valves. If that organ has seven Next time the personnel committee will be fi lled with scaffolding, complete revolutions a second. All eight cylin- manual windchests (two in the Great, sits you down for a performance review, with a “full deck” 40 feet up, which will ders fi re with each revolution, so there two in the Swell, two in the Choir, and be sure to point out that you play 500,000 serve as a platform for all that work on are 332.8 valve openings (and closings) one in the Solo), that’s 427 primary notes each Sunday morning. the ceiling. each second. That’s cutting things pretty valves, 427 secondary valves, and 427 To properly protect a pipe organ close. But we sure expect that engine to magnet exhaust ports, in addition to the Dust devils against all that, removing the pipes, tap- start every time, and to run like a clock pipe valves. There’s one Pitman chest Pull a couch away from the wall and ing over the toeholes, and covering the hour after hour. Say you’re driving three in the Pedal (Spitz Flute 8′, Gedackt 8′, you’ll fi nd a herd of dust bunnies. Messy, windchests with hardboard and plastic is and a half hours from New York to Bos- Chorale Bass 4′, Rauschpfeife III) with but innocent enough, unless someone an important precaution. That means that ton. To get you there, you’re asking for 32 of each. And there are three indepen- in your household is allergic to dust. all those little valves cannot be exposed 4,193,280 precisely timed valve repeti- dent unit chests in the Pedal with 56 of But dust is a real enemy of the pipe to the dust and disturbance around the tions. It’s a wonder it works at all. each. Oh, wait. I forgot the stop actions, organ. Fire is bad, water is bad, vandal- organ. To do that, you have to vacuum 50 times 3. And the expression motors, ism is bad, but dust is the evil lurker the chest surfaces, and organbuilders It’s all about the holes. eight stages each, 16 times 3. And two that attacks when you least expect it. A know how to do that without shoveling I like to describe the art of organ tremolos . . . That’s 9,162 valves. Not fl eck of sawdust coming loose inside a dust directly into the pipe holes. building as knowing where to put counting the expressions and tremolos, windchest, left from when the organ was The pipes that are enclosed in an the holes. Organbuilding workshops every one of those valves can cause a built, fi nds its way onto a pipe valve, and expression chamber can be left in place include immense collections of drill cipher (when a stop action ciphers, you you’ve got a cipher. if you disconnect the shutters, and seal bits. My set of multi-spurs goes from can’t turn the stop off). Imagine this ordinary day in the life of the shutters closed with gaffer’s tape and a church. The organist is practicing, and plastic. Even, then, all the reeds should the custodian is cleaning up in the base- be removed, packed, and safely stored. Dry overheated churches can ment. Airborne dust is sucked through The blower is the best way for foreign wreak havoc with pipe organs! the intake of the organ blower, and mil- stuff to get inside the guts of the organ. lions of potential cipher-causing particles It’s essential to prepare the organ blower ’=c`TcZZgOaaS[PZSR waft through the wind ducts, through for the building renovation. Wrap the ]`UO\Vc[WRW¿QObW]\ the reservoirs, and into the windchests, blower’s air intake securely with plastic Q]\b`]ZagabS[aOZZ]e there to lurk until the last measure of the and heavy tape. Those 42-gallon “con- Vc[WRWbgb]PSaS\b Processional March of the wedding of tractor” trash bags are great for this. And eVS`SWbWa\SSRSR[]ab´ the daughter of the Chair of the Board of cut the power to the blower motor by bVSW\bS`W]`]TbVS]`UO\ Trustees—whose family gave the money closing circuit breakers, to be sure that it ’6WUVZgSTTSQbWdSO\R for the new organ. One pesky fl eck hops cannot be inadvertently started. Before Q][^ZSbSZgOcb][ObWQ onto the armature of the magnet of “D” you put the blower back into service, ’2SaWU\W\abOZZObW]\ (#39) of the Trompette-en-Chamade, give the room a good cleaning, and allow O\R]\aWbSbSQV\WQOZ and the last of Jeremiah’s notes continues a day or two for the dust to settle before OaaWabO\QSOdOWZOPZS Duchon’s Organ Pipes A^SQWOZWabaW\@Sab]`ObW]\ CLAYTON ACOUSTICS GROUP 1]\aS`dObW]\D]WQW\UB]\OZ4W\WaVW\U New Reeds & New Flues ]T6WUV>`Saac`S>W^S=`UO\a 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] Additions & Repairs &"#A]cbV;WQVWUO\/dS\cS '# www.claytonacoustics.com JL Weiler, Inc. 1VWQOU]7ZZW\]Wa$$ $ ACOUSTICS AND SOUND SYSTEM 330/257-0491 PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS ! &" %"%# CLAYTON XSTT.XZeSWZS`Q][jeeeXZeSWZS`Q][ ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP [email protected]

18 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM By John Bishop you run the blower. It’s a simple precau- of the staff member looking for a place to Benediction, swings into a blazing toc- tion, but really important. stow a bunch of folding chairs, fi nding a cata, and thousands of valves open and handy closet behind the sanctuary. That close each second. Amazing, isn’t it? § pile of chairs on the bellows of the organ Releathering and repairing pneumatic raises the wind pressure and wrecks the windchests, I’ve made countless valves It’s a lot of work to do all this to a big tuning. Or those Christmas decorations myself. I know just what they look like pipe organ. And it’s a lot more work to leaning up against those strange-looking and what they feel like. I like to dust put it all back together and tune it. For machines—the roof timbers of the them with talcum powder to keep them the same amount of money you could crèche may be leaning against a primary from sticking years down the road, and I buy a brand-new Steinway Concert valve. You turn on the organ, draw a stop, picture what they smell like—the smell Grand piano if it’s a big organ. But if you and a note is playing continually. Organ of baby powder mingling with the hot- fail to do this, the future reliability of the technicians usually charge for their travel glue pot. Hundreds of times during ser- organ may be seriously compromised. time. It could be a $300 service call for vice calls or renovation jobs, I’ve opened A bit of dust gets into a toehole, and the right person to realize that a broom- windchests and seen just how little it winds up sitting on the note valve. Even stick needs to be moved! takes to make a note malfunction. I’ve if the valve is held open a tiny slit, the seen organ blowers located in the fi lthi- resulting trickle of air is enough to make a § est, stinkiest, rodent-fi lled, dirt-fl oored, at chest height: “Please do not place pipe whimper. A fl eck of dust gets caught moldy sumps. I’ve seen the everyday anything on this unit. Sensitive parts of in the armature of a magnet, and the When I hear a great organ playing, detritus of church life—hymnals, vest- pipe organ. If you have any questions, note won’t stop sounding. And I’m tell- I often think of those valves in motion. ments, decorations, rummage-sale signs, see Norma.” When we say, “do not place ing you, you wouldn’t believe how tiny, The organist plays a pedal point on the and boxes of canned goods piled on organ anything,” how can there be questions? almost invisible a fl eck is enough to do 32′ Bourdon while improvising during walkboards and bellows, even dumped To the untrained eye, the pipe organ that. Lots of organ reed pipes, especially Communion, and in my mind’s eye, I on windchests loaded with pipes. Can’t may appear as a brute of a machine. But trumpets, are shaped like funnels, and can see a fi ve-inch valve held open, with understand why the organ sounds so bad. inside, it’s delicate and fragile. If “clean- they aggressively collect as much dust a hurricane of carefully regulated wind Earlier this week, I visited an organ liness is next to Godliness” in the wide as they can. A little speck jolted off the blowing into an organ pipe that weighs in which the static reservoir and blower world, cleanliness is the heart of reli- inside of a reed resonator falls through 800 pounds. A few minutes later, the were in a common storage space. A ability for the pipe organ. Institutional the block and gets caught between the organist gives the correct pause after the penciled sign was taped to the reservoir hygiene. Remember that. Q tongue and shallot. No speech. To the hard-hat wearing, cigar-chew- ing general contractor, the organbuilder seems like a ninny, fussing about specks of dust. To the member of the vestry that must vote in favor of a huge expen- diture to do with fl ecks of dust, the organbuilder seems like a carpetbagger, trying to sneak an expensive job out of thin air. To the organbuilder, the idea of all that activity, all that disturbance, GET REAL all that dirt, all those vibrations, and all those workers with hammers, coffee cups, and sandwich wrappings swarm- ing about the organ brings visions of worship made mockery, week after week, by an organ whose lungs are full Are you purchasing sounds, of everything unholy. Think about Sunday morning with Widor, Old Hundredth, and all the or samples of sounds? other festivities, think about valves open- ing and closing by the millions, and don’t tell me that “a little dust” isn’t going to ...real pipes can last for centuries. hurt anything.

§

This lecture is about caring for an organ during building renovation. If your church is planning to sand and refi nish the fl oor, paint the walls and ceil- ing, replace the carpets (hope not!), or install a new heating and air conditioning system, be sure that the people making the decisions know about protecting the NORTH AMERICA’S PREMIER PIPE ORGAN organ from the beginning. Your organ BUILDING AND SERVICE FIRMS technician can help with advice, and any good organbuilder will be available and equipped to accomplish this important work for you. Any good-quality pipe organ of moderate size has a replace- ment value of hundreds of thousands Call today for of dollars. If yours is a three-manual organ with fi fty stops, big enough to APOBA’s free 66+ have a 32-foot stop, it’s likely worth over a million. The congregation that owns it depends on its reliable operation. A page color prospectus simple oversight can be the end of the organ’s reliability. Please watch and share When there is no building renovation APOBA.COM planned, we can carry these thoughts our short video at: into everyday life. Institutional hygiene is 1-800-473-5270 www.apoba.com/video essential for the reliability of the organ. Remember the custodian sweeping in the basement while you’re practicing? Think BUILDER MEMBERS SUPPLIER MEMBERS ANDOVER ORGAN COMPANY DOBSON PIPE ORGAN BUILDERS NOACK ORGAN COMPANY, INC. QUIMBY PIPE ORGANS, INC. A.R. SCHOPP’S SONS, INC. BEDIENT PIPE ORGAN COMPANY GARLAND PIPE ORGANS, INC. PARKEY ORGANBUILDERS RANDALL DYER & ASSOCIATES, INC. HARRIS PRECISION PRODUCTS BERGHAUS PIPE ORGAN BUILDERS, INC. GOULDING & WOOD, INC. PARSONS PIPE ORGAN BUILDERS SCHANTZ ORGAN COMPANY INTEGRATED ORGAN TECHNOLOGIES, INC. BOND ORGAN BUILDERS, INC. HOLTKAMP ORGAN COMPANY PASI ORGANBUILDERS, INC. SCHOENSTEIN & CO. SOLID STATE ORGAN SYSTEMS BUZARD PIPE ORGAN BUILDERS, LLC J.H. & C.S. ODELL PATRICK J. MURPHY & ASSOCIATES TAYLOR & BOODY ORGANBUILDERS SYNDYNE CORPORATION C.B. FISK, INC. KEGG PIPE ORGAN BUILDERS PAUL FRITTS & CO. ORGAN OSI - TOTAL PIPE ORGAN RESOURCES CASAVANT FRÈRES LÉTOURNEAU PIPE ORGANS PETERSON ELECTRO-MUSICAL PRODUCTS

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 19 Conference report

The 2014 University of Michigan Organ Conference September 28–30, 2014

Kola Owolabi, Sherri Jo Brown, Kipp Cortez, Emily Solomon, Paul Giessner By Marcia Van Oyen (photo credit: Marijim Thoene)

he fi rst University of Michigan specialization has been succeeded by Church. His harmonization of the tune music and its sonorities while the per- TOrgan Conference took place in a focus on collaboration and breadth. was judicious and carefully handled, former stays out of the way. 1961, featuring Anton Heiller, and Early music is integrated into the organ never overpowering, and his registrant Joshua Boyd, who has studied with was the brainchild of Marilyn Mason. department with Dr. Gascho’s harpsi- was well rehearsed and expert in manip- Marilyn Mason and Karl Schrock, gave It is singular in the organ world for its chord instruction, and the focus is on an ulating stops for him. Schrock’s program his bachelor’s degree recital on Monday longevity. Just two other schools offer eclectic approach to musical develop- included works by Bach, Clérambault, afternoon, performed from memory. He comparable conferences: The Eastman ment to parallel the current professional Tournemire, Langlais, and Mendels- launched into the program with energy School of Music initiated the EROI landscape for church musicians and sohn. Schrock negotiated each style with and confi dence in the Recessional by festival in 2002, and Indiana University organists. Dr. Owolabi includes improvi- ease and assurance. His performances Mathias followed by a sensitively played started an annual conference in 2010. sation and church music courses among of the Cantilène Improvisée (a transcrip- Drop, Drop Slow Tears by Persichetti. During its 54-year history, the U of M his teaching duties, offering sessions on tion) by Tournemire, followed by Lan- He appeared to be thoroughly enjoy- conference has featured a glittering blended worship music, different choral glais’ Miniature (commissioned by and ing himself throughout the Adagio array of artists and lecturers from the styles, and multi-cultural music. dedicated to Marilyn Mason) were par- from Widor’s Second Symphony. The United States and Europe in addition to ticularly charming. It was an exquisite fi rst half closed with Digital Loom by offerings by Michigan faculty and stu- A Grand Night for Singing program and a delight for the listener. Mason Bates, a fascinating and enjoy- dents. In 2014, this annual organ confer- “A Grand Night for Singing,” a gala Joseph Gascho, associate professor able piece for organ and electronica, ence was held September 28–30. Due concert put on by the choral, vocal, and of harpsichord and early music, played which Boyd had played to rave reviews to construction at the School of Music, theatre departments of the University of a wonderful recital in the intimate space at the Ann Arbor POEA this past June. Theater and Dance on north campus, all Michigan School of Music, Theatre and of Monteith Hall at the First Presby- Bates grasped the mystery and visceral events were held on the U of M’s central Dance, offered conference attendees a terian Church on Tuesday afternoon. quality of the organ, successfully pair- campus, with conference attendees cir- great opportunity to witness the wide James Kibbie’s introduction of Gascho ing its power with throbbing electronic culating between Hill Auditorium, First spectrum of vocal activity the school displayed his delight in having him sounds. The second half of his ambi- Presbyterian and First Congregational boasts. With over 650 students in eleven on the department team. Gascho has tious program was Dupré’s Symphonie churches. Shortened to two days rather auditioned ensembles, the high caliber much ensemble experience and hopes Passion, masterfully played. Boyd’s fi ne than three a year ago to make it more of Michigan music students and its to expand early music opportunities, performance proved that he deserved a accessible to attendees, the conference excellent faculty was demonstrated by making them a more integral part of hearing at the organ conference. continues to offer a slate of strong aca- the fi ne performances prepared after the music school. His program included True to Michigan tradition, the eve- demic content and fi ne performances. only nineteen days of classes. Ensembles works by J.S. Bach, Buxtehude, Char- ning organ concerts at Hill Auditorium The 2014 conference not only hon- featured were the Chamber Choir, pentier ,and C.P.E. Bach. He was joined were preceded by 30-minute carillon ored Michele Johns’s 33 years of teach- University Choir, Orpheus Singers by viola professor Yitzhak Schotten concerts. Pamela Ruiter-Feenstra ing but also was a natural showcase for and Orchestra, Men’s Glee Club, for the Bach Sonata in G Minor, BWV offered a sensitively played program on the revamped Michigan organ depart- and Women’s Glee Club. In addition, 1029, playing a sweet-sounding viola Sunday evening, complete with program ment, with strong contributions by the the program included a scene from the from 1570. Gascho and Schotten were notes, and Kipp Cortez, coordinator of new faculty. Following the retirements musical Dead Man Walking and perfor- in perfect synch and spirit, even in the carillon studies, played Tuesday evening. of three long-time teachers in close mances by voice majors. many parallel trills. Gascho is very per- During these concerts, a handful of the succession—Robert Glasgow in 2005 The concert concluded with all forces sonable and warmly communicative in organ crowd sat listening outside while after 43 years, Marilyn Mason in 2013 on stage for the Star Spangled Banner his playing. His conversational remarks students wandered by, often pausing to after 66 years, and Michele Johns in Medley, which had been featured previ- before each piece further enhanced his gaze up at the carillon tower and snap a 2014 after 33 years—unlike Michigan’s ously in a football halftime show with connection with the audience. photo with their phones. beleaguered football program, the organ the marching band and 500 singers in Kola Owolabi put the Hill Audi- The fi rst organ concert of the con- department is transitioning smoothly celebration of the 200th anniversary of torium organ through its paces with ference was given by Jörg Abbing of into a new era. Kola Owolabi has joined our American fl ag. Before departing, the a program including works by Bach, Saarbrücken Conservatory of Music in the department as associate organ pro- audience joined in “It’s a Grand Night for Parry, Bingham, Widor, and Eben. His Germany. His program consisted largely fessor, and Joseph Gascho is the new Singing” by Rodgers and Hammerstein. quiet technique matches his reserved of twentieth-century music and made associate professor of harpsichord. Vin- Jerry Blackstone, director of choirs demeanor, but underlying both is great for demanding listening. Realizing he cent Dubois has been named permanent and creator of this fi fth annual event, confi dence and a passion for excellence. had planned a daunting program for the visiting professor, and a carillon instruc- included this comment in the program: Owolabi’s unfussy articulation and taste- listener, Dr. Abbing made a late substitu- tor will be hired for the next academic “We are a singing community, and I am ful acknowledgement of harmonic events tion of Franck’s Pièce Héroïque to open year. James Kibbie became department so happy that you are here to experience in the Bach made for easy listening, his concert. This and Reger’s Phantaisie chair in 2013, providing both continuity this Grand Night with us. Breathe deeply! while he let the organ’s sweetest sounds ‘Hallelujah! Gott zu loben’ were far and a fresh approach. He seems genu- Sing from your hearts!” The energy com- sing in Parry’s lyrical Chorale Prelude on less than polished, but Abbing played inely excited about the department’s ing from the stage was palpable, and the ‘Martyrdom.’ Equally fi ne was Bingham’s works by Messiaen, Guillou, and André future. Current students come from enthusiasm of the audience unbridled. Toccata on ‘Leoni.’ It is a powerful work, Jolivet with conviction and fi nesse. At a wide range of backgrounds, under- beginning with a harmonization of tune eighteen minutes and fi fteen minutes graduate applications have increased, Stellar performances then launching into alternation between in length, the Guillou and Jolivet works and students are evenly spread between by Michigan faculty French-toccata style and quieter sections require a real commitment from the the undergraduate and graduate levels The highlight of the 2014 conference that display Bingham’s distinct style. The performer not only to handle the tech- of study. The desire is to promote a was stellar performances by Michigan complex texture of the Widor Pastorale nical demands, but also to make sense culture of openness and excellence. As faculty members Joseph Gascho and from Symphonie II was rendered with of the noisy bursts of sound alternating Dr. Kibbie is fond of saying, “There will Kola Owolabi, and by Karl Schrock. ease and elegance and the heroic fi nale with slow-moving sections and silences. always be a need for organists. We can’t Though not on the faculty at present, was played with aplomb. Eben’s Four Mandala by Jolivet is a programmatic predict what church musicians will need Karl Schrock did yeoman’s work serving Biblical Dances comprised the second work, describing the seven continents to do in the future, but we will continue as interim organ professor for the 2013– half of the program, preceded by clear and seven seas of the Jambu diagram, a to pursue excellence.” 14 academic year while also maintaining verbal notes given by Owolabi. The “mandala” to aid Hindu meditation. Jean The biggest change in the department his teaching duties at Kalamazoo Col- Biblical passages related to each move- Guillou was one of the fi rst to perform was brought about by requests from lege. Schrock offered a delicately articu- ment were read ably by current organ it in 1969 and devised the registration students to study with all of the organ lated and subtly nuanced performance, students. In this fascinating work, which scheme for the published work. In con- professors rather than being bound having selected his repertoire—which displays Eben’s imaginative take on the trast, Guillou’s Regard does not have a to one studio. Once a week they take offered plenty of sonic and stylistic vari- Biblical stories, Owolabi’s quiet, effi cient program, refl ecting his preference for part in a department-wide studio class ety—to mesh with the disposition of the technique was particularly effective, leaving the audience free to interpret dubbed “Common Time.” The era of Wilhelm organ at First Congregational letting the experience be all about the his piece. It is interesting to note that

20 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM Joseph Gascho (photo credit: Marijim Thoene) Matthew Dempsey, Joshua Boyd (photo credit: Marijim Thoene) Michael Barone (photo credit: Marijim Thoene)

Jolivet’s piece was composed in 1969 Barone always provides an enjoyable Performance, Illustrated in Two Chorale in Russia were owned by the nobility and was revolutionary at the time, while and insightful session, playing his chosen Prelude of Bach and Brahms.” Believing and opportunities to compose organ Guillou’s, written in 2011, does not differ instrument—a stereo and stack of CDs. there is often too much disconnection music were limited because the Russian from it appreciably in style. This musical tour included Bach cantata between performance and theoretical Orthodox Church suppressed the use of Abbing proved to be an engaging and movements arranged for two organists, analysis, Dr. Schroeder encourages analy- organs. Nevertheless, there is a small effective coach in a Monday morning the Toccata and Fugue in D Minor for sis as an aid to memorization and a way but very fi ne body of Russian organ workshop on improvising on Gregorian saxophone and organ, Cameron Carpen- to discover new aspects of the score. She literature written in the nineteenth chant. He believes all students should be ter’s performance of a Bach solo cello illustrated her analytical techniques with and twentieth centuries. By the mid- creating their own music in order to help work played on the pedals, and a piece Bach’s chorale preludes Durch Adams nineteenth century, there were over develop a unique musical personality. He for organ and harmonica, to name a few. Fall ist ganz verderbt and Christe du two thousand organs in Russia, though worked with several organists on harmo- Barone is fully immersed in the realm of Lamm Gottes from the Orgelbüchlein, many were destroyed during the Rus- nizing melodies, changing the tonality organ music, always ready to listen with an and O Welt, ich muss dich lassen by sian revolution. The fi rst published and paraphrasing the melody. Master’s open mind, and is fascinated by all sorts of Brahms. She noted that given the variety organ works in Russia were three fugues student Ye Mee Kim and Michigan organ music. He invites organists to follow of opinions among theorists, discern- by Glinka. Others who composed organ organ alums Joseph Balistreri and Dr. suit in expanding their musical horizons. ment is required in applying analysis to music are Gretchaninov, Rachmaninoff, Naki Sung-Kripfgans were Abbing’s Ending the session on a wistful note with interpretation. Schroeder’s points are well Shostakovich, and Glazunov, whose willing and skilled pupils. a recording of Refi ned Refl ection by Ste- taken. It is all too easy to get caught up in works are the most substantial. Dr. phen Paulus (from his unfi nished Baro- learning the notes without a good under- Quinn skillfully played several engaging A variety of lectures nian Suite written in honor of “Mike”), standing of the architecture of a piece. pieces, closing with the Prelude and Michael Barone kicked off Mon- he commented “You’ll never have enough Tuesday morning, Iain Quinn of Fugue in D Minor by Glazunov, which day morning with “So Much Music, So time, but make the most of it.” Florida State University gave a lecture was dedicated to Saint-Saëns. Quinn Little Time,” another of his organ music On Monday afternoon, Michigan organ on Russian organ music, providing an provided a list of about three dozen appreciation sessions that have become a alumna Joy Schroeder gave a lecture on enlightening entrée to this little known works currently in print, most of which fi xture at the Michigan organ conference. “The Power of Theoretical Analysis upon realm of repertoire. The fi rst organs are published by Bärenreiter.

First Presbyterian Church in Prattville, Alabama The 21st Century Organ Company hen it’s time to replace an aging console, expand a limited pipe instrument, or select Wa new digital organ, Rodgers makes the choice easy. Rodgers blends decades of experience in traditional pipe organ building with advanced proprietary computer chip development that produces incomparable sound and functionality. Rodgers and its parent company Roland Corporation pair world-renowned technological leadership with pipe organ expertise to create the truly modern organ. For an instrument that stands as a leader today and will prove its value over time, make Rodgers your sound choice.

» A powerful, fast operating system » Elegant and simple Pipe Integration designed solely for digital musical Manager that enables seamless hybrid instruments. installations to be accomplished using an Excel spreadsheet. » Built-in support for ongoing customizations and capabilities. » Wireless/Bluetooth apps for mobile devices including AirTurnTM » Outstanding reliability due to a hands-free tightly integrated system that eliminates page turning and remote control for music unnecessary and vulnerable wiring playback. between electrical components. Established in 1846, the church has a long history of musical excellence in both worship and community concerts. The search for a digital instrument to replace the church’s much- loved pipe organ culminated in the choice of a Rodgers Infinity four-manual instrument with 20 audio channels and a custom pipe facade from Tadlock & Associates. Rich, warm and powerful yet not overwhelming, the organ fulfills the congregation’s desire to hear and feel the power of a fine pipe organ as they sing their praises to God.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 21 Conference report

Michigan Improvisation Competition The third annual Michigan Improvisa- tion Competition, developed by Michele Johns, took place on Tuesday afternoon at the First Presbyterian Church of Ann Arbor. The competition has injected new life into the organ conference, offering another event open to the public and an opportunity for another church to be involved with the confer- ence. Judging by the attendance at the competitions, this event is an audience favorite. Contestants in the preliminary round submitted a recording of a free Iain Quinn (photo credit: Marijim Thoene) Improv Competition (photo credit: Colin Knapp) improvisation on a given theme and a hymn introduction and two stanzas of Ann Arbor AGO provided a dinner for she was producer of fi ve interdenomi- offered an upbeat and personal tribute to the tune Pleading Savior. Preliminary conference attendees. national choir festivals plus concerts, Michele Johns titled “Songs of Thankful- round judges were Dr. Gale Kramer, Dr. hymn-playing competitions, workshops, ness and Praise.” They began with an Joanne Vollendorf Clark, and Dr. Marcia Honoring Michele Johns and conferences for the enrichment of overview of her career and the church Van Oyen. Five contestants were invited Festivities to celebrate and honor church musicians. The ACCM currently music courses she taught. Her courses to the fi nal round, which involved simi- Michele Johns’s 33 years of teaching supports the Michigan Improvisation included liturgical practices in different lar improvisational challenges—a free in the organ department began Monday Competition. She is also the co-founder denominations, hymnody, hymn impro- improvisation on a given theme, a free evening with a catered dinner held at and fi rst Dean of the Ann Arbor Chapter visation, and a church music practicum, improvisation on Darwall’s 148th, the First . Joseph of the American Guild of Organists. which included discussion of books on and a hymn introduction and two stanzas Balistreri, director of music at the Arch- For more than twenty years, Michele church music and issues that church of Darwall’s 148th with the audience diocese of Detroit and Michigan organ Johns served as director of music at musicians face. Dr. Kuperus provided singing along. Final round judges were alumnus, served as master of ceremo- Our Lady of Good Counsel Parish in a recommended reading list of books Dr. Larry Visser, Dr. Ronald Prowse, nies. Dr. Timothy Huth, Dean of the Ann Plymouth Michigan, developing one of dealing with changes in the church music and Dr. Jorg Abbing. Arbor AGO, Colin Knapp, organ confer- the largest music ministries in the Arch- landscape, including Eileen Guenther’s First prize was awarded to Luke ence coordinator, Dr. James Kibbie and diocese of Detroit. The ministry included excellent Rivals or a Team? The most Mayernik of Pittsburgh, second to Matt Greenough, former cantor at Our 22 cantors, 5 handbell choirs, plus an entertaining portion of the presentation Christopher Ganza of Oklahoma City, Lady of Good Counsel Parish, each 80-voice adult choir. Under her direc- was the time spent on recollections of third and audience prizes to Matthew offered humorous anecdotes, remem- tion, the Plymouth Counsellors Chorale Johns’ personal characteristics and what Koraus of New York, fourth to Aaron brances, and words of appreciation. completed fi ve European tours to ten she taught her students. Citing Johns’ Tan of Ann Arbor, and fi fth to Bryan In addition to her three decades teach- countries and tours to churches in the warm, down to earth manner and ability Sable of Pittsburgh. The prizes were ing church music skills and philosophy at United States. During her time in Ann to connect with people, both Kuperus sponsored by the American Center for U of M, Michele Johns is the author of Arbor, Dr. Johns also served at the Beth- and Visser said that she helped them Church Music. Once again, First Pres- Hymn Improvisation (Augsburg 1987) lehem United Church of Christ and the understand that church music is rela- byterian proved to be an ideal venue and a regular columnist for GIA Publica- First Congregational Church. Her organ tional. They applauded her emphasis on for the competition with the ample tions. She is co-founder and executive solo appearances in North America and consensus and collaboration, as well as resources of its Schoenstein organ director of the American Center of abroad have featured music of the 18th her notion that it matters how you treat (III/42) and its hospitable staff and vol- Church Music, an Ann Arbor-based, and 20th centuries. In honor of her 30th people. Quotes of comments Johns is unteers. Following the competition, the non-profi t organization through which anniversary of teaching at UM, a group regularly known to make such as, “That of UM organ alumni created the Michele idea was worth this whole meeting,” and Johns Scholarship for Organ Perfor- “We do this, ja?” elicited smiles and head mance and Church Music. Like her nods from the audience. esteemed colleague and teacher, Marilyn On a personal note, I have truly Mason, Johns came to Ann Arbor to enjoyed the opportunities I’ve had to study organ at U of M and never left. work with Michele Johns, particularly in Following the celebratory dinner at the recent years. While still at OLGC Parish, conference, there was an alumni recital which is down the street from my church featuring students of Michele Johns. in Plymouth, she revived a Thanksgiving Performers were Dr. Christine Clewell, Choir Festival involving the choirs and HENRY PILCHER’S SONS Dr. Brandon Spence, Stephanie Yu, Dr. bell choirs of fi ve churches in town. I OPUS LIST AND HISTORICAL SKETCH Andrew Meagher, and Dr. Larry Visser. continue to organize this festival thanks The repertoire included a variety of rep- to her inspiration. She is a dear soul with HENRY PILCHER constructed his first pipe organ in ertoire refl ective of what Michele Johns the ability to come up with great ideas Dover, England, in 1820. Over a period of almost would have covered in her church music and involve many people in implement- 125 years, four generations of family members– classes—everything from a trio sonata to ing them. It is perhaps her collaborative working first in England and then in the United a congregational hymn setting. The pro- spirit and kind heart that have had the gram included the audience singing the greatest infl uence on those privileged to States–built Henry Pilcher’s Sons Organ Company anthem Peace I Give to You, composed work with her. Thank you, Michele, for into a business known for its high manufacturing by Larry Visser when he was a student, all of your contributions to the world of standards. The institution they created placed or- in honor of Michele Johns. The piece was church music and for your friendship. Q gans throughout the United States and only saw its later published by GIA and dedicated to end with the outbreak of World War II. Johns for her 20 years of service to Our Marcia Van Oyen earned master’s This reference volume, rich with previously Lady of Good Counsel Parish. and DMA degrees at the University of undiscovered source material, presents a historical Michigan, studying organ with Robert Songs of Thankfulness Glasgow. She is currently Minister of synopsis of the family business. Also included is the and Praise Music, Worship and Fine Arts at First opus list of Pilcher organs, arranged both chrono- Perched atop stools, morning-show United Methodist Church in Plymouth, logically and by region, and published here for the style, Darlene Kuperus and Larry Visser Michigan. first time. 416 pages, hardbound A vital source for Pilcher organ historians and 2014 Bynum Petty admirers, this volume offers useful data for anyone Whole & Fast Half Sizes NON-MEMBER PRICE: $29.98 seeking historical background or information on in 3 Widths Shipping! MEMBER PRICE: $25.98 specific Pilcher organs. Try our suede soles and experience IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM 4,367 SELECTIONS! the perfect combination of ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG slide and grip on the pedals! ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we Mens & Unisex recommend, is $10.00 for your entire order. Women’s Mary Oxford $60.50* and up P.O. Box 26811 Richmond, VA 23261 50* Jane $52. *plus postage Telephone: (804) 353-9226 Media Mail shipping is $5.00 for your entire order. Shipping outside U.S. is $4.50, plus Monday–Friday 9:30am–5:00pm ET the cost of air postage, charged to your VISA TOLL FREE: 1 (888) 773-0066 organmastershoes.com

[email protected] SHIPPING or MasterCard. 44 Montague City Rd, Greenfield, MA 01301 USA

22 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM In memoriam Remembering Charles Dodsley Walker (1920–2015)

By Neal Campbell 2004 portrait harles Dodsley Walker, 94, died in CNew York City on January 17. At the time of his death he was the conductor of the Canterbury Choral Society, organist and choirmaster emeritus of the Church of the Heavenly Rest in New York City, and the artist-in-residence of St. Luke’s Parish, Darien, Connecticut. For most of the 20th century—con- tinuing into the 21st—Charles Dodsley Walker was active and prominent in New York City cultural life, directing musical activities for churches, schools, and secular organizations. He was also a Fellow of the American Guild With Jean Langlais, 1967At Trinity Southport, 2002 With Neal Campbell, 2010 of Organists and was president of the AGO from 1971–75. His studies were interrupted by ser- in New York. Armed with letters of of Lake Delaware Boys Camp for fi fty Born on March 16, 1920, in New York vice in the Navy, where he served in a recommendation from Canon Edward years in the summers from 1940–1990. City, his family soon moved to Glen number of non-combat capacities. Fol- West from St. John the Divine, the Rev. Given the number of organizations he Ridge, New Jersey. There, at Christ lowing military service he completed C. Leslie Glenn, and the Rev. Francis led and the length of his tenures, it is Church of Bloomfi eld and Glen Ridge, his master’s degree at Harvard in 1947 Bowes Sayre (later dean of Washington not an exaggeration to say that Charlie he fi rst sang in a choir and played the and was appointed simultaneously to his Cathedral), his clergy colleagues from Walker’s sphere of infl uence reached organ. In 1930 he was admitted to the fi rst two New York City jobs: organist Christ Church in Cambridge, he was thousands of persons, young and old. Choir School of the Cathedral Church and choirmaster of St. Thomas offered the position. One of the unsuc- In what others would call their of St. John the Divine, where he sang (a chapel of St. Thomas Church, now All cessful candidates, from whom CDW retirement years, Charlie Walker never in the cathedral choir directed fi rst Church) and director of music at unknowingly had asked a reference, lessened his professional activity. From by Miles Farrow, and shortly after by Trinity School, his alma mater. He was was his old teacher, Clarence Watters! 1988 until 2007, he was the organist Norman Coke-Jephcott who was young all set to embark upon a secure career as Donald Wilkins succeeded CDW at the and choirmaster of Trinity Church, Charles’ fi rst teacher, with whom he a church musician and teacher in New American Cathedral. Southport, Connecticut, directing the studied organ, harmony, and counter- York when a thoroughly unplanned and CDW began his duties at the Church church choir and a community chorale, point in weekly lessons. Upon gradua- felicitous (his word) event occurred: he of the Heavenly Rest in January 1951, sometimes in joint concerts with the tion Charles went to Trinity School in learned of the opening for organist and and he founded the Canterbury Choral Canterbury Choral Society in New York New York, while continuing his study choirmaster of the American Cathedral Society in Advent of the following year. and Southport. From 2007 until his with Coke-Jephcott. He soon assumed in Paris. The dean of the cathedral was a Initially conceived as an adjunct Even- death, he was artist-in-residence at St. the duties of school organist at Trinity, New Yorker who just happened to be in song choir for the church’s music pro- Luke’s Parish in Darien, Connecticut, playing for daily chapel services. As he town, so Charlie called on him and was gram, the choral society soon adopted where he assisted in playing and direct- told The Diapason in a 90th birthday offered the job on the spot! He took a the pattern of inviting members of the ing weekly rehearsals and services and interview in the March 2010 issue, modest cut in salary to move to Paris, but community to join the church choir by taught young choristers in the RSCM “They then brought in a French teacher did so gladly to immerse himself in the audition for presentations of oratorios Voice for Life curriculum. During all to play the organ who simply couldn’t French culture and music he had grown with full orchestra at three concerts this time he continued his vigorous lead- play, so I went up to the headmaster to appreciate during his undergraduate each year in the Church of the Heavenly ership of the Canterbury Choral Society, and said ‘I can play’ and so I became the study. At the cathedral he succeeded Rest. The group continued to operate never missing a concert until close to the school organist.” Robert Owen, who was in France study- under the aegis of the church until 1988 end of his life. Upon the advice of Channing Lefe- ing on the GI Bill. While in Paris he made when CDW left the church, at which Janet Hayes Walker died in 1997, and bvre, organist of Trinity Church Wall the acquaintance of and collaborated time the choral society became an in 2001 Charles Dodsley Walker mar- Street, CDW went to Trinity College in with the leading French organists and independent organization, even though ried Elizabeth Phillips, who survives Hartford, Connecticut. It was his desire musicians of the day, including Pierre they maintain a close relationship with him, as do his children Susan Starr to receive a liberal arts degree while still Duvauchelle, Nadia Boulanger, Francis the church and still present most of Walker and Peter Hayes Walker, and studying music seriously, as his goal was Poulenc, a young Ned Rorem, Maurice their concerts there. On special occa- three grandchildren. to have a classroom teaching career in Durufl é, Andre Marchal, Marcel Dupré, sions the Canterbury Choral Society did A memorial service for CDW took addition to being a church musician and Olivier Messiaen, and Jean Langlais, present concerts in other venues such place Saturday, March 21, in the Church organist. So it was that he pursued a major with whom he and his family remained as the Cathedral Church of St. John the of the Heavenly Rest in New York City, in modern languages with concentration particularly close. In Paris he also met Divine, Avery Fisher Hall, and Carnegie with interment in the family plot in in French, while also studying organ with Janet Hayes, an American soprano Hall, including several performances of Niles, Michigan. the college’s organist and music profes- studying with Boulanger in France and the Mahler Eighth Symphony assisted In a follow-up to his 90th birthday sor, who just happened to be the leading performing throughout Europe. After a by various choirs of children from area interview in the June 2010 issue of The proponent of the French school of organ brief courtship they were married in the schools and churches. Diapason, when asked how he would playing in America at that time: Clarence American Cathedral. Concurrent with his position at Heav- like to be remembered, CDW said: Watters, a protégé and friend of Marcel While in Paris CDW was also the enly Rest and Canterbury, CDW at vari- “Well, I feel that to be a good church Dupré. While at Trinity College, CDW director of the American Students’ and ous times taught at Kew Forest School, musician, doing your job from Sunday held his fi rst church appointment at Artists’ Center, a comprehensive edu- Chapin School—where he was head of to Sunday, is a very worthy thing to be Stafford Springs Congregational Church cational and social organization with the music department for twenty-four doing, and if you have the good fortune in Stafford Springs, Connecticut, about nearly a thousand members, which was years—New York University, Union to be able to develop more elaborate halfway between Hartford and Worces- administered under the auspices of the Theological Seminary School of Sacred musical programs—that’s good, too. But ter, Massachusetts. cathedral and its dean. He held this full- Music, Manhattan School of Music, our job as church musicians is to provide, After graduating from Trinity College, time, non-musical job concurrently with and SUNY Queens College. In 1969 he with the resources available, the best he enrolled in graduate school at Har- his position at the American Cathedral, co-founded, with his wife Janet Hayes possible music for our church, week by vard University, studying musicology, and it provided a secure living includ- Walker, the York Theatre Company. He week. I like that.” Q choral conducting, theory, and compo- ing an apartment. But the demands of directed the Blue Hill Troupe, perform- sition with Walter Piston, Archibald T. this entirely administrative job soon left ing all of the Gilbert and Sullivan oper- Neal Campbell holds undergraduate and graduate degrees from Manhattan School of Davison, and Tillman Merritt. While him looking for a change and, when he ettas in fully staged productions several Music, is a former member of the AGO Na- at Harvard he was assistant organist of heard of the vacancy, he applied for the times during his thirty-fi ve-year tenure. tional Council, and is the director of music Christ Church in Cambridge, Massachu- opening at the Church of the Heavenly He was a founder of the Berkshire Cho- and organist of St. Luke’s Parish, Darien, setts, working under W. Judson Rand. Rest on Fifth Avenue and 90th Street ral Festival in 1982 and was the organist Connecticut.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 23 Cover feature

A. E. Schlueter Pipe Organ The INC Central Complex includes church are exclusive to Iglesia Ni Cristo. choir and congregation with two Leslie Company the central offi ce for the church admin- This is a congregation that worships with speakers in this large space. Lithonia, Georgia istration, Tabernacle Hall, College of full voice; experiencing their services is When we started to lay out the tonal Iglesia Ni Cristo, Quezon City, Evangelical Ministry for future ministers, to be enveloped in worship and praise. design of the very fi rst pipe organ for the Philippines New Era General Hospital, New Era For many years, the organ used by Central Temple of the Iglesia Ni Cristo, Quezon City, Philippines, is the larg- University, and prominent and rising the church was a Hammond electronic several key points would determine the est and most populated city in metro- towards the sky is the largest Iglesia Ni organ with its sole fl ute-biased generator. success of the organ. We needed the tra- politan , with a population of over Cristo Temple in the world. Designed by As opposed to how the organ is typically ditional resources and chorus structure 2.5 million; at one time it was the capital Filipino architect Carlos A. Santos-Viola played in gospel churches, the typical of a pipe organ for religious use; it would of the country. In this city is the Central based on the conception of the then organ registrations emphasized unison be important to support the fl ute-biased Complex of the Iglesia Ni Cristo (Church Executive Minister of the church, Eraño pitch and the organ played in a “classi- sounds and dynamics that the church of Christ), registered in the Philippines G. Manalo, the Central Temple is famous cal” style with use of the Leslie speakers had always known; and most of the organ in 1914 by , and at present for its Gothic-Moorish architecture, intri- and mutation drawbars for variation resources should be under expression for administered by the Executive Minister cate interiors, and its 7,000-seat capacity. rather than reliance. The organ was used full dynamic control of sound. The organ Eduardo V. Manalo. The church has Under the leadership of Executive to gently undergird the church music. would also need to play common lit- grown to millions of members with con- Minister Manalo, the church administra- The Central Temple is a massive wor- erature with a main support of resources gregations in over 100 countries. tion set forth in 2012 to study, build, and ship space by any standard. Its architec- used for choir and congregational singing. install a special pipe organ at the INC ture is, in a word, stunning. Rich carvings, Our task was to supply them with enough Central Temple to coincide with the tracery, and fi ligree abound in this edi- variety using the different families of church centennial. The purpose was to fi ce. Underneath richly brocaded chan- principals, strings, fl utes, reeds, and solo further raise the level of worship services, deliers, the center core of the Temple voices, and then to fi ll this large worship and to praise God with a higher form of seats several thousand; two side space with leading sound. hymn singing. This is the fi rst custom alone seat over 1,000 each. Large doors When the Central Temple was built pipe organ built for the Iglesia Ni Cristo. can be drawn closed to divide the Central it did not include a location for a pipe We recognized the importance of such a Temple into three separate spaces. Dur- organ. We knew that this required major commission and the care and reverence ing services, male members of the church construction alterations within its build- it accorded. are seated on the left, with the women on ing and infrastructure. There was a physi- A project of this magnitude required the right side. The choir loft in the center cal limit to the space that was available a tremendous amount of planning and of the building seats 170. Each of the side for organ chambers without adversely coordination. We were pleased to have chapels contains smaller choir lofts that impacting the building’s architectural had the help and assistance of the United are utilized for each service and seat 50 design. During our visit to the Temple, States offi ces of the Iglesia Ni Cristo, choristers each. The organ console sits we completed studies of the sightlines coupled with the church administration in the middle of the choir loft with the and probable chamber elevations as they in Quezon City. Through the course of organist facing outward, without a choir related to the organ placement to develop planning this installation, there were director, during the services. The choirs a plan for the organ chambers and the numerous trips, e-mails, faxes, and and musicians are disciplined and well façade that would cover the chamber phone calls that involved the offi ces in trained to work from music cues honed openings. Working with the architect and California and Quezon City, Philippines. from rehearsal. other members of the church, we formed During my fi rst visits, I was able to The acoustics of the room are very a plan for the placement of the organ in attend worship services at the Temple. good due to the hard surfaces, though the building, so that it would look like it With the members of the congregation these are not cathedral acoustics with a had always been there. This task would and choir in full song, I was able to long reverb time, but those of a space need to visually complement the gran- gauge the acoustics and begin designing that is favorable for music and the spo- deur of the current worship space. Hoisting console into building (photo a specifi cation that would support their ken word. The previous electronic organ We knew that if we did not support the credit: Arthur E. Schlueter III) worship. The hymns and music of this was providing enough support for the two choirs and over 1,000 members in

A. E. Schlueter Pipe Organ Company

Great (enclosed) Manual II Swell (enclosed) Manual III Choir/Solo (enclosed) Manual I Coupler Rail 16′ Gemshorn 97 pipes 16′ Bourdon 97 pipes 16′ Contra Viola TC (fr. 8′) Great to Pedal 8, 4 16′ Gedeckt 85 pipes 8′ Violin Diapason 61 pipes 8′ Stentorphone 61 pipes Swell to Pedal 8, 4 8′ Stentorphone (fr. Choir/Solo) 8′ Violone (fr. String) 8′ Tibia 85 pipes Choir/Solo to Pedal 8 8′ First Open Diapason 49 pipes 8′ Viola da Gamba 61 pipes 8′ Viola Pomposa 85 pipes String to Pedal 8 (1–12 from Pedal, 8′ Octave) 8′ Viola Celeste (TC) 49 pipes 8′ Viola Celeste 73 pipes Swell to Great 16, 8, 4 8′ Second Open Diapason 61 pipes 8′ Mass Strings Choir (fr. String) 4′ Tibia (ext. 8′) Choir/Solo on Great 8 8′ Third Open Diapason 73 pipes 8′ Stopped Diapason (ext. 16′) 4′ Viola (ext. 8′) String to Great 8 8′ Viola Pomposa (fr. Choir/Solo) 8′ Flute Celeste II (fr. String) 4′ Viola Celeste (ext. 8′) Great to Choir/Solo 8 2 8′ Viola Celeste (fr. Choir/Solo) 4′ Principal 61 pipes 2⁄3′ Tibia (ext. 8′) Swell to Choir/Solo 16, 8, 4 8′ Flauto Major 85 pipes 4′ Harmonic Flute 61 pipes 2′ Violina (ext. 8′) String to Choir/Solo 16, 8, 4 2 8′ Tibia (fr. Choir/Solo) 2⁄3′ Nazard (TC) 49 pipes 2′ Tibia (ext. 8′) Choir/Solo to Swell 8 3 8′ Harmonic Flute 49 pipes 2′ Block Flute (ext. 16′) 1⁄5′ Tibia (top 5 notes repeat) 3 1 (1–12 fr. 8′ Bourdon) 1⁄5′ Tierce (TC) 49 pipes 1⁄3′ Tibia (top 8 notes repeat) MIDI 1 8′ Bourdon (ext. 16′) 1⁄3′ Quint 61 pipes 1′ Piccolo (top octave repeats) Playback/Record 8′ Gemshorn (ext. 16′) 2′ Klein Mixture IV 244 pipes 16′ Clarinet TC (fr. 8′) MIDI on Pedal, on Great, on Swell 4′ Octave 61 pipes 16′ Double Oboe 73 pipes 8′ Clarinet 61 pipes MIDI on Choir/Solo, on Trompeteria 4′ Principal (ext 3rd O.D.) 8′ Trumpet 61 pipes 16′ Tromba Major 73 pipes 4′ Bourdon (ext. 16′) 8′ Oboe (ext. 16′) (high pressure) Combination Action 2 2⁄3′ Twelfth 61 pipes 8′ Vox Humana (fr. String) 8′ Tromba Major (ext. 16′) 12 General pistons and duplicate toe studs 2′ Fifteenth 61 pipes 8′ Tromba Major (fr. Choir/Solo) 4′ Tromba Major (fr. 16′) Divisional pistons: 5 Great, 5 Swell, 4 String, 2′ Choral Mixture V 305 pipes Tremolo Tremolo Tibia 5 Choir/Solo, 5 Trompeteria 16′ Double Trumpet 73 pipes Swell to Swell 16-UO-4 Tremolo Main 5 Pedal pistons and toe studs 8′ Trumpet (ext. 16′) Choir/Solo to Choir/Solo 16-UO-4 Next and Previous pistons and toe studs 8′ Clarinet (fr. Choir/Solo) String (enclosed) Manual III Set piston, General Cancel piston 8′ Tromba Major (fr. Choir/Solo) 16′ Salicional TC (fr. 8′) Pedal User Up and Down pistons Tremolo 8′ Tibia Minor 85 pipes 32′ Acoustic Bass Memory Up and Down pistons 8′ Violone 85 pipes 16′ Contra Bass (façade) 32 pipes Trompeteria (fl oating) 8′ Viole d’ Orchestra 61 pipes 16′ Principal (façade) 44 pipes Reversibles 16′ Tromba Major (fr. Choir/Solo) 8′ Viole Celeste TC 49 pipes 16′ Gemshorn (fr. Great) Piston and toe stud for: Great to Pedal, Swell 8′ Tromba Major (fr. Choir/Solo) 8′ Salicional 73 pipes 16′ Subbass (in Gt. chamber) 32 pipes to Pedal, Choir/Solo to Pedal, Trompeteria 4′ Tromba Major (fr. Choir/Solo) 8′ Voix Celeste 73 pipes 16′ Bourdon (fr. Swell) to Pedal, Sforzando (programmable), All 8′ Clarinet (fr. Choir/Solo) 8′ Flute Celeste II 80 pipes 8′ Octave (ext. 16′) Swells to Swell, 32′ Acoustic Bass 8′ Violes II (fr. Choir/Solo) (Double walled pipes) 8′ Principal (fr. Great, 3rd O.D.) Zimbelstern piston 8′ Tibia (fr. Choir/Solo) 4′ Tibia Minor (ext. 8′) 8′ Subbass (ext. 16′) Tremolos All 8′ Flauto Major (fr. Great) 4′ Salicet (ext. 8′) 8′ Bourdon (fr. Swell) Tremolos Full (brings on secondary Tremolos) 8′ Tibia Minor (fr. String) 4′ Voix Celeste (ext. 8′) 4′ Choral Bass 32 pipes Melody 8′ Stentorphone (fr. Solo) 8′ Vox Humana 61 pipes 4′ Principal (fr. Great, 3rd O.D.) Trompeteria to Great Tremolo 4′ Subbass (ext. 16′) Expression pedals Trompeteria to Swell String Unison Off 4′ Cantus Flute (fr. Great, 16′ Ged.) Swell, Choir/Solo, String, Great, 2 2 1 Trompeteria to Choir/Solo 2 ⁄3′ Mixture III (96 notes, 2 ⁄3-2-1 ⁄3) Crescendo (programmable) Trompeteria Unison Off 32′ Harmonics (harmonic series) 16′ Trombone (fr. Choir/Solo) Blower Controls 16′ Double Trumpet (fr. Great) Master, Great, Swell/String, Choir/Solo 16′ Double Oboe (fr. Swell) 8′ Tromba (fr. Choir/Solo) Indicator Lights 8′ Trumpet (fr. Great) Tremolos Full, Melody, All Swells, 8′ Oboe (fr. Swell) Crescendo, Sforzando 4′ Clarion (fr. Great) 4′ Clarinet (fr. Choir/Solo) Total of 50 ranks

24 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM each of the side chapels, the organ would and the chapels become independent be a failure. We also had a situation where worship spaces. When the chapel organs the main choir and central console were are turned on, the division shades for the around the corner from the chapels. The main core of the Temple close and only congregants and the choir in the chapels express to the chapel. Both chapel organs would need to hear the same dynamics can be played at the same time. The left that were heard around the corner at the chapel is used for weddings. The specifi - main console. To solve this problem, we cation for this instrument is drawn from chose a unique solution to the organ divi- the resources of the Swell and String sion placement. We placed the left and organs. The right chapel is used for prac- right organ chambers between the main tice and rehearsal and draws its resources hall and the side chapels. We designed from the Great and Pedal divisions. large sets of expression louvers that open To cover the large organ chamber to the chapels and the main hall. The openings, the choir loft is fl anked with organ has 56 swell shade frames that hold matching façade pipes from the 16′ Prin- 290 individual expression shades oper- cipal and 16′ Violone. The building is in ated by multiple motors. These motors a known earthquake area, and there was were addressed through a programmable a concern to assure that the pipes would expression shade software interface, remain in the organ case. As a redundant which allowed an acoustic linear progres- safety measure, we designed decorative sion with the movement of the expression bands in the case design that retain the shoes that was balanced between the pipes in their vertical racks even if there main hall and the side chapels. This allows were a failure of the retaining hardware. a seamless level of expression. In addition We built the façade pipes out of a pol- to providing dynamic control of the organ ished metal. Their fi nish takes on the stops, we designed the expression shades colors and hues of the lighting and archi- to direct the sound to various angles of tecture and has a softer look that would incidence in the building and through not have been possible with painted or refraction uniformly cover the huge space poly-chromed pipes. The pipes were with sound. (The expression shades were built with over-length bodies and toes regulated so that the registrations for the to fi ll a 24′ height and sit on a 7′ ledge. organ divisions are acoustically balanced The façade is fed with transmission tubes between the Main choir loft and the from action boxes located in the enclosed side chapels.) chambers. The construction crew com- The unique position of the organ pleted all of the millwork and tracery. chambers in the room opened the pos- To scale an instrument, we generally sibility of using the left and right stop bring pipe samples into the room to resources to provide independent instru- gauge the necessary scales, wind pres- ments for the side chapels. Through sures, and pipe treatments that need careful stop placement and our scaling to be employed. The planning for this choices, we were able to provide a duality instrument was no different. We took of voice for the stop registers. The chapel over several pipes that were voiced in specifi cations differ from the main con- the Temple, with several members of our sole and are designed to support these staff gauging the carrying ability of these spaces when the doors are drawn closed voices in the room. There was remarkably View from the main console (photo credit: Courtesy of Iglesia Ni Cristo)

Iglesia Ni Cristo, Quezon City, Philippines

Chapel I Organ (From Swell Main and Chapel Organ II String Main Organ Divisions) (From Great Main Division) Great (enclosed with Swell) Pedal Great (enclosed) Pedal 16′ Contra Salicional TC (fr. String) 32′ Acoustic Bass 16′ Gemshorn 32′ Acoustic Bass 8′ Diapason 16′ Bourdon 8′ Diapason 16′ Gemshorn 8′ Stopped Diapason 8′ Violone (fr. String) 8′ Harmonic Flute 16′ Gedeckt 8′ Strings F II (fr. String) 8′ Salicional (fr. String) 8′ Gemshorn 8′ Principal 8′ Strings P II (fr. String) 8′ Bourdon 4′ Octave 8′ Gedeckt 1 1 8′ Flute Celeste II (fr. String) 5⁄3′ Quint 4′ Flute 5⁄3′ Quint 2 4′ Principal 4′ Violone (fr. String) 2⁄3′ Twelfth 4′ Gemshorn 4′ Flute 4′ Bourdon 2′ Fifteenth 4′ Cantus Flute 2′ Block Flute 2′ Flute 16′ Contra Trumpet II Mixture 2 III Cornet 2 ⁄3′ Mixture II 8′ Trumpet 16′ Contra Trumpet 2′ Klein Mixture IV 16′ Double Oboe Swell to Great 16-8-4 8′ Trumpet 16′ Double Oboe 8′ Trumpet 4′ Trumpet 8′ Trumpet 8′ Oboe Solo Great to Pedal 8′ Oboe 4′ Oboe Clarion 8′ Flauto Major (fr. Great) Swell to Pedal 4′ Flauto Major 2 Solo (fl oating) Coupler Rail 2⁄3′ Flauto Major Pistons 8′ Tibia Great to Pedal 8, 4 2′ Flauto Major 8 General pistons 1 5⁄3′ Tibia Swell to Pedal 8, 4 Tremolo Divisional pistons: 5 Great, 5 Swell, 4 Pedal 4′ Tibia Solo to Pedal 8 Solo off Great Great to Pedal piston and toe lever 2 2⁄3′ Tibia Great to Great 16, Unison Off, 4 Solo to Swell Swell to Pedal piston and toe lever 2′ Tibia Swell to Great 16, 8, 4 Set, General Cancel, Zimbelstern 1 1⁄3′ Tibia Solo to Great/Off Swell (enclosed) Memory Down, Memory Up Tremolo Swell to Swell 16, Unison Off, 4 16′ Gedeckt Sforzando piston and toe spoon Solo to Swell/On 8′ Gemshorn 1–40 display window for memory Swell (enclosed) 8′ Bourdon Crescendo and Sforzando indicator lights 16′ Bourdon Pistons 4′ Gemshorn Expression pedal, Crescendo pedal 8′ Viola da Gamba 8 General pistons 4′ Bourdon 2 8′ Viola Celeste II Divisional pistons: 5 Great, 5 Swell, 4 Pedal 2⁄3′ Nazard 8′ Stopped Diapason (toe pistons) 2′ Gemshorn 1 8′ Flute Celeste II (fr. String) Great to Pedal piston and toe lever 1⁄3′ Quint 4′ Fugara Swell to Pedal piston and toe lever 16′ Contra Trumpet 4′ Harmonic Flute Set, General Cancel, Zimbelstern 8′ Trumpet 2′ Octavin Memory Down, Memory Up Tremolo 1 1⁄3′ Quint Sforzando piston and toe spoon Swell to Swell 16-Unison Off-4 16′ Double Oboe 1–40 display window for memory 8′ Trumpet Crescendo and Sforzando indicator lights 8′ Oboe Expression pedal, Crescendo pedal 8′ Vox Humana (fr. String) Tremolo (affects all Swell and Great fl utes)

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 25 Cover feature little acoustical fall-off of these voices, even into areas of the rear balcony. These pipes became the guide in our voicing room halfway around the world. This was an instance where your eyes did not want to believe what your ears would tell you about scaling due to the sheer size of the space. The sample pipes represented the reality of what we had to trust in our tonal design of the organ. Before our fi nal week of voicing on site, 4,000 ministerial students and choir members were invited in so that we could get a crucial sound check. This enabled us to fi nalize voice strength and gauge the shade openings with a room full of people. To accommodate the gender division in the Temple, the organ divisions are placed so that they provide the proper weight and color to support the men and women’s voices. The Great and Pedal are in the right chamber with the resources focused towards the men. The Swell Art Schlueter Jr. at the main console (photo credit: View of second console in left wing (photo credit: Courtesy of Iglesia Ni Cristo) and String organ in the left chamber Peter Duys) focus their voices towards the women. The Choir/Solo chamber area is in the have built previously, we provided the transit on the same ship. We built an spanned several months of time. The work center behind the choir. The middle of organ with dual speed tremolos that could outline of a shipping container in our fac- was completed with two separate teams, this space contained a large LED screen, independently be regulated for maximum tory and virtually “packed” each container with staff members in Georgia providing which is integral to worship here. The effect with the fl ue and reed voices. Again, within that footprint. This allowed us to technical support. The members of the Choir/Solo division has three shade open- these stops’ style features their unifi cation rapidly pack each container as the four church construction crew assisted with ings that open to the right, left, and above across multiple pitch registers, which we trucks showed up in order at our ship- the installation. This allowed us to teach the screen. The expression shades in this included in our specifi cation design. ping dock. The “virtual” containers were how the organ was installed and how to division are horizontal, with the fi rst The String Organ was conceived as an purposely staged in the reverse order to adjust and regulate the organ parts and points of refl ection being the hard ceiling extension of the Swell division that can facilitate quick loading of the four actual actions. Several members of this group above the choir and organist. The ceiling separately be a fl oating division via cou- containers, which arrived in succession showed a specifi c aptitude for the organ acts as a diffuser so that sound envelops plers. Its multiple timbres range from the over a four-day period. The organ weighs work and were further trained about the the choristers without subjecting them to pungent Viole d’ Orchestra to the more 43,543 pounds and required almost 8,000 pipe organ and its systems. This team the large dynamics of this division. This neutral Violone with pitch registers from pounds of packing materials. In all there now serves in a support role for basic allows the organ and choir to uniformly 16′ to 4′. Included in this division was an were 608 individual packages and crates tuning and adjustments at the Temple. blend their collective voices for support 8′ Flute Celeste II built in the form of a ranging from 5 to 1,380 pounds. There With each return tuning trip, our staff has of worship. Ludwigtone. It provides the softest ethe- are a total of 3,162 individual pipes in the worked to further their skills and abilities. We employed generous scales along real voice in the organ. The multiplicity of instrument, which were packed into 87 Members of our fi rm that trav- with an 8′-weighted specifi cation. Wind strings in this (the String Organ) division trays and 39 crates. The organ was packed eled overseas to complete this project pressures range from 6′′ to 16′′, with the not only are of a singular beauty when into four shipping containers to begin its included Art Schlueter, Jr., Arthur Schlu- highest wind pressures in the Solo divi- massed together and colored with the 8′’ route from the port of Savannah, Georgia, eter, III, Rob Black, John Tanner, Marc sion, where the large scales and increased Vox Humana but importantly with their to Manila. Our staff, led by Art Schlueter, Conley, Pete Duys, Bud Taylor, Patrick wind pressures allow robust voicing for edge tones provide a harmonic bridge Jr., arrived just ahead of the shipment to Hodges, Jay Hodges, and Jeff Otwell. the fl ue solo stops, such as the Stentor- (without their celesting voices) between receive it at the Temple. Considerable shop assistance to the phone, to sing out over the full organ the fl utes and principal stops. This allows The fi rst challenge to the installa- completion of this project was provided resources and yet be fully contained a seamless buildup of the stop resources tion was getting the organ parts into the by staff members Shan Dalton, Barbara with closure of the expression shades. in this organ. Temple. The primary worship space is Sedlacek, Bob Weaver, Ruth Lopez, We determined that the woodwind-class The organ windchests are a combina- actually on the third story of the building. Kelvin Cheatham, Mike DeSimone, Al reeds would be very important to texture tion of pallet and slider windchests and The stairwells and elevators were too con- Schroer, Dallas Wood, and Steve Bowen. the ensemble. The 8′ Clarinet and the 8′ unit electro-pneumatic windchests. There stricted to allow the movement of large When we arrived onsite to begin the Oboe add color without being aggressive are a total of 45 windchests throughout items such as the multiple consoles, the installation, members of the church told or too tonally forward. All the organ’s the instrument, fed by 26 wind regulators. main chests, and the façade pipes. Early us that the administration had requested reeds use English shallots, which, with Dual-curtain ribbed and fl oating-lid res- in our fi rst visits it became clear that the them to treat us like family. Nothing their darker, rounder voices, are more ervoirs were used for the winding system. only method for the movement of the could have been truer. While we were appropriate in this acoustic. The wind is raised through four blowers mass of organ parts would be to open a away from family and friends, the Iglesia There was a desire for a large solo reed that generate static wind pressure in large hole in the upper rampart of the Ni Cristo worked tirelessly to support us in our tonal design. The organ is tonally excess of 22 water column inches. building and bring in an overhead crane as we worked to install the instrument in capped with the high-pressure 8′ Tromba The main four-manual organ console to hoist these materials. A large scaffold their Temple. Heroique. This stop is placed so that it is mahogany with ebonized mahogany deck was built outside, to allow a landing Three weeks before the centennial speaks out into the Temple through the key cheeks and is in a fi xed location in area for the organ parts that were then of the Iglesia Ni Cristo, Executive center Choir/Solo expression shades. the choir loft. The two chapel consoles manually placed in the building. Minister Eduardo V. Manalo offi ciated This stop is extended full-length down were built to be lower profi le and are As we arrived to install the organ, on Saturday, July 5, 2014, at a special to the pedal for the supreme 16′ cantus two-manual terrace drawknob consoles. major portions of the building were still worship service at the INC Central fi rmus voice. These consoles include inbuilt casters under renovation to be ready for the Temple In his homily the Executive To pay homage to the fl ute sounds that and detachable plugs to allow the con- centennial celebration of the Iglesia Ni Minister said, “The installation of the the church previously knew, we included soles to be moved and stored when their Cristo. Over 100 workers labored around new pipe organ at the Central Temple is a Wurlitzer-patterned Tibia in the Choir/ use is not required. the clock to complete all of the tasks at in line with the church’s desire to fulfi ll Solo on 10′′ of wind pressure. The String With an instrument that had three hand. The members of the Iglesia Ni the biblical teaching that God should be organ has a Tibia Minor and the Great a consoles, three separate specifi cations, Cristo administration worked with us to praised and glorifi ed.” Flauto Major. Ubiquitous to the sound differential expression shade control develop a plan where our work could be The organ was played by Dr. Genesis of these large, stoppered fl utes are the tables, two-speed tremolos, and a congruous with their work schedule and Rivera, who said it was a great blessing manners in which they are affected by requirement for fi ber optic data trans- provided considerable assistance with for him to be the fi rst one to play the tremolo. Unique to the instruments we mission, we turned to Dwight Jones and the movement of materials from the pipe organ in that special worship ser- Integrated Organ Systems. They worked containers to a marshaling area in the vice. The church very generously hosted tirelessly to customize their Virtuoso side chapels. Adding to the complexity of Art Schlueter, Jr., and Pete Duys to be control system to fulfi ll the specialized the work in the Temple, the scheduled in attendance. We would like to publicly requirements of this instrument. services were ongoing, with only the side thank the Iglesia Ni Cristo and its lead- Preparing the organ for its safe transit chapels taken out of service. We want ership for their benefi cence. required careful disassembly and pack- to thank the Iglesia Ni Cristo for their We are humbled to have been chosen ing. It was very important that the load considerable assistance to assure that we for such a grand commission, to build centers of the packed shipping containers were able to complete our work with the a one of a kind instrument to the wor- be carefully calculated. This required that ongoing construction and renovations ship and praise of God, for the Central every part of the organ be weighed and a in the edifi ce. Without coordination, Temple of the Iglesia Ni Cristo. packing plan developed for the shipping communication, and support this project —Arthur E. Schlueter, III containers. There was a narrow window could not have been accomplished. to pack each shipping container so that The work to install and voice the instru- Cover photo: Courtesy of Iglesia Ni Choir/Solo Tromba Major, Clarinet, Tibia all of the organ materials would be in ment was completed in multiple trips that Cristo (photo credit: Arthur E. Schlueter III)

26 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM New Organs

Patrick J. Murphy & Associates Stowe, Pennsylvania Church of the Covenant, Scranton, Pennsylvania Patrick J. Murphy & Associates in Stowe, Pennsylvania, recently com- pleted a major renovation of the organ at Church of the Covenant, Scranton, Pennsylvania. The 3-manual, 37-stop, 56-rank instrument recasts the existing 1960s-era Schlicker with a new Swell division, revoiced Great and Positive fl uework, new chorus reeds throughout, and a new PJM Signature console. Tonally, the biggest change is in the Swell division. New chests, a new, extra-thick expression box, new and revoiced fl uework, and new reeds give the Swell greater accompanying power and a much wider dynamic range. Its tonal center of gravity is enhanced making it an equal partner to the Great in building the total ensemble. The Great division is also broader, taking full advantage of the improved acous- tic to embrace the congregation with warm, rich sound. The Schlicker tonal ideal of clean, clear choruses is still evident, enhancing the performance of contrapuntal organ literature. Speaking façades comprising a new 16′ Principal were designed based on photo- graphs of the Hutchings-Votey instru- ment installed when the church was built. Those original pipes had been dis- carded when the Schlicker was installed, giving the organ the “pipes in the open” Church of the Covenant, Scranton, Pennsylvania appearance popular at the time. All of the existing chests were releathered and rewired to comply with current electrical codes. Reservoirs were Patrick J. Murphy & Associates Church of the Covenant, Scranton, Pennsylvania releathered and all winding reconfi g- ured for a much tidier chamber layout. 3 manuals, 37 stops, 56 ranks, 2,958 pipes The new, movable console incorporates GREAT III–IV Mixture 232 pipes 16′ Principal 44 pipes a state-of-the-art control system and 16′ Violone 73 pipes 16′ Double Trumpet 73 pipes 16′ Violone (Gt) combination action with all the features 8′ Principal 61 pipes 8′ Trumpet (ext) 16′ Contra Viola (Sw, prepared) expected today, including multiple mem- 8′ Spitzfl ute 61 pipes 8′ Oboe 61 pipes 16′ Subbass 32 pipes ory, transposer, and record/playback. 8′ Bourdon 73 pipes 4′ Clarion 61 pipes 16′ Gedackt (Sw) 8′ Harmonic Flute 49 pipes Tremolo 8′ Octave (ext) The organ project at Church of the 8′ Violone (ext) Swell 16-UO-4 8′ Subbass (ext, top 12 from Gt Bdn) Covenant presented an opportunity to 8′ Salicional (Sw) 8′ Violone (Gt) demonstrate what can be accomplished 4′ Octave 61 pipes POSITIVE 8′ Rohrfl ute (Sw) when everyone involved works together 4′ Bourdon (ext) 8′ Violone (Gt) 4′ Choralbass 32 pipes 2′ Nachthorn 61 pipes 8′ Gedackt 61 pipes 4′ Bourdon (Gt) toward a common goal. What started out IV Cornet (25–49) 100 pipes 8′ Unda Maris II 110 pipes III Mixture 96 pipes as a rather modest console replacement, IV–V Mixture 292 pipes (enclosed with Swell) 32′ Contra Trombone (prepared) gradually evolved into a total renovation 16′ Double Trumpet (Sw) 4′ Principal 61 pipes 16′ Trombone 44 pipes of the organ and the worship space. It 8′ Trumpet 61 pipes 4′ Rohrfl ute 61 pipes 16′ Double Trumpet (Sw) Chimes 21 tubes 2′ Principal 61 pipes 8′ Trumpet (ext) was a great pleasure to work with the 1 Great 16-UO-4 1⁄3′ Quint 61 pipes 4′ Clarion (Sw) director of music, Dr. Timothy Smith, II Sesquialtera 122 pipes 4′ Oboe (Sw) whose gentle encouragement helped us SWELL (enclosed) III–IV Scharf 224 pipes fi nd ways to achieve maximum results 16′ Gedackt 73 pipes 8′ Clarinet 61 pipes COUPLERS 8′ Geigen Diapason 61 pipes Tremolo Great to Pedal 8-4 from the minimum amount of change, 8′ Rohrfl ute (ext) Chimes Swell to Pedal 8- 4 and Stephen Carter, who so ably coor- 8′ Salicional 61 pipes Positive 16-UO-4 Positive to Pedal 8 dinated the efforts of all the various 8′ Voix Celeste 49 pipes Swell to Great 16-8-4 contractors in this renovation project. 8′ Flute Celeste II 110 pipes PEDAL Positive to Great 16-8 4′ Principal 61 pipes 32′ Principal (digital) Pedal to Great 8 —Fredrick Bahr 4′ Traverse Flute 61 pipes 32′ Bourdon (digital) Swell to Positive 16-8-4 2′ Waldfl ute 61 pipes 16′ Open Wood Diapason 32 pipes Manual Transfer Photo credit: Patrick J. Murphy

Music of Ed Nowak The right Choral, hymn concertatos, psalm settings, organ, piano, orchestral organ at the and chamber ensembles right price http://ednowakmusic.com We’ll help you chRRse from the hundreds of vintage organs available through our website. THE WANAMAKER ORGAN We can deliver it to the organ builder of your choice Listen to it worldwide or refurbish, revoice, and over the Internet! install it ourselves.

Hourlong streamcasts “In choosing OCH, I know that the work has been done are featured at 5pm ET with the utmost knowledge, enthusiasm, care and integrity.” the first Sunday of David Enlow, Sub-Dean, NYCAGO each month at wrti.org Like us on ! Organ Clearing House www.facebook.com/TheDiapason www.organclearinghouse.com or call John Bishop at 617-688-9290

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 27 Summer Institutes, Workshops & Conferences

Oundle for Organists Abroad Mo-Ranch/PAM Worship Sacred Music Colloquium XXV Association of Lutheran Church April 14–17, Paris, France. and Music Conference June 29–July 4, Pittsburgh, PA. Musicians Biennial Conference Course for organists 18–25, playing and June 14–19, Hunt, TX. Instruction in chant and the Catholic July 19–23, Atlanta, GA. hearing Parisian organs, history lessons, mas- Lectures, workshops, concerts; Margaret sacred music tradition, participation in chant Concerts, lectures, workshops, hymn festi- terclasses; Ann Elise Smoot, Neil Cockburn. Aymer Oget, Michael Burkhardt, Ken Court- choirs, lectures, performances; Horst Buch- val. Contact: www.alcm.org. Contact: [email protected]. ney, others. Contact: 502/569-5288; www. holz, Ann Labounsky, MeeAe Nam, Paul presbymusic.org. Weber, others. Contact: musicasacra.com/ The Fellowship of United Methodists Strengthen for Service events/colloquium-2015-details. in Music and Worship Arts (FUMMWA) April 14–16, Salisbury, UK. Choral Conducting Symposium National Biennial Convocation Course for Anglican clergy, readers, and June 15–19, University of Michigan. RSCM-America Gulf Coast Course July 20–23, Indianapolis, IN. lay leaders on managing parish music, choos- Masterclasses, Dalcroze Eurhythmics, June 29–July 5, Houston, TX. Handbell, organ and choral workshops and ing suitable materials, establishing good score study, rehearsal techniques; Jerry Black- Course for girls 10–18 (choristers and two recitals; Mark Miller, Michael Hawn, Nadia stone, Eugene Rogers, Julie Skadsem. Con- working practices. organ scholars), individual and group instruc- Bolz-Weber, Constance Cherry, others. Contact: www.rscm.com/courses/2015SFS. tact: www.musicumich.edu/special-programs/ tion; Frederick T. Teardo, Ken Cowan, adult/choral.conducting.htm. Contact: www.umfellowship.org. Paolo Bordignon. 8th Annual University of Florida Contact: www.rscmgulfcoast.org/contact. Sacred Music Workshop National Catholic Youth Choir Alleluia Conference May 3–5, Gainesville, FL. June 15–30, Collegeville, MN. July 21–24, Waco, TX. Hymn festival, organ and carillon recital, Camp (rehearsals, music theory, music his- ATOS Annual Convention Conference for church music directors, choral workshops; Wilma Jensen. tory, CD recording), multi-state concert tour. July 2–7, Philadelphia, PA. plenary reading sessions, choral/orchestral Contact: www.arts.ufl .edu/organ. Contact: 320/363-3154; Peter Richard Conte, Jonas Nordwall, reading sessions; Craig Courtney, Joseph www.CatholicYouthChoir.org. Lance Luce, others. Martin, Brad Nix, Rosephayne Powell, Larry Lift Up Your Voice Contact: www.atos.org/2015-convention. Shackley. Contact: www.baylor.edu/alleluia. May 16, Conistone, North Yorkshire, UK. The Fellowship of United Methodists Course for lay and ordained leaders that in Music and Worship Arts Royal Canadian College of Organists Mississippi Conference on offers simple, achievable music for use with- (FUMMWA) Music and Arts Week Annual Convention 2015 Church Music and Liturgy out organ or other instruments in churches June 21–26, Lake Junaluska, NC. July 5–9, Winnipeg, MB, Canada. 2015 Music Conference where there is no trained musical leadership. Handbells, organ and choral workshops, Workshops, recitals, exhibits, hymn fes- July 21–26, Canton, MS. Contact: www.rscm.com/courses/2015LUYV. recitals; David Cherwien, James Wells, others. tival; Jams David Christie, Michael Cutler, Workshops, reading sessions; Dent Contact: www.umfellowship.org. Patricia Wright, many others. Davidson, William Bradley Roberts, Susan 2015 International Conference Contact: winnipegorganfestival.ca. Anderson-Smith. of the Historical Keyboard Montreat Conferences on Contact: www.mississippiconference.org. Society of North America Worship and Music National Association of Pastoral May 21–24, Montreal, Canada. June 21–26, June 28–July 3, Montreat Con- Musicians Annual Convention 2015 Stage d’Orgue Ninth Aliénor International Harpsichord ference Center, Montreat, NC. July 6–10, Grand Rapids, MI. July 22–29, Sessolsheim, Alsace, France. Composition Competition; sessions focused Rehearsals, seminars, workshops; choirs, Handbell festival, exhibits, choral, organ, handbells, organ, visual arts, liturgies; Joby Classes, lessons, recitals, organ impro- on French baroque keyboard music, includ- and music direction clinics, recitals. visations, clavichord; Freddy Eichelberge, ing style, infl uence, transmission, teaching Bell, Stephanie Wiltse, others. Contact: www.npm.org/EducationEvents/ Contact: Presbyterian Association of Musi- Francis Jacob, Jan Willem Jansen, Benjamin traditions; John Grew. convention/index.htm. Righetti, Claude Roser. Contact: [email protected]. cians, [email protected], www.pam.pcusa.org. Contact: www.asamos.org. 10th Biennial Conference of the United RSCM Spring Course for Young People Baroque Performance Institute Church of Christ Musicians Association June 21–July 4, Oberlin Conservatory of Music, Vancouver Early Music Programme May 25–27, Whitby, UK. July 12–15, Elmhurst, IL. Intensive training for young singers; Oberlin, OH. July 26–August 7, Vancouver, BC, Canada. C.P.E. Bach, obbligato harpsichord Choral, handbell, and organ workshops; Classes in medieval and baroque music Andrew Reid. Lillian Daniel, Keith Hampton, Jeffrey Hunt, Contact: www.rscm.com/courses/2015SYP. sonatas; coaching, masterclasses, concerts; and dance; harpsichord maintenance work- Oberlin Baroque Ensemble. Contact: new. Joel Raney, David Schrader, and others. shop. Benjamin Bagby, Ellen Hargis, Craig Contact: www.uccma.org. Piano and Organ Institute oberlin.edu/office/summer-programs/ Tomlinson. Contact: www.earlymusic.bc.ca/ baroque-performance-institute/. education-community/summer-programmes. June 7–June 20, Tallahassee, FL. 47th Cours d’Interprétation et Camp for advanced pre-college piano and organ students, private lessons, music AGO Regional Conventions Improvisation de Romainmôtier IAO Annual Congress theory and piano literature classes, perfor- June 21–24, Pittsburgh, PA; June 22–24, St. July 12–26, Romainmôtier, Switzerland. July 27–August 1, Norwich, UK. mance in masterclasses; Iain Quinn, Read Louis, MO; June 28–July 1, New Haven, CT; Classes on Spanish music, Italian music, Lectures, masterclasses, recitals; James Gainsford, David Kalhous, Joel Hastings, June 28–July 1, Fort Worth, TX; June 28–July Jehan Alain, improvisation, and a course for Thomas, Andrew Cantrill, others. Heidi Louise Williams. Contact: www. 2, San Diego, CA; July 1–4, Charlotte, NC; parish organists. Montserrat Torrent and Contact: [email protected]. music.fsu.edu/Quicklinks/Summer-Music- July 12–15, Indianapolis, IN. Luigi Ferdinando Tagliavini. Camps/EXPLORE-OUR-14-CAMPS/ Contact: www.agohq.org. Contact: www.jehanalain.ch. Smarano Academy 2015 Piano-and-Organ-Institute. July 31–August 12, Smarano, Italy. Summer Chant Intensive Hymn Society Annual Conference Bach and Frescobaldi: transcription, Voices of Ascension June 23–26, Pittsburgh, PA. July 12–16, New Orleans, LA. improvisation, intabulation; Lorenzo Ghielmi, Conductor Academy Latin pronunciation, the eight Church Lectures, hymn festival, masterclass; William Porto, Armando Carideo, Michael June 8–12, Church of the Ascension, New modes, Psalm tones and their applications, Miguel De La Torre, John H. Baron, Roy Unger, others. York, NY. questions concerning the rhythm of plain- Belfi eld, others. Contact: www.smaranoacademy.com/organ. Master classes, talks, and private lessons; song; Ann Labounsky, Wiko Browers. Contact: www.thehymnsociety.org. Dennis Keene. Contact: [email protected]. Montréal Boys Choir Course Contact: www.voicesofascension.org. Choral Artistry Association of Disciple Musicians August 2–August 9, Southboro, MA. July 13–17, Eastman School, Rochester, NY. Malcolm Archer, director. Berkshire Choral Festival 2015 National Annual Conference Conducting, vocal pedagogy, musicianship; June 23–28, Liberty, MO. Contact: www.mbccusa.com. June 13–21, Maynooth, Ireland; June 21–28, William Weinert. Portland, OR; July 11–19, July 19–26, July Workshops on organ, choral, and handbell music; Jan Kraybill, Suanne Comfort, Mark Contact: http://summer.esm.rochester. BYU Organ Workshop 26–August 2, Sheffi eld, MA. Hayes, others. Contact: www.adm-doc.org. edu/course/choral-artistry-conducting-vocal- August 4–7, Brigham Young University, Rehearsals, classes, lectures, concerts; pedagogy-musicianship/. Provo, UT. Julian Wachner, Karen P. Thomas, Jane Organ Historical Society Convention Organ skill-building for all levels; Glover, Philip Brunelle, Erin Freeman. Con- June 28–July 2, The Pioneer Valley, MA. Sewanee Church Music Conference Don Cook, director. Contact: http://ce.byu. tact: berkshirechoral.org, 413/229-8526. James David Christie, Bruce Stevens, many July 13–19, Monteagle, TN. edu/cw/organ/index.php. others. Contact: www.organsociety.org/2015. Study, worship, organ and choral music; Association of Anglican Musicians Robert Simpson, Kevin Kwan. Music Antica in Magnano 2015 Conference Interlochen Adult Choir Camp Contact: https://secure.sewaneeconf.com. August 6–14, Magnano, Italy. June 14–18, Tampa, FL. June 29–July 4, Interlochen, MI. Clavichord, fortepiano, organ, harpsichord, Workshops and discussions, liturgies, Vocal warm-ups, sectional rehearsals, with Oundle for Organists Summer School musicology; Bernard Brauchli, Paola Erdas, choral and organ concerts; James Bass, public performance; Jerry Blackstone, Scott July 13–19, Oundle, Northamptonshire, UK. Luca Scandali, Alberto Galazzo. Haig Mardirosian. Van Ornum. Course for young organists including vital Contact: www.musicaanticamagnano.com. Contact:conference.anglicanmusicians.org. Contact: college.interlochen.org/adultchoir. keyboard skills, liturgical skills, improvisation; Ann Elise Smoot, Stephen Farr, Frédéric MYC Summer Course Blanc, Neil Cockburn, others. Contact: August 10–16, Winchester, UK. [email protected]. Individual musical and vocal tuition, ser- vices, public concert; Adrian Lucas. The Diapason announces... The French Organ Music Seminar Contact: www.rscm.com/myc/index. July 14-19, Netherlands. July 17–22, Paris & Poitiers, France. Baroque Instrumental Program Class of 2015 Chosen July 22–28, Southern France & Spain. August 15–23, Minneapolis, MN. Organ tours, lectures, playing instruction Harpsichord, fortepiano, masterclasses, Winners to be featured in the May issue ensembles, continuo class; Jacques Ogg, & sessions; Pieter Van Dijk, Olivier Latry, Ton Amir. We have reviewed the nominations and Jens Korndoerfer, others. Contact: 612/384-6187, TCearlymusic@ Contact: http://www.bfoms.com. made our selections. Watch for our May gmail.com. issue where we will detail the career Handbell Musicians of RSCM Summer Course accomplishments of 20 young men and America Pinnacle 2015 for Young People women that place them at the forefront July 15–19, Dallas, TX. August 17–23, Bath, UK. of the organ, church music, harpsichord, Classes, tracks, performances, exhibits, and Course for singers age 4–24 covering wide- carillon, and organ-building fi elds—before professional intensives; Ben Harris, Linda ranging choral training, musical leadership Krantz, Ryan Guth, others. skills, services; Tansy Castledine. their 30th birthday. Contact: www.handbellmusicians.org. Contact: [email protected].

To view the list of winners, visit TheDiapason.com and click on 20 under 30. Accademia d’Organo “Giuseppe Cathedral Courses for Boys, Gherardeschi” Pistoia Girls and Young Adults July 18–24, Pistoia, Italy. August 17–23, Durham, UK. Stay up to date on all of the latest industry news and events. Performances, discussions, opportunities Parallel courses for boy and girl trebles with TheDiapason.com for practice. Umberto Pineschi, Andrea Van- young adults singing the lower voices sup- Visit regularly. nucchi, Masakata Kanazawa. ported by professional singers; Andrew Reid. Contact: www.accademiagherardeschi.it. Contact: www.rscm.com/courses/2015DCC.

28 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 21 APRIL Park Ridge Presbyterian Church This calendar runs from the 15th of the month Juilliard 415; Holy Trinity, New York, NY Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline 12 noon Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Olivier Latry; St. John Episcopal, Mem- Feb. issue). All events are assumed to be organ Bloomingdale, IL phis, TN 7:30 pm recitals unless otherwise indicated and are grouped The Tallis Scholars; Cathedral Church of within each date north-south and east-west. •=AGO chapter event, • •=RCCO centre event, +=new organ the Advent, Birmingham, AL 7:30 pm Dean Billmeyer; Church of St. Louis, dedication, ++= OHS event. Christopher Babcock Information cannot be accepted unless it King of France, St. Paul, MN 12:35 pm specifi es artist name, date, location, and hour in 24 APRIL writing. Multiple listings should be in chronological St. Andrew’s by the Sea, Michael Hey; Trinity College, Hartford, order; please do not send duplicate listings. Hyannis Port THE DIAPASON regrets that it cannot assume CT 7:30 pm responsibility for the accuracy of calendar entries. Spring Choir Concert; Grace Church, New York, NY 4 pm Gail Archer, with Barnard-Columbia UNITED STATES Chorus; Church of the Ascension, New East of the Mississippi York, NY 8 pm Dean W. Billmeyer GAVIN BLACK Daniel Roth; Our Lady of Refuge Catho- Princeton Early Keyboard Center 15 APRIL lic Church, Brooklyn, NY 7:30 pm University of Minnesota Marilyn Keiser; First Congregational, Peter Sykes; Riverside Church, New 732/599-0392 Saginaw, MI 7 pm York, NY 7 pm Minneapolis 55455 • [email protected] www.pekc.org Alabama Choir School Concert Choir; 17 APRIL Cathedral Church of the Advent, Birming- David Schelat; Emmanuel Church, ham, AL 12:30 pm Chestertown, MD 7:30 pm Jonathan Rudy; First Presbyterian, Sag- Todd Wilson, recital and silent fi lm; inaw, MI 8 pm Byron L. Blackmore THOMAS BROWN Christ & St. Luke’s Episcopal, Norfolk, VA Olivier Latry; Basilica of St. John the UNIVERSITY 8 pm Baptist, Canton, OH 7 pm Crown of Life Lutheran Church PRESBYTERIAN CHURCH •Mark Laubach; Pine Street Presbyte- Indianapolis Symphonic Choir; Hilbert Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA rian, Harrisburg, PA 7:30 pm Circle Theatre, Indianapolis, IN 8 pm 623/214-4903 ThomasBrownMusic.com Marilyn Keiser; St. Paul Episcopal, John W. W. Sherer; Fourth Presbyterian, Wilmington, NC 7:30 pm Chicago, IL 12:10 pm Tom Trenney; Trinity Lutheran, Akron, Lakeside Singers; Fourth Presbyterian, OH 8 pm Chicago, IL 7 pm Jonathan Ryan; Holy Trinity Lutheran, Kathrine Handford, continuo, Bach, St. ROBERT CLARK ELBERT ISSELHORST Columbus, OH 7 pm John Passion; Lawrence University, Apple- Houston Texas D D Chanticleer; St. Peter in Chains Cathe- ton, WI 8 pm Master Classes, Consultation Professor Emeritus dral, Cincinnati, OH 7:30 pm [email protected] 25 APRIL 513/478-0079 University of Iowa–Iowa City 18 APRIL Chilcott, Salisbury Vespers; Bruton Par- Concerto delle donne; House of the Re- ish Episcopal, Williamsburg, VA 5:30 pm deemer, New York, NY 7 pm Choral Society of the Palm Beaches; Flor- John Schwandt; Zion Lutheran, Balti- ida Atlantic University, Jupiter, FL 7:30 pm more, MD 3 pm JAMES DORROH, AAGO, PhD STEVEN EGLER John Gouwens, carillon; Culver Acad- Central Michigan University Jeremy David Tarrant; Cathedral of emies, Culver, IN 4 pm Saint Luke’s Episcopal Church Mt. Pleasant, Michigan the Most Blessed , Detroit, MI Nathan Laube; Rockefeller Memorial Samford University Artist in Residence 7:30 pm Chapel, Chicago, IL 7:30 pm Birmingham, Alabama First Congregational Church Jeannine Jordan, with media artist; First Saginaw, Michigan United Methodist, Port Huron, MI 7:30 pm 26 APRIL Organ Consultant Organ Recitals [email protected] Michael Hey; St. Norbert Abbey, De Ken Cowan; Church of the Advent, Bos- Pere, WI 2 pm ton, MA 4 pm Northwest Choral Society; Jewish Re- Scott Lamlein; St. John’s Episcopal, Norberto constructionist Congregation, Evanston, IL West Hartford, CT 12:30 pm JOHN FENSTERMAKER 7:30 pm Bach Vespers; Holy Trinity, New York, NY Guinaldo 5 pm 19 APRIL TRINITY-BY-THE-COVE F. Allen Artz III; Grace Lutheran, Lan- His Music Francis Kim; Center Church on the caster, PA 4 pm See—Listen—Buy Green, New Haven, CT 2 pm NAPLES, FLORIDA Eric Plutz; Calvary Episcopal, Pitts- www.GuinaldoPublications.com David Higgs; Third Presbyterian, Roch- ester, NY 2 pm burgh, PA 4 pm New York City Children’s Chorus; Madison Trio Nova Mundi; Shadyside Presbyte- Avenue Presbyterian, New York, NY 3 pm rian, Pittsburgh, PA 4 pm 37th Annual English Handbell Festival; Readings and Music for the Liturgical TEPHEN AMILTON WILL HEADLEE Year; St. John’s Episcopal, Hagerstown, S H Riverside Church, New York, NY 4 pm 1650 James Street Bach Vespers; Holy Trinity, New York, NY MD 5 pm recitalist–clinician–educator 5 pm Gail Archer; Monroe Street United Meth- Syracuse, NY 13203-2816 Gail Archer; St. Stephen’s, Millburn, NJ odist, Toledo, OH 4 pm www.stephenjonhamilton.com (315) 471-8451 4 pm Marilyn Keiser; St. Paul Episcopal, Ak- Nathan Laube; Redeemer Episcopal, ron, OH 4 pm Bethesda, MD 5 pm Diane Meredith Belcher; Calvary Epis- Chelsea Chen; St. Andrew Chapel, copal, Cincinnati, OH 7 pm Woodberry Forest, VA 10 am worship ser- Evensong; Cathedral Church of the Ad- vice, 7 pm recital vent, Birmingham, AL 3 pm David Herman Mark Jones, with harp; First Presbyte- Jeannine Jordan, with media artist; First rian, Pompano Beach, FL 4 pm Congregational, Traverse City, MI 4 pm Trustees Distinguished Professor Emeritus of Music and University Organist Evensong; Cathedral Church of St. Paul, Sylvia Marcinko Chai; Sacred Heart The University of Delaware Q [email protected] Church, Tampa, FL 3 pm Detroit, MI 4 pm Todd Wilson; Cumming First United Evensong; Christ Church, Grosse Pointe Methodist, Cumming, GA 3 pm Farms, MI 4:30 pm Huw Lewis; Hyde Park Community Olivier Latry; Church of the Ascension, Methodist, Cincinnati, OH 4 pm Knoxville, TN 5 pm A Professional Card in Lynne Davis; Central United Methodist, •Yun Kim; St. Ita Roman Catholic Lansing, MI 3:30 pm Church, Chicago, IL 3 pm The Diapason Evensong; Christ Church, Grosse Pointe Bach, Cantata 31; Grace Lutheran, River For rates and digital specifi cations, contact Jerome Butera Farms, MI 4:30 pm Forest, IL 3:45 pm John Gouwens; Culver Academies, Cul- 847/391-1045; [email protected] ver, IN 4 pm 27 APRIL Simon Thomas Jacobs; Goshen Col- Olivier Latry, masterclass; St. John’s lege, Goshen, IN 4 pm Episcopal, Georgetown, Washington, DC LORRAINE BRUGH, Ph.D. Andrew Peters, hymn festival; Pilgrim 7:30 pm Lutheran, Carmel, IN 4 pm Daniel Roth; All Saints’ Episcopal, At- Anthony Jurich; Madonna della Strada lanta, GA 7:30 pm Associate Professor Chapel, Loyola University, Chicago, IL 3 pm David Jonies; Elliott Chapel, Presbyte- University Organist Craig Cramer; Holy Name Cathedral, rian Homes, Evanston, IL 1:30 pm Chicago, IL 3 pm Valparaiso University Gerrit Lamain; St. Stephen’s Lutheran, 28 APRIL Valparaiso, IN St. Paul, MN 4 pm Olivier Latry; St. John Episcopal, Georgetown, Washington, DC 7:30 pm www.valpo.edu 20 APRIL Louise Bass, with choir; Peachtree Road 29 APRIL United Methodist, Atlanta, GA 7:30 pm David Jonies, with countertenor; Cathe- 219-464-5084 Alan Morrison; Mulberry Street United dral of St. John the Evangelist, Milwaukee, [email protected] Methodist, Macon, GA 7:30 pm WI 12:15 pm

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 29 ANDREW HENDERSON, DMA Gary L. Jenkins Calendar Director, Schmidt Concert Series Madison Avenue Presbyterian Church Director of Music, Carmelite Monastery Lyra Russian Vocal Ensemble; Sts. Peter Choral ; Cathedral Church of New York, NY & Paul Catholic Church, Naperville, IL 7 pm the Advent, Birmingham, AL 6 pm Curator of Organs Evensong; Cathedral Church of St. Paul, www.andrewhenderson.net Rose-Hulman Institute of Technology 30 APRIL Terre Haute, Indiana Detroit, MI 7 pm Karen Beaumont; Princeton University Sean Vogt; Cathedral of St. Paul, St. Chapel, Princeton, NJ 12:30 pm Paul, MN 7:30 pm CALIFORNIA LUTHERAN UNIVERSITY Daniel Roth; Longwood Gardens, Ken- nett Square, PA 8 pm 15 MAY Brian Jones William Ness; First Baptist, Worcester, Kyle Johnson, DMA 1 MAY Director of Music Emeritus MA 7:30 pm University Organist Rosalind Mohnsen; Trinity Church, Bos- Bruce Neswick; Holy Trinity Lutheran, ton, MA, 12:15 pm  rLFKPIOT!DBMMVUIFSBOFEV TRINITY CHURCH Akron, OH 8 pm Jeremy Filsell; Allen Organ Company, Marilyn Keiser; First Congregational, OSTON www.callutheran.edu B Macungie, PA 7:30 pm Saginaw, MI 7 pm Peter Richard Conte; Stambaugh Audi- Vivaldi, Gloria; Sts. Peter & Paul Catholic torium, Youngstown, OH 8 pm Church, Naperville, IL 7:30 pm Bach Week Festival Orchestra & Chorus; KIM R. KASLING JAMES KIBBIE Anderson Chapel, North Park University, 16 MAY D.M.A. The University of Michigan Chicago, IL 7:30 pm Schola Cantorum on Hudson; St. Mala- Apollo Chorus; Fourth Presbyterian, Chi- Ann Arbor, MI 48109-2085 chy’s, New York, NY 8 pm St. John’s University cago, IL 7:30 pm •David Enlow; Reformed Church of 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 Poughkeepsie, Poughkeepsie, NY 10:30 email: [email protected] 3 MAY am workshop, 2:30 pm recital St. Andrew Chorale & New York City Chil- The Philadelphia Singers; Church of the dren’s Chorus; Madison Avenue Presbyte- Holy Trinity, Philadelphia, PA 7:30 pm rian, New York, NY 3 pm Nathan Laube; First & Central Presbyte- David K. Lamb, D.Mus. Bach, Magnifi cat in ;D St. Vincent Ferrer rian, Wilmington, DE 7:30 pm Church, New York, NY 3 pm Director of Music Nigel Potts, with soprano; Longwood 17 MAY Trinity United Methodist Church Gardens, Kennett Square, PA 2:30 pm Crescent Singers; Crescent Avenue ORGAN CONSULTANT New Albany, Indiana Kenneth Danchik; St. Paul Cathedral, Presbyterian, Plainfi eld, NJ 3 pm www.gabrielkney.com 812/944-2229 Pittsburgh, PA 4 pm Diane Meredith Belcher; Grace Episco- Gail Archer; Westminster Presbyterian, pal, Newark, NJ 4 pm Lynchburg, VA 4 pm Joan Lippincott; First United Methodist, Hershey, PA 3 pm Jeremy Filsell; Washington National Ca- Jose Daniel Flores-Caraballo, with pia- thedral, Washington, DC 5:15 pm no; Advent Lutheran, Melbourne, FL 3 pm Paul Jacobs; Hayes Barton United The Cathedral Choir; Cathedral Church Methodist, Raleigh, NC 3 pm of the Advent, Birmingham, AL 3 pm The Atlanta Singers; Peachtree Road Spring Festival Concert; Alice Millar Cha- United Methodist, Atlanta, GA 2 pm pel, Evanston, IL 5 pm Bradley Hunter Welch; Presbyterian Steven Betancourt, with Chicago Church, Coshoctan, OH 3 pm Bronze Handbell Choir; Madonna della Cincinnati Children’s Choir; Corbett Audi- Strada Chapel, Loyola University, Chicago, torium, University of Cincinnati, Cincinnati, IL 3 pm OH 5 pm Bach, Cantata 197; Grace Lutheran, Riv- er Forest, IL 3:45 pm ANDREW PAUL MOORE David Jonies, with countertenor; St. Jayson Engquist; Church of St. John A.S.C.A.P. Chrysostom’s, Chicago, IL 2:30 pm the Evangelist, St. Paul, MN 4 pm FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Bach Week Festival Orchestra & Chorus; Anderson Chapel, North Park University, 18 MAY 345 SADDLE LAKE DRIVE Chicago, IL 2:30 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS Hyea Young Cho; Elliott Chapel, Presby- (770) 594-0949 Spring Choral Concert; First Presbyte- terian Homes, Evanston, IL 1:30 pm rian, Arlington Heights, IL 4 pm Apollo Chorus; Elmhurst Christian Re- 19 MAY MARILYN MASON formed, Elmhurst, IL 3 pm David Enlow; Church of the Resurrec- CHAIRMAN, DEPARTMENT OF ORGAN Andrew Peters; St. Paul United Church tion, New York, NY 8 pm UNIVERSITY OF MICHIGAN of Christ, Belleville, IL 3 pm Benjamin Kolodziej; Church of St. Lou- ANN ARBOR is, King of France, St. Paul, MN 12:35 pm 5 MAY “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it with awesome technique and a thrilling command of its daring writing.” Oratorio Society of New York; Carnegie 20 MAY The American Organist, 1980 Hall, New York, NY 8 pm Peter Stoltzfus Berton; Methuen Me- Don Mead; Lutheran School of Theol- morial Music Hall, Methuen, MA 8 pm ogy, Chicago, IL 12:15 pm Karen Beaumont; Cathedral of St. John James Hicks; Church of St. Louis, King the Evangelist, Milwaukee, WI 12:15 pm of France, St. Paul, MN 12:35 pm Joanne Peterson; All Saints Episcopal, LARRY PALMER Appleton, WI, 12:15 pm PHILIP CROZIER 8 MAY CONCERT ORGANIST Professor of Martin Jean; Christ Church, New Haven, 21 MAY CT 7:30 pm ACCOMPANIST Cantus; Bruton Parish Episcopal, Wil- Harpsichord and Organ Gavin Black, harpsichord; Christ Con- liamsburg, VA 5:30 pm 3355 Queen Mary Road, Apt 424 gregation Church, Princeton, NJ 8 pm Meadows School of the Arts Ken Cowan; Emmanuel Church, Ches- 22 MAY Montreal, H3V 1A5, P. Quebec tertown, MD 7:30 pm Jonathan Ryan; Our Lady of Good Canada SOUTHERN METHODIST UNIVERSITY Wesley Parrott; St. Michael’s Episcopal Counsel Catholic Church, Plymouth, MI 7 Church, Richmond, VA 7:30 pm pm (514) 739-8696 Dallas, Texas 75275 Thomas Gouwens; Fourth Presbyte- [email protected] rian, Chicago, IL 12:10 pm 23 MAY Musical Heritage Society recordings Chelsea Chen; St. Raphael Catholic Stephen Tharp; St. Malachy’s, New York, Church, Naperville, IL 7:30 pm NY 7:30 pm

10 MAY 24 MAY Alan Morrison, with orchestra; Kimmel Benjamin Sheen; Church of Christ at Center, Philadelphia, PA 2:30 pm Dartmouth, Hanover, NH 4 pm www.pekc.org Bruce Neswick, music festival; St. Peter Stanislav Kalinin; Washington National Church, Memphis, TN 4 pm Cathedral, Washington, DC 5:15 pm Evensong; Christ Church, Grosse Pointe Gerrit Lamain; St. Stephen’s Lutheran, Princeton Early Keyboard Center Farms, MI 4:30 pm St. Paul, MN 4 pm Director Gavin Black, 12 MAY 25 MAY Matthew Lawrenz; Church of the Gesu, Charlie Steele; Brevard-Davidson River The Princeton Early Keyboard Center, with its principal Milwaukee, WI 7:30 pm Presbyterian Church, Brevard, NC 7:30 pm Melanie Ohnstad; Church of St. Louis, studios on Witherspoon Street in Princeton, NJ, is a small, King of France, St. Paul, MN 12:35 pm 26 MAY independent school offering lessons and workshops in Nigel Potts; Church of the Epiphany, 13 MAY Washington, DC 12:10 pm harpsichord, clavichord, continuo playing, and all aspects Crescent Singers; First Baptist, West- of Baroque keyboard studies. Facilities include two fi eld, NJ 7:30 pm 27 MAY harpsichords, several other fi ne harpsichords, Thierry Escaich; Kennedy Center for Jérôme Faucheur; Methuen Memorial the Performing Arts, Washington, DC 8 pm Music Hall, Methuen, MA 8 pm and clavichords, both antique and modern. Lessons at the Kathrine Handford; Lawrence University, Center are available in a wide variety of formats, tailored to 14 MAY Memorial Chapel, Appleton, WI 12:15 pm the needs of each student. All enquiries are very welcome at Cathedral Choir of St. John the Divine & Rose of the Compass; Cathedral of St. 29 MAY 732/599-0392 or [email protected]. John the Divine, New York, NY 7:30 pm The Chenaults; St. George’s Episcopal, Evensong; Emmanuel Church, Chester- Fredericksburg, VA 7 pm town, MD 6 pm

30 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer LEON NELSON Recitals – Consultations John W. W. Sherer; Fourth Presbyterian, Isabelle Demers; Pinnacle Presbyterian, Director of Traditional Music Chicago, IL 12:10 pm Scottsdale, AZ 7 pm Director of Music Emeritus Southminster Presbyterian Church Cathedral Church of the Advent Arlington Heights, IL 60005 31 MAY 25 APRIL Birmingham, Alabama Scott Lamlein; St. John’s Episcopal, Philip Brisson; St. Olaf Catholic Church, West Hartford, CT 12:30 pm Minneapolis, MN 1 pm Carrollton Chorale; Calvary Lutheran, Cranford, NJ 3 pm 26 APRIL ROBERT L. Aaron David Miller Nicholas E. Schmelter Nathan Laube; Court Street United ; St. Mark’s Episco- pal Cathedral, Minneapolis, MN 3 pm Methodist, Lynchburg, VA 3 pm Director of Music and Organist SIMPSON Isabelle Demers; St. Patrick’s Roman First Congregational Church Catholic Church, New Orleans, LA 4 pm Christ Church Cathedral UNITED STATES Saginaw, Michigan 1117 Texas Avenue Jonathan Ryan; Our Lady of Atonement Houston, Texas 77002 West of the Mississippi Catholic Church, San Antonio, TX 4 pm Bradley Hunter Welch; First United Methodist, Fort Smith, AR 3 pm 17 APRIL Raúl Prieto Ramírez; American Evan- Stephen Tappe Daryl Robinson ; St. Monica Catholic gelical Lutheran, Prescott, AZ 3 pm Organist and Director of Music Church, Dallas, TX 7:30 pm Nigel Potts, with soprano; Grace Cathe- Mark Steinbach Carole Terry; St James Cathedral, Se- Saint John's Cathedral dral, San Francisco, CA 4 pm Brown University Denver, Colorado attle, WA 8 pm Cappella SF; St. Mary’s Cathedral, San Olivier Latry; Trinity Episcopal Cathe- Francisco, CA 7 pm www.sjcathedral.org dral, Portland, OR 7 pm Anthony & Beard; California Polytechnic •Cherry Rhodes & Ladd Thomas; First State University, San Luis Obispo, CA 3 pm United Methodist, Glendale, CA 7:30 pm ORGAN MUSIC OF THE SPANISH BAROQUE 1 MAY 19 APRIL Matthew Dirst; St. Mark’s Episcopal Ca- David Troiano Joe Utterback Carolyn Diamond & Diana Lee Lucker; thedral, Seattle, WA 7:30 pm DMA MAPM COMMISSIONS & CONCERTS Wayzata Community Church, Wayzata, Olivier Latry; Central Lutheran, Eugene, OR 7:30 pm MN 3 pm 586.778.8035 732 . 747 . 5227 Joel Bacon; Trinity Lutheran, Moorhead, 2 MAY [email protected] MN 4 pm Andrew Peters; Christ Church Cathe- Isabelle Demers; First Presbyterian, dral, St. Louis, MO 7:30 pm Rochester, MN 4 pm Houston Chamber Choir; Wortham The- Ahreum Han Congdon; Congregational ater Center, Houston, TX 8 pm Marcia Van Oyen Church, UCC, Iowa City, IA 4 pm David Wagner 3 MAY Rocky Mountain Children’s Choir; St. First United Methodist Church DMA Nathan Laube; Trinity Episcopal, Tulsa, Plymouth, Michigan John’s Cathedral, Denver, CO 2:30 pm www.davidwagnerorganist.com Evensong; St. John’s Cathedral, Denver, OK 5 pm Paul Tegels; Trinity Lutheran, Lynnwood, mvanoyen.com CO 3 pm WA 7 pm Susanna Vallelau, with trumpet; St. James Welch; Spreckels Organ Pavilion, Mark’s Episcopal Cathedral, Seattle, WA Balboa Park, San Diego, CA 2 pm 2 pm Douglas Cleveland; Summit Avenue 4 MAY Kevin Walters KARL WATSON Presbyterian, Bremerton, WA 4 pm The Chenaults; First Presbyterian, Kirk- American Canyon Singers; Resurrection wood, MO 7:30 pm M.A., F.A.G.O. SAINT LUKE’S Parish, Santa Rosa, CA 3:30 pm Gardner, Lamb of God; St. Mary’s Cathe- 5 MAY Rye, New York METUCHEN dral, San Francisco, CA 7 pm Nathan Stewart; Aspen Community Olivier Latry; Walt Disney Concert Hall, Church, Aspen, CO 6 pm Los Angeles, CA 7:30 pm 8 MAY Chanticleer; St. John’s Cathedral, Den- Alan G Woolley PhD 20 APRIL RONALD WYATT ver, CO 7:30 pm Musical Instrument Research Scott Dettra; Community of Christ Tem- ple, Independence, MO 7:30 pm 10 MAY Edinburgh Trinity Church

Diana Lee Lucker; Wayzata Community [email protected] Galveston

24 APRIL Church, Wayzata, MN 3 pm Jeremy Filsell; St. James’ Episcopal, Ken Cowan; All Saints’ Episcopal, Fort Los Angeles, CA 6 pm Worth, TX 7:30 pm Karen Black; St. John’s Cathedral, Den- 11 MAY DIAPASON Student Rate ver, CO 7:30 pm Douglas Cleveland; Benaroya Concert RUDOLF ZUIDERVELD Alcée Chriss; St. Paul Lutheran, Albu- Hall, Seattle, WA 7:30 pm $20 one year querque, NM 7 pm Illinois College, Jacksonville First Presbyterian Church, NEW! 847/391-1044 Springfi eld [email protected]

Charles Dodsley Walker, FAGO Artist-in-Residence Founder/Conductor Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458 ( 3ROLVK HG *HPVZLWKIRFXVRQDIXUWKHUFROOHFWLRQRI 7 FRPSRVLWLRQVLQVWUXPHQWVDQGSHUIRUPHUVIURP3RODQG 9 $PHULFDQV$EURDGWKRXJKUHODWLYHO\IHZLQQXPEHU A two-inch Professional Card VRPHVLJQL¿FDQWLQVWUXPHQWVE\RUJDQEXLOGHUVIURPWKH 0 86$KDYHIRXQGWKHPVHOYHVDVPXVLFDODPEDVVDGRUVLQ in The Diapason IRUHLJQVHWWLQJV For information on rates and specifi cations, contact Jerome Butera: 3 [email protected] 608/634-6253 7RFFDWDV$JDLQWKHRULJLQDOµWRXFKSLHFH¶KDV PDQLIHVWHGLWVHOILQPDQ\GLIIHUHQWZD\VGHSHQGHQWRQWLPH DQGSODFH  ArtistArtist Spotlights Spotlightspotlight s DAVID SPICER  0LGZHVWHUQ0DUYHORXVFRQFHUWSHUIRUPDQFHVRI $PHULFDQPXVLFIURPDQ$PHULFDQ*XLOGRI2UJDQLVWV Artist Spotlights First Church of Christ  FRQYHQWLRQLQWKH0LQQHVRWDWZLQFLWLHVRI0LQQHDSROLVDQG 6DLQW3DXO are available on Wethersfi eld, Connecticut  The Diapason website and e-mail newsletter. Contact Jerome

7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK Butera for rates [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM and specifi cations. [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY 608/634-6253 ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZŽ HWVIHJVT House Organist [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 31 Calendar

14 MAY rial Church, Toronto, ON, Canada 7:30 pm Church, Vancouver, BC, Canada 3 pm 15 MAY Allan Mahnke; St. Barnabas Lutheran, Angus Sinclair; Grace Anglican, Brant- Plymouth, MN 12:30 pm 17 APRIL 27 APRIL ford, ON, Canada 12:15 pm Jens Korndörfer; St. George Cathedral, Thomas Trotter; Royal Festival Hall, 16 MAY Kingston, ON, Canada 8 pm London, UK 7:30 pm 16 MAY Helen Jensen; Roseville Lutheran, Ros- Wolfgang Capek; Notre Dame, Paris, eville, MN 6:30 pm 18 APRIL 29 APRIL France 8 pm Evensong; Our Lady of the Atonement James Hicks; Vor Frue Kirk, Copenha- Hans Leitner; Kathedrale, Dresden, Simon Thomas Jacobs; St. Albans Ca- Catholic Church, San Antonio, TX 4 pm gen, Denmark 12 noon Germany 8 pm thedral, St. Albans, UK 5:30 pm Fedor Stroganoff; Notre Dame, Paris, Roger Sayer; Westminster Cathedral, David Briggs, with choirs and soloists, 17 MAY France 8 pm London, UK 7:30 pm Mahler, Resurrection Symphony; Merton Kathrine Handford; St. Andrew’s Luther- Jonathan Scott; Victoria Hall, Hanley, College Chapel, Oxford, UK 8 pm an, Mahtomedi, MN 3 pm UK 12 noon 2 MAY Michel Bouvard; Église des Saints-Mar- Aaron David Miller, hymn festival; Christ Martin Neary, with cello; St. Peter’s, St. Joao Santos; Notre Dame, Paris, France tyrs Canadiens, Quebec City, QC, Canada the King Lutheran, Iowa City, IA 3 pm Albans, UK 5:30 pm 8 pm 8 pm Isabelle Demers; Sts. Peter & Paul Epis- Timothy Harper; St. George’s Cathedral copal, Arlington, TX 7 pm 19 APRIL Southwark, London UK 1:15 pm 17 MAY Evensong; St. John’s Cathedral, Denver, Nick Morris; St. Paul’s Cathedral, Lon- Three Cathedrals Choir Festival Con- James Perkins; St. Paul’s Cathedral, CO 3 pm don, UK 4:45 pm cert; St. Paul’s Cathedral, London, ON, London, UK 4:45 pm Brian du Fresne; St. John’s Cathedral, Peter Dyke; Westminster Cathedral, Canada 7:30 pm Peter Stevens; Westminster Cathedral, Denver, CO 7:30 pm London, UK 4:45 pm London, UK 4:45 pm 3 MAY Gail Archer; Fremont Presbyterian, Sac- Daniel Cook; Westminster Abbey, Lon- Birmingham Conservatoire students; St. ramento, CA 4 pm don, UK 5:45 pm 29 MAY Paul’s Cathedral, London, UK 4:45 pm Monteverdi, Vespers of 1610; Westmin- 24 MAY 22 APRIL Benjamin Bloor; Westminster Cathe- ster Abbey, London, UK 7:30 pm James Welch; St. Mark’s Episcopal, Matthias Grünert; Frauenkirche, Dres- dral, London, UK 4:45 pm Evensong; St. Paul’s Cathedral, London, 20 MAY Palo Alto, CA 3 pm den, Germany 8 pm ON, Canada 3:30 pm Jörg Josef Schwab; Kathedrale, Dres- Faythe Freese; St. Agata, Budrio, Italy den, Germany 8 pm 31 MAY 8:45 pm 6 MAY David Pether; Town Hall, Reading, UK Hector Olivera; Christ United Methodist, Holger Gehring; Kreuzkirche, Dresden, 1 pm Rochester, MN 4 pm 25 APRIL Germany 8 pm David Titterington; Westminster Cathe- Ken Cowan John Paul Farahat; Notre Dame, Paris, ; First United Methodist, Aus- dral, London, UK 7:30 pm tin, TX 3 pm France 8 pm 7 MAY Aaron David Miller; First Presbyterian, Virgile Monin; St. John the Evangelist, Simon Johnson; St. Paul’s Cathedral, 22 MAY Portland, OR 2 pm Islington, London, UK 7:30 pm London, UK 6:30 pm Andrew Keegan Mackriell; Grace Angli- Christoph Bull; First Congregational, can, Brantford, Canada 12:15 pm Los Angeles, CA 3 pm 26 APRIL 8 MAY Christian-Markus Raiser; St. Paul’s Ca- Stephanie Burgoyne & William 24 MAY thedral, London, UK 4:45 pm INTERNATIONAL Vandertuin; Grace Anglican, Brantford, Philippe Lefebvre; Notre Dame, Paris, Joseph Beech; Westminster Cathedral, ON, Canada 12:15 pm France 4:30 pm London, UK 4:45 pm Julia Nolan & Denis Bédard; Holy Rosa- Samuel Eriksson; St. Paul’s Cathedral, 15 APRIL Edward Symington; Westminster Ab- ry Cathedral, Vancouver, BC, Canada 8 pm London, UK 4:45 pm James Hicks; Vor Frue Kirk, Aarhus, bey, London, UK 5:45 pm Peter Stevens; Westminster Cathedral, Denmark 8 pm Christopher Houlihan; Westminster 9 MAY London, UK 4:45 pm Hans-Jürgen Kaiser; Kreuzkirche, United Church, Winnipeg, MB, Canada Kees Nottrot; Notre Dame, Paris, France Simon Thomas Jacobs; Clare College, Dresden, Germany 8 pm 7:30 pm 8 pm Cambridge, UK 5:30 pm Jens Korndörfer; Timothy Eaton Memo- Edward Norman; Ryerson United William McVicker; Town Hall, Reading, UK 1:50 pm 27 MAY Martin Bambauer; Kreuzkirche, Dres- 10 MAY den, Germany 8 pm Craig Cramer; Basilika Steinfeld, Kall Simon Thomas Jacobs; Christ Church Steinfeld, Germany 4 pm Cathedral, Oxford, UK 8 pm Marco Cifferi; St. Paul’s Cathedral, Lon- don, UK 4:45 pm 29 MAY Christopher Stokes; Westminster Ca- Michael Bloss; Grace Anglican, Brant- thedral, London, UK 4:45 pm ford, ON, Canada 12:15 pm

11 MAY 30 MAY Michel Bouvard; St. François d’Assise, Pastor de Lasala; Notre Dame, Paris, -+ &62GHOO Ottawa, ON, Canada 7:30 pm France 8 pm 13 MAY 31 MAY odellorgans.com s 860-365-8233 Samuel Kummer; Frauenkirche, Dres- Nick Bowden; St. Paul’s Cathedral, Lon- P.O. Box 405, East Haddam, Connecticut 06423 den, Germany 8 pm don, UK 4:45 pm REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 A. David Moore, Inc. TRACKER ORGAN DESIGNERS & BUILDERS HC 69 Box 6, North Pomfret, Vermont 05053 ATOS ExperienceAmerican Theatre Organ Society 801-756-5777 www.bigeloworgans.com 802/457-3914 Preserving a unique art form. Member Firm: The Associated Pipe Organ Builders of America GAN BUILDERS - EST E OR . 187 Concerts, education, silent film, preservation, PIP 7 RANDALL DYER fellowship and more. www.atos.org & ASSOCIATES, INC. Jim Merry, Executive Secretary, [email protected] Schoenstein P.O. Box 5327, Fullerton, CA 92838 PIPE ORGANS OF QUALITY AND DISTINCTION SAN FRANCISCO BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 w ww 58 ◆ .sch 47-58 [email protected] www.rdyerorgans.com oenstein.com - (707) 7

Pipe Organ Builders Since 1915 11561 Edmonston Rd. Beltsville, MD 20705 800/952-PIPE

Visit The Diapason website: www.TheDiapason.com Like The Diapason on Facebook: www.Facebook.com/TheDiapason

32 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM Organ Recitals

STEPHEN ALLTOP, BRUCE BARBER, PHILIP CROZIER, Sint-Jan’s Kathedraal, Praeludium pro Organo pleno, BWV 552/1, Gigout; Adagio (Symphonie pour Grand & CHRISTINE KRAEMER, St. Clement’s ‘s-Hertogenbosch, Netherlands, August 12: Kyrie, Gott Vater in Ewigkeit, BWV 669, Orgue, no. 3), Vierne; Out of the Depths I Cry Catholic Church, Chicago, IL, September 21: Grand Choeur, Reed; Variations: Cantilena Christe, aller Welt Trost, BWV 670, Kyrie, to Thee, O Lord!, O God, My heart is Stead- Wer nur den lieben Gott läßt walten, BWV Anglica Fortunae, SSWV 134, Scheidt; Toc- Gott heiliger Geist, BWV 671, Kyrie, Gott fast!, I Need Thee Every Hour, Diemer; Vari- 691, Christ lag in Todesbanden, BWV 695, cata, Adagio and Fugue in C, BWV 564, Bach; Vater in Ewigkeit, BWV 672, Christe, aller ations sur le Nöel, op. 20, Dupré; Prelude and Christum wir sollen loben schon/Was fürchtst Komm, Heiliger Geist, Herre Gott, Tunder; Welt Trost, BWV 673, Kyrie, Gott heiliger Fugue in G, BWV 541, Bach; Maple Leaf Rag, du Feind, BWV 696, Herr Christ, der ein’ge Petite pièce, Deux danses à Agni Yavishta, Geist, BWV 674, Allein Gott in der Höh sei Joplin, arr. Biggs; The Liberty Bell, Sousa, arr. Gottessohn, BWV 698, Herr Gott, nun schleuß Chant donné, Alain; Pièce d’Orgue, Calvière; Ehr, BWV 675, Allein Gott in der Höh sei Linger; Scherzetto, op. 108, no. 1, Toccata den Himmel auf, BWV 1092, Herzliebster Canzon Quarta, Frescobaldi; Hommage à Di- Ehr, BWV 676, Fughetta super Allein Gott pour Grand Orgue, Jongen. Jesu, was hast du verbrochen, BWV 1093, etrich Buxtehude, Eben. in der Höh sei Ehr, BWV 677, Dies sind die Toccata and fugue in d, BWV 565, Liebster heiligen Zehen Gebot, BWV 678, Fughetta su- DOUGLAS REED, Central St. Matthew Jesu, wir sind hier, BWV 634, Dies sind die ROBERT DELCAMP, with Bernadette per Die sind die heiligen Zehen Gebot, BWV United Church of Christ, New Orleans, LA, heilgen zehn Gebot, BWV 635, Es ist das Heil Lo, piano, St. Luke’s Chapel, University of 679, Wir glauben all an einen Gott, BWV 680, November 23: Marche Triomphale: Nun Dan- uns kommen her, BWV 638, Trio Sonata No. 1 the South, Sewanee, TN, November 21: Sin- Fughetta super Wir glauben all an einen Gott, in E-fl at, BWV 525, Fantasia and Fugue in g, fonia, op. 42, Dupré; Colloque No. 2, Guillou; BWV 681, Vater unser im Himmelreich, BWV ket alle Gott, Karg-Elert; Lied des Chrysan- BWV 542, Fugue a 5 on the Magnifi cat, BWV Hymne, op. 78, Jongen; Concerto for Piano 682, Vater unser im Himmelreich, BWV 683, thèmes (Poèmes d’automne, op. 3), Bonnet; 733, Fantasie and Fugue in c, BWV 537, Herr and Organ, op. 74, Peeters. Christ, unser Herr, zum Jordan kam, BWV Canonic Studies, op. 56, nos. 5/6, Schumann; Jesu Christ, dich zu uns wend’, BWV 709, 684, Christ, unser Herr, zum Jordan kam, Fantasy and Fugue in g, BWV 542, Bach; Partita in c, BWV 767, Prelude and Fugue in MARIO DUELLA, First Presbyterian BWV 685, Aus tiefer Not schrei ich zu dir, Woodland Flute Call, Dillon; Lyric Inter- a, BWV 543, Bach. Church, Arlington Heights, IL, November BWV 686, Aus tiefer Not schrei ich zu dir, lude, Schreiner; Jig for the Feet “Totentanz” 5: Concerto in sol maggiore, Druckenmüller; BWV 687, Jesus Christus, unser Heiland, der (Organbook III), Sweet Sixteenths, Hymn ERIC BUDZYNSKI, WILLIAM Marcia festiva) Bossi; Assolo, Centemeri; Al- von uns den Zorn Gottes wandt, BWV 688, (Flights of Fancy), Finale–The Offering (Or- CROWLE, PHILIP MCPEEK, & STE- leluia, Rosetta. Fuga super Jesus Christus, unser Heiland, ganbook III), Albright. PHEN UHL, Alice Millar Chapel, Evanston, BWV 689, Duetto I, BWV 802, Duetto II, IL, October 24: In dulci jubilo, BWV 608, STEVEN EGLER, First Congregational BWV 803, Duetto III, BWV 804, Duetto IV, DAVID SCHRADER & DANIEL Durch Adams Fall ist ganz verderbt, BWV Church, Saginaw, MI, November 14: Phoenix BWV 805, Fuga a 5 con pedale pro Organo SCHWANDT, Lutheran School of Theology, 637, In dich hab ich gehoffet, Herr, BWV 640, Processional, Locklair; Blessed Assurance, Heb- pleno, BWV 552, Bach. Chicago, IL, October 4: Ich ruf zu dir, Herr Ach wie nichtig, ach wie fl üchtig, BWV 644, ble; Humoresque, ‘L’organo primitivo,’ Yon; Jesu Christ, BWV 1124, O Gott, du frommer Nun komm, der Heiden Heiland, BWV 599, Passacaglia and Fugue in c, BWV 582, Bach; DON MEAD, AKIKO NISHIZAWA, Gott, BWV 1125, Gott, durch deine Güte, Machs mit mir, Gott, nach deiner Güt, BWV Cat Suite, Bédard; Clair de Lune, op. 53, no. 5, PAUL SATRE, The Orchard Evangelical BWV 724, Herr Gott, dich loben wir, BWV 957, Der Tag, der ist so freudenreich, BWV Carillon de Westminster, op. 53, no. 6, Vierne. Free Church, Arlington Heights, IL, Novem- 725, Herr Jesu Christ, dich zu uns wend, 605, Das alte Jahr vergangen ist, BWV 614, ber 16: Toccata in d (Dorian), In Thee is Glad- BWV 726, Toccata and Fugue in d, BWV 538, Wer nur den lieben Gott läßt walten, BWV MARK LAUBACH, St. Nicholas Ro- ness, Bach; Festive Trumpet Tune, German; O Herre Gott, dein göttlich Wort, BWV 1110, 642, Bach. man Catholic Church, Wilkes-Barre, PA, Adagio for Strings, Barber; Spirit of the Liv- Durch Adams Fall ist ganz verderbt, BWV October 5: Toccata and Fugue in d, BWV ing God, arr. Schoen; Blessed Assurance, arr. 1101, Du Friedefürst, Herr Jesu Christ, BWV CHARLIE CARPENTER, MATTHEW 565, attr. Bach; Organ Concerto in F, op. 4, Olivera; Allegro moderato e serioso, Allegro 1102, Wenn dich Unglück tut greifen an, DORAN & ELIZABETH WALDON, First no. 5, Handel; A mighty fortress is our God, assai vivace (Sonata No. 1 in f, op. 65, no. 1), BWV 1104, Komm, heiliger Geist, Herre Gott, United Church, Oak Park, IL, October 5: BuxWV 184, Buxtehude; Concert Variations Mendelssohn; Now Thank We All Our God, BWV 652, Prelude and Fugue in d, BWV 539, Alle Menschen müssen sterben, BWV 643, on the Austrian Hymn, op. 3, no. 1, Paine; O Karg-Elert; Allegro (Organ Concerto), Arne; Herr Jesu Christ, dich zu uns wend, BWV Love of God, how strong and true (Jerusa- In My Life, Lord, Be Glorifi ed, arr. Bock; Fugue in F, BWV 540, Wachet auf, ruft uns 632, Christus der uns selig macht, BWV 747, lem), Parry; Improvisation on Marija, Marija, Now Thank We All Our God (Cantata No. die Stimme, BWV 645, Wo soll ich fl iehen Lobt Gott, ihr Christen, allzugleich, BWV skaisciausia lelija!; Variations on Veni Creator 79), Bach, arr. Fox; Psalm XXIV, Beck; Lita- hin, BWV 646, Wer nur den lieben Gott läßt 732, Ach Gott, vom Himmel sieh’ darein, Spiritus, op. 4, Durufl é; Carillon, Sowerby; nies, Alain; Carillon de Westminster, Vierne. walten, BWV 647, Praeludium in a, BWV 569, BWV 741, Lob sei dem allmächtigen Gott, Suite Gothique, op. 25, Boëllmann. Meine Seele erhebt den Herren, BWV 648, BWV 602, Erschienen ist der herrliche Tag, KATHERINE MELOAN, Brevard-Da- Ach bleib bei uns, Herr Jesu Christ, BWV 649, BWV 629, Wenn wir höchsten Nöten sein, NATHAN LAUBE, Winnetka Congrega- vidson River Presbyterian Church, Brevard, Kommst du nun, Jesu, vom Himmel herunter, BWV 641, Bach. tional Church, Winnetka, IL, September 27: NC, November 7: Grande Choeur Dialogue, BWV 650, Toccata in F, BWV 540, Bach.

Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America

  Patrick j. Murphy 035DWKNH,QF & associates, inc. 3LSH2UJDQ%XLOGHUV organbuilders   3RVW2IILFH%R[ 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 6SLFHODQG,QGLDQD86$ 610-970-9817 • 610-970-9297 fax 7HO)D[ [email protected] • www.pjmorgans.com ZZZUDWKNHSLSHRUJDQVFRP

sound INSPIRATION DIAPASON Student Rate The Organ Clearing House PO Box 290786 Acoustical Design & Testing • Organ Consultation & $20 one year Charlestown, MA 02129 Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training 847/391-1044 Ph: 617.688.9290 NEW! www.riedelassociates.com • (414) 771-8966 [email protected] www.organclearinghouse.com email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202

Advertise in Don’t just tell people what you _ The Diapason have for sale. Show them! Own a piece of history! For rates and digital specifi cations contact Jerome Butera The cover of the 100th Anniversary 608/634-6253 • [email protected] Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 33 Classifi ed Advertising

POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS REED ORGANS FOR SALE

Wanted: Organists visiting Maui. Lahaina’s The new Nordic Journey series of CD record- Completely Restored Pump Organ by Sey- Holy Innocents Episcopal Church invites visit- Harpsichord Technique: A Guide to Expres- ings reveals premiere recordings of symphonic bold Organ Co. Has reed and pipe action. ing organists to play its Beckerath Positiv organ sivity, 2nd Edition, with recordings by organ music—much of it still unpublished—from Certifi ed appraisal (1986) value of $6K. Excel- Nancy Metzger, is the practical, hands on at Sunday services. Built in 1972 by Rudolf von Nordic composers, played by American organist lent condition. Beautiful soft tones, also robust guide to historical keyboard performance. Beckerath and then-apprentice Hans-Ulrich James Hicks on a variety of recently restored $35 at www.rcip.com/musicadulce. sound with all stops. Location: East Texas. Price: Erbslöh for ’s Lutheran Church, the 408- Swedish organs. It’s a little bit like Widor, Reger $4,750. includes delivery door to door in USA pipe Shrankpositiv has a 54-note “split” manual, and Karg-Elert, but with a Nordic twist. Check it with professional movers. Call 936/569-1101; 30-note pedal, 11 stops, 8 ranks, and 6 registers. out at www.proorgano.com and search for the Holy Innocents acquired the instrument in 1977 e-mail: [email protected]. Certifi ed appraisals—Collections of organ term “Nordic Journey.” and moved it to Maui where it has been played books, recordings, and music, for divorce, by parish musicians such as Carol Monaghan estate, gift, and tax purposes. Stephen L. Pinel, and visiting artists including Angus Sinclair of ELECTRONIC ORGANS FOR SALE Appraiser. 629 Edison Drive, East Windsor, NJ Raven, America’s leading label for organ Canada and Dalibor Miklavcic of Slovenia. The 08520-5205; 609/448-8427. recordings since 1978, offers one hundred CDs instrument is extremely responsive and fi lls the and videos at RavenCD.com. Titles include the Allen MDS 312 3-manual digital-computer worship space beautifully. The parish community 4-disc DVD/CD set about César Franck, 5-disc organ—$20,000 (East Greenwich, RI). Installed is “exemplary in its hospitality to all visitors,” and OHS Convention CDs: Historic Organs of DVD/CD set about Cavaillé-Coll, the acclaimed 1995, fully functional, great sound—for theatre- that especially includes visiting organists. For Baltimore, Historic Organs of Boston, Historic style or classical-style music. MIDI and record- information: 808/661-4202; holyimaui.org Bach /Art of Fugue/ DVD/CD set with George Organs of Buffalo, Historic Organs of Chicago, Ritchie, Ritchie’s 11-CD set of the complete playback. Includes rhythm box, full pedalboard. 3 ″ 7 ″, Historic Organs of Colorado, Historic Organs of organ works of Bach, and recent CDs recorded Width 59 ⁄4 ; depth 32 ⁄8 with pedalboard ″ 3 ″. PUBLICATIONS / RECORDINGS Connecticut, Historic Organs of Indiana, Historic by Jeremy Filsell (Epiphany Church, Washing- and bench: 55 ; height 51 ⁄4 Four speakers Organs of Louisville, Historic Organs of Maine, ton, DC; National Cathedral, National Shrine), included. Contact Philip at 401/885-3431 or Historic Organs of Montreal, Historic Organs of e-mail: [email protected]. Alfred Hollins, famous blind concert organ- Todd Wilson (Gerre Hancock Organ Works at ist: 150th anniversary. We offer two of his New Orleans, Historic Organs of Pennsylvania, St. Thomas, NYC), Jon Gillock (Messiaen on the Concert Overtures and his Concert Rondo, Historic Organs of Portland, Historic Organs of new Quoirin organ, Ascension, NYC), Anthony impressive pieces he used to open his concerts. Seattle, Historic Organs of SE Massachusetts. Hammond (Coventry Cathedral, UK), Mark HYBRID ORGANS FOR SALE michaelsmusicservice.com; 704/567-1066. Visit the OHS online catalog for over 5,000 Brombaugh (David Dahl organ works on the organ-related books, recordings, and sheet Christ Church, Tacoma, John Brombaugh organ) Three-manual Rodgers Hybrid with seven music: www.ohscatalog.org. Jack Mitchener, Stephen Williams, J. Thoams World Library Publications: From the Piano sets of pipes; all working and in excellent Mitts, Adam Brakel (Beckerath, Pittsburgh Cathe- condition. For more information please go to Bench to the Organ Bench, by Alan J. Hommerd- dral), Peter Sykes (Bach, clavichord), Maxine OHS 2015 Calendar. Celebrating the Organ www.milnarorgan.com. ing. This complete method book offers a variety Thévenot, Damin Spritzer, Faythe Freese (Mag- of exercises to increase pedal technique and Historical Society’s 60th annual convention in deburg Cathedral), Rachel Laurin, Colin Lynch manual/pedal dexterity. Explore topics such as Springfi eld, Mass., June 28–July 3, 2015, this Ken Cowan, Daniel Sullivan, John Brock, many service playing/accompanying—when to lead, full-color calendar features stunning new photo- PIPE ORGANS FOR SALE more. www.RavenCD.com. when to follow; playing pianistic accompaniments graphs by Len Levasseur. The calendar is 8½″ by on the organ; introduction to improvisation on the 11″ and opens vertically to highlight the beautiful 1957 M.P. Möller—13 ranks, all straight. Great: organ; basics of choral conducting from the con- images. Featured are instruments by J.W. Steere From Fruhauf Music Publications for organ. 40 Open Diapason 8′, Bourdon 8′, Gemshorn 4′, sole; and much more. 003057, $19.95, 800/566- & Son, C.B. Fisk, Hilborne Roosevelt, E. & G.G. Free Harmonizations of 24 Familiar Hymn Tunes, Fifteenth 2′, Mixture III. Swell: Spitzfl ute ′8 , Viola 6150, Wlpmusic.com. Hook, Johnson, Odell, E.M. Skinner, Casavant Vol. 2: Land of Rest to Woodbird, 36 pages. These 8′, Voix Celeste 8′, Harmonic Flute 4′. Pedal: and more. An excellent article about the conven- varied settings are appropriate for many church Open Diapason 16′ & 8′ from the Great, Bourdon Mother’s Day Music? Check out: “A Woman tion by Tom Stockton is also included. A must seasons and occasions. Visit www.frumuspub. 16′, 8′, 4′. Buyer to remove. Contact K. W. Hyre of Valor”—Seven pieces on Proverbs 31. See, for all organophiles! Member price: $9.99. Non- net to view tables of contents, details and notes, at St. Johns’ Olympia, WA: 360/352-8527 or listen, buy: www.guinaldopublications.com. member price: $14.99. www.organsociety.org. and for a downloadable sample harmonization. [email protected].

TOTAL PIPE ORGAN RESOURCES

2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com

Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, contact Jerome Butera, For advertising information contact: 608/634-6253 THE DIAPASON [email protected] 608/634-6253 voice Send a copy of THE DIAPASON to a friend! [email protected] e-mail Contact THE DIAPASON at 608/634-6253; [email protected]

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 PIPE ORGAN BUILDERS, LTD. Phone (515) 964-1274 Fax (515) 963-1215 LAKE CITY, IOWA 51449 (712) 464-8065

Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

3030 W. Salt Creek Lane ph 847/391-1044 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

34 Q THE DIAPASON Q APRIL 2015 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES

M. P. Möller Artiste Opus 9750, 1962. Diapa- Randall Dyer organ, 4 ranks, all-electric action 1981 Casavant tracker—3 manuals, 23 Do you have a pipe organ that you would son, Gedeckt, Viola, and Trumpet, 2 manuals with expansion channel, solid-state relay; 9′ tall stops, 30 ranks. Footprint 10′ x 14′; height 18′. like to interface with an electronic or digital and pedal, 20 stops. Chimes and Zimbelstern x 7′ wide, 4′6′′ deep with bench. randalldyer@ Good working order. Available now. Seller will organ? We can interface any digital organ or available. Freestanding swell box, detached bellsouth.net, 865/475-9539. See photo and consider offers on a competitive basis. For any organ console with any pipe organ. For more console with ~ 75 feet cable. Good condi- details, contact consultant Dr. David Lowry at information e-mail [email protected] (not stoplist at www.TheDiapason.com/classifi ed/ tion. Buyer to arrange disassembly, crating, [email protected]. Comcast) or call 215/353-0286. and shipping. Los Angeles area. Contact dyer-4-rank-organ. [email protected]. MISCELLANEOUS FOR SALE Aeolian/Robert Morton-style maroon 1986 Rudolf von Beckerath, 2/15 (20 ranks) leather is now available from Columbia Organ Werner Bosch tracker organ, 1969. Two manu- 162″ H, 146″ W, 114″ D. $150,000, Organ Clear- Leathers! Highest quality. 800/423-7003, Wood pipes. Missing pipes made to match. als and pedal, 9 stops. Case of African mahogany, ing House, 617/688-9290, john@organclearing- www.columbiaorgan.com. Damaged pipes in any condition repaired. Over 12′ wide, 8′ high, 4′ deep. Self-contained 110-volt house.com. 25 years experience. Filip Cerny, 814/342-0975. blower. $30,000. The Organ Clearing House, 617/688-9290, [email protected]. Complete Pipe Organ Services from the Organ Bigelow studio/practice organ: two manuals, Möller 16′ Principal (32 pipes) in zinc. Clearing House: 450 vintage pipe organs avail- six stops—8, 4; 8, 4; 16, 8. Currently being re- able, renovation, tuning, consultation. Other Positive organ by Gabriel Kney, ca. 1980. Suitable for a façade with over-length bod- ies. Asking $5,000. For information: mail@ services include transportation, cleaning and Four stops (8′, 4′, 2′, 1-1/3′). Height 76″, width built. 801/756-5777, [email protected]. letourneauorgans.com or 450/774-2698. renovation of carvings, reredos, liturgical furnish- 48″, depth 20.5 inches. $13,000 negotiable. See details at bigeloworgans.com. Click on ings. Call John Bishop at 617/688-9290. john@ Buyer to remove (Michigan location). Send News, then on Opus 3. organclearinghouse.com. inquiries to [email protected]. Consoles, pipes and numerous miscellaneous N.Y. builder Thomas Robjohn’s sole surviv- parts. Let us know what you are looking for. E-mail [email protected] (not comcast), Releathering all types of pipe organ actions Dobson tracker organ: two manuals and pedal, ing instrument —1859—2 manuals, 10 stops. phone 215/353-0286 or 215/788-3423. and mechanisms. Highest quality materi- 8 stops, 7 ranks. Opus 39 from 1988, in Long Stunning rosewood case with gold pipes. als and workmanship. Reasonable rates. ′ ′′ ′ Island, NY. Height 13 1 ; width 6 . Free-standing Beautiful sound. Museum piece. 801/756-5777, Columbia Organ Leathers 800/423-7003. case of fumed white oak with self-contained 110- [email protected]. See photo and Atlantic City Pipe Organ Co. Hook & Hastings www.columbiaorgan.com/col. volt blower. $65,000. The Organ Clearing House, more information at www.thediapason.com/ pipework restored: Diapasons, Strings, pedal 617/688-9290, [email protected]. and manual Flutes. C.S. Haskell 16′ Pedal Dul- classifi ed/1859-robjohn-ny. ciana and Bourdon; much more. 609/432-7876, Don’t miss our monthly e-newsletters. Visit [email protected]. TheDiapason.com; click on Subscribe to our 1938 Kimball studio/practice organ, 4 ranks, newsletter. Need help? 847/391-1044. 21 stops, excellent condition, 91″ H, 85″ W, Expressive and compact—3/27 Kilgen (1940). ″ 56 D (+pedalboard). Organ Clearing House, Two expressive divisions. 17 manual 8-foot fl ues. SERVICES / SUPPLIES 617/688-9290, [email protected]. Reeds include Tuba, Cornopean, Oboe, Clarinet, Postal regulations require that mail to THE Vox Humana. Harp. 16′ Open Wood. H: 237″, W: DIAPASON include a suite number to assure In addition to their gear and rack with 10K pot, delivery. Please send all correspondence to: 170″, D: 189″. Stopkey console. Original restor- 1960 two-manual Reuter/Milnar organ 24 Klann also offers a 3K linear transducer THE DIAPASON, 3030 W. Salt Creek Lane, Suite ranks. For more information please go to able condition. $30,000. Organ Clearing House, made by Penny & Giles. 877/457-5804 or 201, Arlington Heights, IL 60005. www.milnarorgan.com. 617/688-9290, [email protected]. [email protected].

Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 608/634-6253, [email protected]

Like THE DIAPASON on Facebook:

www.Facebook.com/ TheDiapason

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

Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): Regular classifi ed advertising is single ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December paragraph “want ad” style. First line only of each ad in bold face type. Category ______❑ Regular ❑ Boldface Display classifi ed advertisements are set ❑ PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 25.00 ______Display Classifi ed, per word 1.40 Display Classifi ed minimum 30.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 18.00 ______($32 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $5.00 per issue desired with their payment. Name ______Phone ______

THE DIAPASON reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2015 Q 35 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Jonathan Rudy 2014 AGO National Competition Winner Available 2014-2016

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

David Baskeyfield Canadian International Organ Competition Winner Available 2015-2017

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Choirs

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison Thomas Murray The Choir of Saint Thomas Church, NYC John Scott, Director April 2016

James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Daryl Robinson Daniel Roth* Jonathan Ryan Celebrating Our 94th Season!

*=Artists based outside the U.S.A.

Ann Elise Smoot Donald Sutherland Tom Trenney Thomas Trotter* Todd Wilson Christopher Young