THE DIAPASON MAY, 2006
Principia College, Elsah, Illinois Cover feature on pages 30–32 October 2006 The Choir of St. George’s Chapel, Windsor Castle Timothy Byram-Wigfield, director
Honoring HM Queen Elizabeth II in the year of her 80th birthday. St. George’s Chapel, within the precincts of Windsor Castle, is the scene of many royal occasions during the course of a year, including recently the Service of Blessing for the wedding of HRH The Prince of Wales and Camilla, Duchess of Cornwall. The choir of men and boys has been in existence since 1348 and maintains a school for the choristers.
March 2007 The Choir of Eton College Ralph Allwood, director
Just across the Thames from Windsor Castle sits England’s most famous “public school,” founded by King Henry VI in 1440. This choir of men and boys has captivated American audiences on four previous tours since 1995.
“A staggeringly good choir, beautifully balanced, alert, intelligent, well-tuned, passionate, and sensitive.” (The Times, London)
“Excellent by all standards...sheer perfection.” (St. Louis Post-Dispatch)
“A special choral concert...purely heavenly sounds.” (Green Bay Press-Gazette, Wisconsin)
Chanson six-voice male a cappella vocal ensemble
“Simply splendid...It was a moment to cherish.” (The Courier-Journal, Louisville)
“In the upper echelon of today’s male ensembles.” (Robert Sieving, president, American Choral Directors Association of Minnesota)
“Gifted young men who sing with elegant ensemble, sincere expression, and sensitive musicianship.” (René Clausen, director, The Concordia Choir)
“One of the best groups I have ever heard.” (Donald W. Crouch, Associated Male Choruses of America)
“Bravo! Chanson surpassed our expectations.... a terrific evening.” (Karen Tindall, Fort Walton Beach FL, presenter)
concertartists.com [email protected] • towerhill-recordings.com toll-free (888) 999-0644 US/Canada • phone (860) 560-7800 • fax (860) 560-7788 1 Gold Street #R, Hartford CT 06103-2914 A Spiritual Pair, Voyage, and Sonata da we go about scientifically or mechani- chiesa [for flute and organ] and Phoenix cally analyzing the influence of “pluck” THE DIAPASON Processional (for solo organ) continue to on the control of tracker action, I’ve had A Scranton Gillette Publication be published by my earlier primary pub- many experiences with sensitive actions Ninety-seventh Year: No. 5, Whole No. 1158 MAY, 2006 lisher, E. C. Kerby, Ltd./Ricordi (Hal where I could control the sound of the Established in 1909 ISSN 0012-2378 Leonard, distr.). Though Ricordi pub- attack of the pipes absolutely, reliably, lishes the organ version to Phoenix Pro- and predictably by my approach to the An International Monthly Devoted to the Organ, cessional, the full organ, brass, percus- keys. I’ve demonstrated this effectively the Harpsichord, the Carillon and Church Music sion Phoenix Fanfare and Processional is to lay people, especially those serving published by Subito in a split-publishing on organ committees with the responsi- arrangement. bility to make an educated decision for Dan Locklair their church: “Here it is with chiff, here CONTENTS Editor & Publisher JEROME BUTERA [email protected] Winston-Salem, North Carolina it is without.” Maybe this is a place 847/391-1045 where the practical outweighs the FEATURES In the wind . . . explanation. You can analyze and The 45th Conference on Organ Music In his January 2006 column, “We’re describe Monet’s waterlilies or the The University of Michigan, Associate Editor JOYCE ROBINSON going in circles,” John Bishop raises sparkles of light on Rembrandt’s helmet October 9–12, 2005 [email protected] some interesting points about how far until you’re blue in the face, but the by Marcia Van Oyen 20 847/391-1044 we should go in altering old organs, but point is to see them and decide for he does not go far enough. yourself. I have also played on tracker The Williams Family of New Orleans: Pictures represent the thoughts of the organs on which this was not possible Installing and Maintaining Aeolian-Skinner Contributing Editors LARRY PALMER painter at a fixed point in time. We can- because of wobbly actions, too much Organs An Interview with Nora Williams Harpsichord not say, 200 years later, that the artist pluck, poor voicing, and the like. by Lorenz Maycher 24 should have said something different. But more important, Mr. Woolley JAMES McCRAY He did, however, probably paint it by draws me into controversial ground Choral Music candlelight, and it was initially viewed with his analogy about viewing paint- LETTERS TO THE EDITOR 3 by the same means. The artist did, nev- ings under electric lights. In the August BRIAN SWAGER ertheless, paint it as if it could be seen in 2005 installment of “In the wind . . .” I NEWS Carillon its full glory. We are now able to use commented on the recent book Stradi- electric light to allow viewers to see vari’s Genius by Toby Faber (Random Here & There 4, 5, 6, 8, 10, 12, 14 what the artist intended and not what he House, 2004), in which I read that vir- Appointments 6 HERBERT L. HUESTIS OrganNet Report was constrained to showing when he tually all of the instruments built by Nunc Dimittis 12 Osiris Organ Archive painted it. It would be wrong to view an Stradivari that are still in use have been In the wind . . . www.mdi.ca/hhuestis/osiris old master by candlelight simply modified. Some of these changes are by John Bishop 14 e-mail: [email protected] because that was the way it was viewed considerable and fundamental, espe- when painted. If the painting is actually cially the introduction of longer finger- REVIEWS Prepress Operations DAN SOLTIS deteriorating, then modern technology boards, which presumably means is used to restore damaged paintings longer strings. Those changes allow the Music for Voices and Organ 16 THE DIAPASON (ISSN 0012-2378) is published monthly by when appropriate—it would be wrong Strad to produce the gorgeous and pow- Book Reviews 17 Scranton Gillette Communications, Inc., 380 E. Northwest to repeat something that has already erful tone that we revere in our modern New Recordings 18 Highway, Suite 200, Des Plaines, IL 60016-2282. Phone been shown to be ineffective unless 2500-seat halls. New Organ Music 19 847/391-1045. Fax (847) 390-0408. Telex: 206041 MSG RLY Email: [email protected] web: TheDiapason.com there is no alternative. Again this simply When I became executive director of Subscriptions: 1 yr. $35; 2 yr. $50; 3 yr. $65 (United returns the image in the painting to its the Organ Clearing House I assumed States and U.S. Possessions). Foreign subscriptions: NEW ORGANS 32 intended state. that I would be a champion of historic 1 yr. $45; 2 yr. $60; 3 yr. $80. Single copies $6 Organs are fundamentally different. preservation, guiding our clients to pre- CALENDAR 33 (U.S.A.); $8 (foreign). Back issues over one year old are available only from Yes, they are works of art in their own serve the historicity of the organs they ORGAN RECITALS 36 The Organ Historical Society, Inc., P.O. Box 26811, Rich- right, but, above all, they are tools for purchased from us. But again, the prac- mond, VA 23261, which can supply information on avail- the interpretation of music by others. If, tical outweighs the explanation. What I CLASSIFIED ADVERTISING 37 abilities and prices. Periodical postage paid at Des Plaines, IL and addi- for whatever reason, they are unable to find is a long list of inquiries from musi- tional mailing offices. POSTMASTER: Send address do this, then they fail to meet their cur- cians who “love the Hook sound, but Cover: Casavant Frères, Saint-Hyacinthe, changes to THE DIAPASON, 380 E. Northwest Highway, rent purpose, and consideration must really want to have electric action and Quebec, Canada; Principia College, Suite 200, Des Plaines, IL 60016-2282. Routine items for publication must be received six be given as to how or whether an instru- pistons.” So I face a dilemma—should I Elsah, Illinois 30 weeks in advance of the month of issue. For advertising ment should be improved. Perhaps an hold out for a client who promises copy, the closing date is the 1st. Prospective contributors obvious example is the choice of action. authenticity or sell the instrument to an www.TheDiapason.com of articles should request a style sheet. Unsolicited The old master organbuilders built institution that will love it only after reviews cannot be accepted. This journal is indexed in the The Music Index, annotat- tracker actions because they had no making a few changes? One fabulous ed in Music Article Guide, and abstracted in RILM choice, not because they believed them unaltered 19th-century tracker organ Send subscriptions, inquiries, and Abstracts. to be superior to anything else—there has spent an extra four years sitting in address changes to THE DIAPASON, 380 Copyright ©2006. PRINTED IN THE U.S.A. was nothing else. While we can now our warehouse and is still unsold E. Northwest Hwy., Suite 200, Des THE DIAPASON accepts no responsibility or liability for build lower inertia and lower pluck because I encouraged such a client to Plaines, IL 60016-2282. the validity of information supplied by contributors, ven- tracker actions, they are still too “heavy” buy something else. Am I an effective dors, advertisers or advertising agencies. on larger organs and constrain the play- protector of authenticity if the instru- ing of music. I suspect that the builders ments in my care go into storage to die? No portion of the contents of this issue may be reproduced in any form without the specific written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the pur- of some of these old instruments des- Another related dilemma that comes pose of course reserve reading at the rate of one copy for every fifteen students. Such copies may be reused for perately wished that they could provide up frequently is that of the instrument other courses or for the same course offered subsequently. their larger organs with actions similar built in America before, let’s say, 1855. to those in their smaller organs so that There are several available at the they could be heard properly. moment (visit our website!), including a The thesis that I have just submitted magnificent three-manual instrument to the University of Edinburgh for my built in 1854 by E. & G. G. Hook (Opus Letters to the Editor PhD clearly shows that players have lit- 173). It’s hard for an organbuilder with tle or no control over the movement of an historic bent to pass up an organ like the pallet of a mechanical action because this. But the organ has many short-com- Pipe organ ban DIAPASON. We do apologize for this of the flexibility in the action prior to pass stops, none of the stops on the The Institute of British Organbuild- error on our part, and thank Patrick J. pluck. The variations that they make in Swell have a bottom octave (1–12 of the ing (IBO) has been working for several Murphy and Associates, Inc. for their key movement occur in this phase Swell are permanently coupled to the months to lobby the European Union most generous support of the 2004 and before the pallet starts to open and can- Choir), and the pedalboard has twenty for an eventual exemption or exclusion 2005 competitions. The 2005 award was not affect the music. The replacement of notes. I believe you have to ask what of pipe organs from the Restrictions on given to Jason Noel Roberts, currently unmusical actions, whether by an percentage of modern organists could Hazardous Substances (RoHS) directive working on a doctorate at the Manhat- improved mechanical action or a proper- appreciate an instrument like this, and of the EU. Organbuilders are con- tan School of Music, where he is a stu- ly designed electric one, may allow the would it be good stewardship for a mod- cerned about the directive affecting the dent of McNeil Robinson. instrument to be heard in the way that ern church to undertake the very lead in organ pipes and in electronic cir- David Spicer the builder intended. It may also allow expensive restoration that would be cuits. This directive is scheduled to take Co-founder, Albert Schweitzer the organist to play music in the way that necessary to put this organ back on its effect on 1 July 2006. Please go to the Organ Festival/USA it was written. Current technology can feet? It’s easy to say that it should be in new IBO website for information and to Minister of Music and the Arts, improve on earlier technology, and we a museum or a serious music school— sign a petition to assist them in their First Church of Christ, Wethersfield, have to be clear whether we are restor- but how many of the hundreds of sur- efforts:
MAY, 2006 3 k premiere of Craig Phillips’ Pastorale and Dance for bassoon and organ. For “ F rank Lloyd Wright, Here & There information:
All Saints’ Episcopal Church, Bev- Jacqueline Zander-Wall, Jay Hill, Marilyn Thomas Bernard, Maxine Thevenot, Iain erly Hills, California, presents a cham- Quinn, Ethan Smith, and Szilvia Schranz ber music festival June 4, 11, 18, and 25. The program on June 4 will feature the On February 12, the Cathedral Church of St. John, Albuquerque, New Mexico, presented a special con- cert in celebration of the life and min- istry of the Rt. Rev. Richard M. Trelease Jr., formerly Bishop of the Diocese of the Rio Grande. The concert featured the Bach Magnificat (conducted by Iain Quinn, director of cathedral music) and the Vivaldi Gloria (conducted by Maxine Thevenot, associate organist-choir direc- tor). The cathedral choirs were joined by members of the New Mexico Symphony Orchestra and soloists Szilvia Schranz and Marilyn Thomas Bernard (sopra- nos), Jacqueline Zander-Wall (mezzo- soprano), Jay Hill (tenor) and Ethan Smith (bass-baritone). The concert, which attracted a capacity audience, was attended by members of the Trelease family and close friends. Malcolm Archer, Maxine Thevenot, Iain Robert Bates Craig Cramer Aaron David Miller The cathedral presented the U.S. Quinn premiere of Malcolm Archer’s Missa Omnes Sancti on Sunday, February 26. choir director. Malcolm Archer also The cathedral choirs were directed by performed on the Great Organists series 425.745.1316 [email protected] www.organists.net the composer and accompanied by later that day. For information: Maxine Thevenot, associate organist-
4 THE DIAPASON stores and publishers, recording compa- The University of Michigan presents but so is the Trinity Church Marshall played by Dr. Burdick and Mr. Ridgell, nies, instrument makers, national and Summer Harpsichord Workshops, & Ogletree organ—complete with its before the choral work. regional societies, and agents. Presen- taught by Edward Parmentier. June massive console by Fratelli Ruffatti of Prior to the July events in Chicago, ters include David Douglass (The 19–23, the 17th-century harpsichord Padua, Italy. This virtual pipe organ is the touring Trinity Church organ will be King’s Noyse) and Susan Hellauer toccata, Frescobaldi, Sweelinck, an interim instrument, necessary used for the 75th general convention of (Anonymous 4). For information: Froberger; June 26–30, Bach’s Partitas because of the damage from corrosive the Episcopal Church in America, 206/720-6270;
David K. Lamb Maija Lehtonen Sabin Levi David F. Oliver Larry Palmer Organist/Choral Conductor/ Organist/Pianist/ Organist/Harpsichordist/Carillonneur/ Organist/Lecturer/ Harpsichordist/Organist Oratorio Accompanist Recording Artist Lecturer/Recording Artist Recording Artist Professor of Harpsichord and Organ Director of Music/Organist Senior Lecturer, Organ Faculty Organist and Composer in Residence College Organist Meadows School of the Arts First United Methodist Church Oulu Polytechnic First Christian Church of Independence Assistant Professor Southern Methodist University Columbus, Indiana Organ and Violin Assistant Music Director Department of Music Dallas, Texas with Manfred Grasbeck Shireinu Choir of Kansas City Morehouse College Helsinki, Finland Kansas City, Missouri Atlanta, Georgia
Gregory Peterson Stephen Roberts Clair Rozier Lisa Scrivani-Tidd Jeremy David Tarrant Organist Organist/Harpsichordist/Lecturer Organist/Workshop Leader Organist/Lecturer Organist College Organist and Instructor of Organ Director of Music Assistant Professor of Music Organist and Choirmaster Assistant Professor of Music Western CT State University St. David’s Episcopal Church SUNY at Jefferson The Cathedral Church of St. Paul Luther College Director of Music Wayne, Pennsylvania Watertown, New York Detroit, Michigan Decorah, Iowa St. Peter Church University Organist Danbury, Connecticut St. Lawrence University Canton, New York Also: Colin Andrews Cristina Garcia Banegas Maurice Clerc Joan DeVee Dixon Olivier Eisenmann Laura Ellis Janette Fishell Heinrich Walther Jane Watts Brador Brass Quintet Duo Majoya Faythe Freese Organist/Clavichordist/Virginalist/ Organist International Touring Ensemble Organ and Piano Michael Gailit Recording Artist Exclusive Recording Artist Christopher Marsden Recording Artists Michael Kaminski Faculty, University of Music Priory Records Artistic Director Marnie Giesbrecht and Joachim Segger Angela Kraft Cross Freiburg, Germany First RCO Performer of the Year Resident Ensemble Professors of Music Faculties, Church Music Schools Organist of the Bach Choir San Diego State University University of Alberta William Kuhlman Heidelberg and Rottenburg London, England San Diego, California The King’s University College Tong-Soon Kwak Germany Edmonton, Alberta, Canada Bach Babes ConcertArtistCooperative Beth Zucchino, Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 [email protected] www.ConcertArtistCooperative.com
MAY, 2006 5 include Jeffrey Smith, Peter Richard ist of St. Mary’s Cathedral, Gdansk, by Bach, Clérambault, Franck, Schu- Janette Fishell, Martin Jean, David Conte, Jane Gamble, Mark Schweizer, Poland, performed works by Polish com- mann, the Dupré Variations on an Schrader, and Mickey Thomas Terry; John Spain, and others; daily rehearsals, posers; at 7 pm, Stephen Tharp played Ancient French Noël, and Rubsam’s the Agape Ringers and the Valparaiso classes, workshops, lectures, reading Dupré’s Stations of the Cross. improvisation, Oshkosh Fantasia. University Bach Choir ensembles; and sessions, daily worship, concerts. For The cost of the CD is $20.00 (includes conductors Christopher M. Cock and information: 770/498-1678; Organ students from Interlochen shipping). Send orders to First Congre- Julian Wachner. For information:
Adult Choir of St. Anne Church, Rochester, New York
On January 29, the Adult Choir of conducted by Jonathan Ryan, choirmas- St. Anne Church (Roman Catholic), ter, with Rudy de Vos, organist, and Sta- Rochester, New York premiered two cie Henshaw, soprano soloist, at a gala new works commissioned by the parish choral concert of sacred music spanning in celebration of its 75th anniversary in eleven centuries featuring all of the 2005: Gaudeamus by Colin Mawby, and choirs and ensembles-in-residence of Missa Brevis in G by local composer St. Anne Church. Zachary Wadsworth. The premiere was ensemble amarcord
Ensemble amarcord, the men’s a Europe’s most celebrated men’s a cap- cappella vocal quintet from Germany, pella quintet. Ensemble amarcord has performed its 100th U.S. concert during won a number of top international the group’s recently completed 13th prizes in the field, including the Grand American performance trip. The 100th Prix Choir Competition in Spain (1995), performance took place at Wright State the International Mendelssohn Compe- University in Dayton, Ohio, during a tition (1999), the German Music Com-
Organ Recitals tour that included eleven concerts in petition (2000), the International Choir California, Idaho, North Carolina, Competition in Finland (1999), and the Texas, Ohio, Florida, Pennsylvania, and first Choir Olympiad in Austria (2000). Alabama. In 2002 the ensemble took top honors Among highlights of the ensemble’s in the Deutscher Musikwettbewerb. U.S. trips have been performances last They have performed throughout summer at the national convention of Europe and Asia as well as in North
Workshops & Masterclasses the Association of Lutheran Church America. At home in Leipzig, they Musicians in New York City and in 2004 recently performed their tenth anniver- at the national convention of the Amer- sary concert in the Gewandhaus, and www.SusanJaneMatthews.com ican Guild of Organists in Los Angeles, two months later performed there twice as well as performances at regional con- with the Gewandhaus Orchestra. ventions of the American Choral Direc- The ensemble is represented in this tors Association. country by Phillip Truckenbrod Con- The five former choristers of the St. cert Artists (www.concertartists.com) in Thomas Boys Choir in Leipzig have Hartford, Connecticut, and regularly Photo: Lorraine Dotson emerged in the past few years as tours here twice per concert season.
6 THE DIAPASON CherryCherry RhodesRhodes inin ConcertConcert Stay in Chicago for One Extra Day!
2006 AGO POST-CONVENTION CONCERT THE BERGHAUS ORGAN QUEEN OF ALL SAINTS BASILICA, Chicago, IL Friday, July 7th at 7:30 pm
This concert is open to the public at no charge. Round trip transportation from the Chicago Marriott Downtown available for a fee of $15. Motor coach reservations required*
his is a rare personality who enriches the universe of the organ and serves both the music of the past and the present by bringing to it very vivid colors and an intense life.
Alice Tully Hall, Lincoln Center, New York …imaginatively projects brilliant expressiveness - New York Times Royal Festival Hall, London …a most memorable recital from a player of dazzling technique, a complete command of the instrument, an uncommon care for registration - and yet with a sensitivity to touch our hearts. - Musical Opinion, England St. Lambertus, Erkelenz, Germany - Thunderous applause was due to the breathtaking virtuosity of the organist who cast the listeners into a spell. - Rheinische Post Review of the CD, Everyone Dance - That Cherry Rhodes proves a sympathetic, graceful and virtuoso interpreter comes as no surprise at all, as she indeed merits the accolades and praise traditionally awarded her. - The American Organist
CHERRY RHODES ORGAN RECITAL
Prelude und Fugue in e minor, BWV 548 Johann Sebastian Bach (1685-1750) 4 piezas para la Misa José Lidón Cantabile para organo al alzar en la Misa (1748-1827) Ofertorio Elevación Allegro Méditation Gabriel Dupont (1878-1914) Afternoon of a Toad Clarence Mader (1904-1971) INTERMISSION
Adagio and Fugue in c minor, K.V. 546 Wolfgang Amadeus Mozart (1756-1791) (transcription by Jean Guillou) Variations sur un Noël bourguignon André Fleury (1903-1995) Metopes James F. Hopkins I. Arachne’s Web (b. 1939) Interlude II. The Gift of Nessus
The Art of Organbuilding
Quality Pipe Organ Building & Maintenance Since 1967 2151 Madison Street, Bellwood, IL USA 60104-1932 | berghausorgan.com For further information, please contact: Dave McCleary | phone: 708-544-4052 | email: [email protected] *Reserve motor coach seats by emailing Berghaus Organ: [email protected]. Indicate the name and address of each person reserving a seat. Fee will be collected at boarding. Reservations must be received no later than May 29. Singers of the church, directed by Lafayette Square; and Boston’s Trinity by friends and colleagues, as well as Eastman School of Music and was Alexander Ruggieri, in weekly services Church, Copley Square, and Old South hymn parodies sung by choir members. organist at St. Paul’s Episcopal Church and during the church’s annual Los Church. Abroad, he has presented A native of Lake Village, Arkansas, in Rochester, New York. He has played Angeles Bach Festival. He will play a recitals in London, Ely Cathedral, Dun- Craig Chotard holds degrees from Hen- recitals at seven AGO national conven- half-hour organ prelude every Sunday fermline, Edinburgh, and Manchester. derson State University, where he stud- tions, and at the International Congress- preceding the 11 am service, and give Scholtz is taking the position vacated ied with Robert Ellis, and the Universi- es of Organists held in London, demonstrations of the organs to visitors. by former tonal director William Ham- ty of Colorado, where he studied with Philadelphia, and Cambridge, England. Foster holds degrees from Stetson Uni- ner, who left Highland to return to his Don Vollstedt. He has participated in Recognized as one of America’s great versity, The Ecole Normale Supérieure family’s business but continues to serve the Royal School of Church Music Sum- organ artists, David Craighead was de Musique in Paris, and the University the Wicks Organ Company in a consul- mer Overseas Program in England, and voted the 1983 International Performer of North Texas. He is represented by tant position. is a member of the Pi Kappa Lambda of the Year by the New York City AGO Phillip Truckenbrod Concert Artists, and honorary music fraternity. Chapter. In June 1968, Craighead serves as a representative of Bedient His career as a church musician received an honorary Doctor of Music Pipe Organs for Southern California. began at Grace Episcopal Church in degree from Lebanon Valley College, Here & There Monroe, Louisiana; he served as organ- Annville, Pennsylvania, and in 1975 was ist and choirmaster at Trinity Episcopal the first recipient of the Eisenhart Cathedral in Little Rock (1965–70) Award for teaching excellence at East- before attending the University of Col- man. His most recent award has been orado, returning to Little Rock in 1971 an honorary Fellowship in the Royal and becoming organist and choirmaster College of Organists, London, England. at St. Mark’s. Currently Dean of the Central Arkansas AGO Chapter, a position he has held three times, Chotard has been chairman of regional AGO conventions and served on the AGO Professional Concerns committee. He is a member of the Professional Concerns Commit- tee of the Association of Anglican Musi- cians, the Commission on Liturgy and Music in the Episcopal Diocese of Arkansas, and a faculty member for the Leadership Program for Musicians Serving Small Congregations.
James Russell Brown
Mark R. Scholtz James Russell Brown is enjoying a Jane Hagmann four-month sabbatical (after 20 years of The Wicks Organ Company has service) from St. Giles Episcopal Jane Hagmann was honored on announced the appointment of Mark R. Church, Northbrook, Illinois. During February 26 for her 50 years of service Scholtz to the position of tonal director. the period he is visiting other Episcopal as organist of First Baptist Church, New He comes to Highland, Illinois, from churches in the Chicago area, as well as Albany, Indiana. Following dinner, a Washington, Connecticut, where he was parishes in Seattle, Los Angeles, San program, featuring a celebration choir Choirmaster of St. John’s Church (Epis- Francisco, and New York. He continues and soloists with Mrs. Hagmann at the copal) from 1990 until the summer of in his full-time position as vice president organ and piano, presented favorite 2004. He coordinated a concert series for Evanston operations and head of the anthems and hymns. A student of the presented under the auspices of the keyboard division for the Music Insti- late Ruth Ewing and Gilbert McFar- church and was the founder and music tute of Chicago. lane, Mrs. Hagmann has presided at the director of The Saint John’s Chorale, an Pilcher pipe organ of the church since ensemble of 20 singers, “ . . . one of the 1956, when she assumed the post as a best small choruses around” (The Dan- teenager. Feted with cards and gifts, bury News-Times). Mrs. Hagmann announced to her ador- Scholtz earned his degree in organ ing congregation that she has no plans performance from the Oberlin College to retire. Conservatory of Music, working with David Craighead Haskell Thomson (organ), William Porter (harpsichord), and Lisa Goode The American Guild of Organists Crawford (continuo). Prior to Oberlin, will sponsor a recital and gala benefit he attended Lebanon Valley College in reception honoring David Craighead Pennsylvania, studying organ and impro- on May 22 at the Chestnut Hill Presby- visation with Timothy Albrecht. Subse- terian Church, Philadelphia, Pennsyl- quently, in 1990, Scholtz studied the vania. Performers include Diane organ works of Arthur Wills with the Meredith Belcher, Ann Labounsky, composer at Ely Cathedral, England. He and Mark Laubach, all of whom are has since presented premieres of several former Craighead students. AGO pres- of Dr. Wills’ compositions including the ident Frederick Swann will serve as American premiere of Fenland Suite for master of ceremonies. The cost is $100 Organ, English Brass Band, and Percus- per person; all proceeds will be placed sion with conductor Bruce J. Barber II, R. Craig Chotard into the AGO Endowment Fund in and the Cleveland premiere of Concerto David Craighead’s honor. For informa- for Organ, Strings, and Timpani. As a On February 17, R. Craig Chotard tion: 212/870-2311, ext. 4308; recitalist, Scholtz has played such celebrated 35 years as organist and
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8 THE DIAPASON her retirement. She came to UTSA in plant pioneer and faculty colleague te Velde is organist at First Presbyter- 1975 as a lecturer in organ, was named Thomas E. Starzl, distinguished service ian Church and adjunct instructor at associate professor in 1976, and promot- professor of surgery in Pitt’s School of Oklahoma State University, both in ed to full professor with tenure in 1979, Medicine, whose favorite composer is Stillwater, Oklahoma. She studied organ becoming the first woman appointed Mozart. For “Mozart Transplantation and composition at Seattle Pacific Uni- full professor at UTSA. Dr. Hieronymus for Organ,” Lord recorded an improvisa- versity with her father, Lester H. supervised the installation of the 1982 tion on “La ci darem la mano” (translat- Groom, and received the M.Mus. from Casavant organ in the UTSA Recital ed literally, “We will give to one another the University of Western Ontario, Hall. She earned acclaim through our hands”) from Mozart’s Don Giovan- where she studied organ with Hugh J. numerous performances throughout ni on Pitt’s Heinz Memorial Chapel McLean and composition with Jack Europe. In 1992 she performed in the organ (Reuter 1994–95). The recording Behrens. She has done post-graduate Moscow Tchaikovsky Conservatory was played as a surprise for Starzl at a work with Michael Schneider in Hall, and she became the third non- birthday celebration March 10. Limited- Cologne, Germany, with Flor Peeters in Russian, first American, and first woman edition CD copies of the recording were Mechelen, Belgium, and with Gerald to be awarded membership in the distributed the next day to Starzl’s pro- Frank at Oklahoma State University. National Russian Musical Society, fessional colleagues, both from Pitt and Her Jubilate Deo (SA with piano or established in 1861. In the 1990s, Dr. around the world, who were attending a organ) will be released this summer by Hieronymus took several UTSA organ Pitt scientific symposium in his honor. Dorothy Young Riess Santa Barbara Music Publishing. She students to France and the Czech Known to many as the “Father of Trans- also has four new organ compositions in Republic to perform on historic organs plantation,” Thomas E. Starzl per- with Marcel Dupré at l’École de Darcey Press’s new release, 120 More and study with eminent organists. formed the world’s first successful liver Musique de Fontainebleau. She was Musical Gifts—Variations on Hymn Bess Hieronymus received a Bache- transplant in 1967. The work can be guest organist at the American Church Tunes ANTIOCH to WERE YOU THERE. lor of Music degree from The Universi- heard on Pitt’s Web site at in Paris, organist at the Church of the ty of Mary Hardin-Baylor, and complet-
10 THE DIAPASON
ety. Educated at San Francisco State tist Theological Seminary, and the Union Nunc Dimittis University and the San Francisco Con- Institute in Cincinnati (Ph.D., 2002). Here & There servatory of Music, Tom was a student Following the devastation of Hurri- and assistant to organist-composer cane Katrina, Dr. Weathersby was Richard Purvis at Grace Cathedral in offered a faculty position at Amherst Col- Breitkopf & Härtel has announced San Francisco, as well as staff organist at lege. In January 2006 he was appointed new practical editions of Mendelssohn’s the Paramount Theatre in the same city. music director at South Congregational organ works. Volume I (EB 8641, 21 His concerts were international in scope Church, Springfield, Massachusetts. euros) follows the layout of the first vol- and included the Mormon Tabernacle, Plans were underway for a series of local ume of the complete edition and fea- Sydney Opera House, Radio City Music recitals and lectures, growth of the music tures the Three Preludes and Fugues, op. Hall, Wanamaker Store in Philadelphia, ministry at South Church, and interna- 37, and the Six Sonatas, op. 65. In Vol- and the Crystal Cathedral. tional travel. He was on the roster of ume 2 (EB 8642, 20 euros), Christian As one of the most inventive and Kingsdale Artist Management. Martin Schmidt has compiled important entertaining theatre organists in the Weathersby performed in Europe, and some unknown organ works from world, Tom was unwilling to “dumb Central America, and throughout the the other two volumes of the complete down” his music in order to cater to the United States. In addition to teaching edition. For information: insular-minded organist brotherhood and performing, he previously served as
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12 THE DIAPASON PEDAL SHIPPENSBURG UNIVERSITY 32 Contre Violone 16 Subbass SHIPPENSBURG, PENNSYLVANIA 16 Lieblichgedackt (Sw) 16 Violone (Gt) 16 Erzähler (Ch) 8 Oktav 8 Gedackt (Sw) 8 Offenflöte 4 Choralbass 4 Offenflöte Mixture IV 32 Contre Fagott 16 Posaune 8 Trompette 4 Rohrschalmei MIDI On Pedal SWELL 16 Lieblichgedackt 8 Gamba 8 Gambe Celeste 8 Hohlflöte 4 Principal 4 Nachthorn 2 Fifteenth Plein Jeu IV 16 Fagott 8 Trompette en chamade (Gt) 8 Trompette 8 Hautbois 4 Clairon Tremulant Unison Off 16 Swell 4 Swell MIDI On Swell GREAT 16 Violone 8 Prinzipal 8 Violone 8 Rohrflöte 4 Oktav 4 Waldflöte 2 Doublette Fourniture IV Sesquialtera II 8 Trompette en chamade 8 Trumpet Tremulant Chimes MIDI CHOIR 8 Prinzipal 8 Erzähler 8 Erzähler Celeste 8 Holzgedackt 4 Prestant 4 Koppelflöte 2 2/3 Nazard 2 Blockflöte 1 3/5 Tierce 1 1/3 Larigot Zimbel III 8 Krummhorn Tremulant Unison Off 16 Choir 4 Choir MIDI On Choir COUPLERS 8 Great To Pedal 4 Great To Pedal 8 Swell To Pedal The combination three-manual pipe and digital instrument recently installed in 4 Swell To Pedal Shippensburg University’s Cora I. Grove Spiritual Center and Interfaith Chapel controls 8 Choir To Pedal 58 digital stops and 6 new pipe ranks, including a brass Trompette en chamade. 4 Choir To Pedal 16 Swell To Great The console features rosewood drawknob stems, manual sharps, and pedal sharps. 8 Swell To Great The organ’s entire complement of pipes and speakers is integrated seamlessly in one 4 Swell To Great central location. Three different console plug-in locations provide additional versatility. 16 Choir To Great 8 Choir To Great 4 Choir To Great 150 Locust Street, P. O. Box 36, Macungie, PA 18062-0036 USA 16 Swell To Choir Phone: 610-966-2202 Fax: 610-965-3098 8 Swell To Choir E-mail: [email protected] 4 Swell To Choir www.allenorgan.com Gt-Ch Manual Transfer A moment lost, the next half seen, motion wouldn’t detract from the wor- cubic-foot pumping cycle would fill a His head above the scanty screen, ship, but perhaps that would deprive the reservoir that holds 108 cubic feet. Still measuring out his deep salaams congregation from deeper insight into Wrong! To put air under pressure you Through quavering hymns and panting psalms. the Word of God. The pump handles of compress it. So it takes many more many of the antique organs I know stick than three strokes of atmospheric pres- No priest that prays in gilded stole, out of the side of the instrument where sure to fill that reservoir. (That math is To save a rich man’s mortgaged soul; the motion of the pumping would have beyond me!) No sister, fresh from holy vows, been quite a spectacle. I wonder how Bricks used as reservoir weights are So humbly stoops, so meekly bows; many worshipers made the connection often wrapped in paper. Why go to all His large obeisance puts to shame between the volume of the music and that trouble? Bricks are porous and can The proudest genuflecting dame, the speed of the pumping? absorb moisture from the air, which Whose Easter bonnet low descends With all the grace devotion lends. The largest single part of most 19th- increases their weight, and the paper century American pipe organs is the inhibits absorption. The organ is tuned O brother with the supple spine, reservoir. Recently I was inspecting a and voiced at a specific pressure. If the How much we owe those bows of thine! large Hook organ in New York City as pressure goes up too much, the sound Without thine arm to lend the breeze, the Organ Clearing House prepares to of the organ will be compromised. How vain the finger on the keys! dismantle it, and I measured the reser- Imagine the reaction of the organ Though all unmatched the player’s skill, voir at 12v x 6v, double rise, with two tuner when he arrives at the church Those thousand throats were dumb and feeder bellows underneath, each of and finds a stack of folding chairs still: Another’s art may shape the tone, which is half the size of the main reser- stored on top of the reservoir! The breath that fills it is thine own. voir. (In this organ, the pump handle The floating top frame of the reser- was inside the case.) I was looking at it voir with all its bricks is very heavy— Allen console and six pipe ranks, Ship- Six days the silent Memnon waits from a logistical point of view—the you can’t budge it. But the organ’s pensburg University Behind his temple’s folded gates; OCH crew will soon have to lift it out wind lifts it effortlessly. And when it’s But when the seventh day’s sunshine falls of the organ loft—but as I like to imag- full, a touch at one end makes the and digital organ controlled by an Allen Through rainbowed windows on the walls, ine the organ as a living, breathing whole thing rock gently—a wonderful console. The combination three-manu- He breathes, he sings, he shouts, he fills entity, this enormous and heavy mech- illustration of both the power and the The quivering air with rapturous thrills; al pipe and digital instrument recently The roof resounds, the pillars shake, anism is one of the organ’s vital organs. delicacy of this musical air. Our friend installed in the Cora I. Grove Spiritual And all the slumbering echoes wake! If the reservoir is 12v x 6v and opens the organ-pumper can move moun- Center and Interfaith Chapel was 18w when full of air, it has a capacity of tains with his pump handle. There are designed, scaled, and voiced by Burton The Preacher from the Bible-text about 108 cubic feet. The feeders few natural forces more powerful than Tidwell, in collaboration with Randall With weary words my soul has vexed open about a foot and are wedge- air. An airliner overshoots the end of Williams, consultant for the project. (Some stranger, fumbling far astray shaped—as they each take up half the the runway, the landing gear collapses, The two-toned walnut and oak console To find the lesson for the day); area of the reservoir, each has a capa- and emergency workers lift the plane controls 58 digital stops and six new He tells us truths too plainly true, city of about 18 cubic feet. The pump- with huge inflatable bags placed under And reads the service all askew,— pipe ranks, including a brass Trompette Why, why the—mischief—can’t he look handle pivots between the two feed- the wings. Air moving fast across the en Chamade. Rosewood was used for Beforehand in the service-book? ers—when the handle goes up, one countryside (wind) blows the roof off a the drawknob stems, manual sharps, feeder opens and the other closes so barn. You stand on the platform of a and pedal sharps, and Ivora naturals for But thou, with decent mien and face, one cycle of the pump-handle (up and railway station and an express train the keyboards. The organ’s pipes and Art always ready in thy place; down) feeds 36 cubic feet into the roars through—the blast of air pushed speakers are situated on one wall of the Thy strenuous blast, whate’er the tune, reservoir—assuming no leaks, it takes aside by the locomotive almost knocks multi-purpose chapel. Three different As steady as the strong monsoon; three strokes to fill the reservoir. you over. console plug-in locations are accessible Thy only dread a leathery creak, Right? Read on. Or sit in a sailboat at noon on a calm Or small residual extra squeak, to the dolly-mounted console. The To send along the shadowy aisles Fill the reservoir and then stop sunny day. As you glide gently along the instrument was installed by Menchey A sunlit wave of dimpled smiles. pumping. Play a hymn on one stop. glassy water you notice a line of rough Music Service, York, Pennsylvania. Matt You’ll get through a whole verse, maybe water a thousand yards away moving Baldwin of Menchey coordinated its Not all the preaching, O my friend, more, before the bellows is empty. toward you. The heat of the sun has sale and installation. For information: Comes from the church’s pulpit end! Pump it up again and play the same warmed the land. The air above the
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14 THE DIAPASON Life is full of little surprises.
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The sailboats and pipe organs. In my inter- and Organ post-Easter period will require careful CHANGE IS INEVITABLE. pretation, it’s no accident that the logo by James McCray planning to sustain the momentum of C. B. Fisk, Inc. (organbuilders in gained during the week prior to Easter. Gloucester, Massachusetts) is the masts, As Robert Louis Stevenson noted so Transitions: Post-Easter ROWTH IS PTIONAL yards, and rigging of a square-rigged long ago, “It is the mark of a good action G O . sailing ship. that it appears inevitable in retrospect.” When you play four verses of a hymn The Resurrection is not a miracle like any on a large organ you send 10,000 cubic other. It is a unique manifestation within Alleluia, Alleluia, Hearts and Voices { 3 this world of the transition God makes for feet of pressurized air (2500 ft /minute x us out of this way of being into another. Heavenward Raise, Robert Edward 4 minutes) out of the blower, through —Austin Farrer, Saving Belief Smith. Two-part mixed voices and the reservoirs, through the pipes, and organ, GIA Publications, G-5585, ARTISTRY IS CRITICAL. into the sanctuary converted into sound The transition from the dark days of $1.30 (E). energy. I don’t believe speakers can Holy Week to the bright, radiant light of The choral parts are SA/TB with the duplicate that. Easter is immediate and continues four stanzas of the setting using the { Today, we slide onto the organ throughout Eastertide as the warm same melody in various vocal combina- bench and flip a switch. An electric spring days return. Spring usually tions. The last verse uses only the text motor comes on turning a fan that unfolds slowly, often with a series of “Alleluia.” The organ part, on two INTEGRITY AND AN INFORMED blows air through ducts into the reser- starts and stops as nature reluctantly staves, has the pedals indicated by stem voirs. When the fast-moving air is con- releases her hold on winter. As T. S. direction, and is supportive throughout. POINT OF VIEW,SINCE 1917 tained by the reservoir with weights (or Eliot observes in The Waste Land, With limited ranges, repetitive ideas, springs) pushing down on its top, pres- “April is the cruelest month.” From Ash and organ doubling, this simple anthem sure is created, regulated, and stored Wednesday throughout Lent, there usu- makes a good Eastertide transition set- { until you are ready to use it by playing. ally are moments when the anticipation ting for the weeks after Easter. In a large organ, the blower is a huge is overwhelming. There is a downward machine hidden in a remote location. curve that reaches its depth on Good Jesus Lives! Sing an Alleluia!, Debo- It might be the size of a small car and Friday, then is instantly thrust in the rah Govenor. Unison/two-part, key- have a 10, 20, or even 30 horsepower opposite direction on Easter Sunday in board, and two-octave handbells, motor. Many people never throw the a catapult of emotional reversal. Beckenhorst Press, Inc., BP1714, switch that turns on a machine that For the church choir director there $1.50 (E). large. Among other industrial innova- may be problems in that post-Easter Although probably designed for chil- tions, the development of the jet period. The climax of the diverse musi- dren’s choir, this setting would work engine has resulted from research cal moods of Holy Week is on Easter well on the Sunday following Easter as about the nature of moving air so mod- Sunday with its multiple services, addi- an easy anthem that could be sung by a ern blowers can be much smaller and tional instruments, spirited music, and small choir. Most of the piece is in uni- quieter than the older monsters that the delightful joy of a full choir loft of son with some limited harmony. The lurk in church basements. It’s common vocalists singing to a full church of handbell part, also harmonic in intent, is for a newer blower to be installed right expectant listeners. For most directors, printed on the back cover. There is a inside the organ. This means less work that may take lots of time, but it is rela- modulation, a keyboard part on two Reuter Organ Co. and expense building windlines, and it tively easy to accomplish. Those Sun- staves, and a loud Alleluia ending. means that the organ pipes are sitting days following Easter are the ones need- 1220 Timberedge Road in the same atmosphere that’s being ing careful planning and an enthusiastic Take Up Your Cross, Austin C. Lawrence, KS 66049 used to blow them. When an organ approach from the director. Lovelace. SATB and organ, Para- blower sits in a cold basement room, A typical choir member has given clete Press, PPM00610, $1.60 (E). 785/843-2622 the cool air blowing through the warm additional hours of rehearsal, increased By urging the congregation to “Take pipes upsets the tuning. And remem- midweek service participation, and the up your cross,” this easy setting is per- www.reuterorgan.com ber our 10,000-cubic-feet-per-hymn; increased time commitment on Easter fect for a Sunday following Easter. The think of the waste of heating fuel when Sunday that often lasts from the early first verse is for women, then an unac- you blow that much basement air into a morning hours until noon. In their companied four-part setting. This is fol- heated sanctuary. minds, it is time to “kick back a little.” lowed by a modulation that is The organ blower is a great conve- The Sundays following Easter usually antiphonal between SA/TB voices. The nience. Imagine if scheduling organ- see a dramatic shift of attendance, yet predominantly two-part writing contin- pumpers were added to the more famil- the need for musical leadership from ues into the fourth verse, which declares iar chores of the modern church organ- the choir may be even greater than that “only those who bear the cross may ist. But don’t take that blower switch before. They need to be reminded that hope to wear the glorious crown,” an for granted. Think of all that grand air it is not just the special music they ideal post-Easter message. The music is rushing through your instrument, con- bring, but the focus of their voices in very easy but well-crafted. verting to sound energy as it goes leading the hymns, their contribution through the pipes, blending with the to the pageantry of the morning wor- Christ Is Risen! Alleluia!, Mark body of air-driven sound coming from ship service with their festive robes, Shepperd. SATB and brass quartet the lungs of the congregation. It’s a and the overall security they bring by or organ, MorningStar Music Pub- winning combination. merely being there. A choir loft of lishers, MSM-50-4050, $1.50 (M). One Saturday morning I received a empty chairs brings negativity to a ser- This setting could be used on Easter frantic call from the organist of a vice, especially after the rousing inten- with brass one year, then organ in the church whose organ I maintain. A wed- sity generated on Easter. post-Easter period the following year. It ding was about to start and the organ Directors do not need to use difficult is fast and joyful. After an instrumental wouldn’t work. She could hear that the music during this post-Easter period, introduction, the brass are primarily blower turned on and the console lit up although it is recommended that the used in brief, energetic spurts of sound Façades the way it always does, but no sound spirit lean toward fast, loud, and cele- between choral phrases, many of which anywhere. I rushed to the church to brative. Musicians often hate to pro- are unaccompanied. With wide dynam- find limousines lined up out front, and gram unison or two-part music, but that ic contrasts and a big Alleluia ending, Consoles photographers running around. The certainly has merit at this time. As the this setting will appeal to singers and church was full, and the bagpipe was old axiom suggests, “Less is more.” congregation. Highly recommended. vamping (egads!) to fill the time. Sure Choose easy music requiring very limit- enough, the blower was running and ed preparation. Perhaps eliminate the Shout the Victory, Stan Pethel. Control the console was lit (so I knew that the mid-week choir rehearsal for a couple of SATB and keyboard, Theodore Systems power supply was on), but the bellows weeks and put everything together in Presser Co., 392-42412, $1.50 (M). hadn’t risen—there was no air pressure the usual 30-minute pre-service warm- Although this is probably best suited in the organ. I ran to the basement up time. Sing only for the main service, to a youth choir, it could bring a smile to Digital where I found a card table resting and, if possible, find some way to reward the adult singers and the more formal against the organ blower’s air intake. the choir. For example, distributing a traditional service participants. It is Extension That’s all it took. No air, no music. Can “Meritorious Service Award” certificate indicated as a “shuffle swing,” and is a a card table stop bagpipes? made on a computer for the choristers jazzy, syncopated setting with a soloistic Voices who showed up to sing on the Sunday keyboard accompaniment that drives Notes after Easter is an inexpensive way of the music. The text is about Christ com- Sounds like art 1. www.2020site.org/poetry/owh.html recognizing their support. Silly? Per- ing back “to take his children home on
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16 THE DIAPASON the gospel train.” With bluesy chords, 9226; fax: 804/353-9266; lisher, organist, organbuilder, tonal fin- construction. This particular instrument repeated static phrases, and a jazz piano
Book Reviews 3D Acoustics
Litterae Organi: Essays in Honor of Barbara Owen, edited by John Ogasapian, Scot L. Huntington, Len Levasseur, and N. Lee Orr. Rich- mond, VA: Organ Historical Society Press, 2005, xxi + 388 pages. $45.00 (OHS members), $55.00 (non-mem- bers), plus $10.00 shipping. Organ WWW. JOHANNUS .COM Historical Society, P.O. Box 26811, Richmond, VA 23261; tel: 804/353-
MAY, 2006 17 er and performer—he flourished in the and temperaments; one result was the the 1920s. As the leaflet puts it, the piece 1870s and early 1880s—did not achieve tonal design, voicing, and finishing of New Recordings is “registered in keeping with the spirit the prominence and professional recog- the organ for Walt Disney Concert of the Father Willis organ.” This is very nition of other significant musical fig- Hall, the new home of the Los Angeles definitely not how Bach himself would ures and trendsetters of his time. Unfor- Philharmonic Orchestra, in 1995. His Robert Sharpe Plays Organ Music have played it, but in its way it is a tunately, no biography of Thayer is pro- legacy of craftsmanship and artistic from Truro. The English Cathedral refreshing change. The 16v manual reeds vided, and he is not listed in The Oxford achievements is said to challenge and Series, Vol. X. Robert Sharpe, are used to particularly good effect. Companion to Music or The Harvard inspire future generations of builders organist. Willis organ of Truro Paul Spicer (b. 1952), studied compo- Biographical Dictionary of Music, so in the area. Cathedral. Regent Records sition with Herbert Howells and is a unenlightened readers must remain The book concludes with a Select List REGCD 193, well-known British composer of organ ignorant concerning his life and times. of Publications, 1956–2005, prepared
18 THE DIAPASON (BSH); Franck: Final in B-flat (BSH); the hardness of the parallel fourths in tive, introspective treatment. The most melodies, cantus firmi, ostinati, or just Mendelssohn: Sonata No. 1 in f (BSH); the Carillon. In addition, some rich har- substantial of these three is Variations used as short motives. A rich harmonic Bach: Prelude and Fugue in e [Wedge] monic dalliances balance the strict dia- on Oh, for a Thousand Tongues. Stanzas language is used throughout. To Anglo- (BSH); Bach: Rejoice Beloved Chris- tonicity of the previous movements. of Wesley’s celebrated hymn are used as phones the impressionistic treatment of tians (BSH); Reger: Fantasie on the mottoes for the five variations. There is a Adeste fideles does not accord with our Chorale How Brightly Shines the Morn- Jeffrey Blersch, Fanfare and Proces- dramatic fanfare for the opening apos- emotional expectations for the hymn. ing Star (BSH). sion. Concordia 97-6722, $4.00. trophe to the thousand tongues, fol- Not virtuoso dramatic treatments, nor What does one say about perfor- This is a stately trumpet voluntary in lowed by a pastoral setting for the gra- short or light Sunday morning toss-offs, mances by Virgil Fox (1912–1980) that D laid out in a traditional format known cious Master. Quiet charms characterize these fine examples of Karg-Elert’s has not already been stated and restated, to us from the arrangements of Jeremiah the music in the sinner’s ears, and jagged work should find their place in an argued and reargued? By this time, 25 Clarke’s Voluntary. Trumpet solo and rhythms illustrate the power of canceled informed repertoire. years after his death, Fox’s playing needs organ plenum alternate with comforting sin. A stirring doxological toccata in 10/8 —Gale Kramer no apologies—one usually either likes predictability, with the fanfare interject- meter brings the variations to a close. Metropolitan Methodist Church his playing or one doesn’t. ed at the proper dramatic moments. Detroit, Michigan Fox was an organist of his time, Like its model, it has the ability to be Robert A. Hobby, 3 Hymns of Praise, trained before the advent of the histori- trimmed or augmented to suit the needs Set 7. MorningStar MSM-10-578, cal organ movement, and his playing of a particular procession. $11.00. David Conte, Prelude and Fugue for displays attributes of post-Romantic Hyfrydol gets a 9/8 meter setting in a Organ Solo. E. C. Schirmer No. organ playing when the ideal was an Samuel Coleridge-Taylor, Arietta, gentle, flowing manner. The setting for 6216, $10.00. orchestral sound, often achieved by Elegy and Melody, edited by Dr. Forest Green is two-voice counterpoint Contemporary American composer over-orchestration. In general his play- William Tortolano. Paraclete Press in the manuals with cantus in the pedal. David Conte has previously produced ing is exciting, if not always musical, and PPM00534, $10.00. Sing Praise to the Lord (Parry’s Laudate two major works for organ, Pastorale is characterized by sound combinations Although the Anglo-African composer Dominum) receives an eight-page treat- and Toccata and Christmas Intrada, that today would not be considered to Samuel Coleridge-Taylor received his ment, about four times through the along with two shorter works, Soliloquy be historically appropriate; sound colors musical training and lived in England, he tune, concluding with a broad triumphal 1 and Soliloquy 2, and it is most fortu- and contrasts rather than sound color was well informed about the leaders, epilogue and a bravura coda. nate that he has provided another sub- blends; and sound contrasts (that today both literary and political, of the black stantial composition of about eight min- might be considered harsh contrasts) to community in America. He was best Sigfrid Karg-Elert, Cathedral Win- utes duration. Dedicated to Nadia distinguish melodic or contrapuntal known in this country for his cantata dows for Organ, op. 106, edited by Boulanger, his former teacher of three lines. His playing also displays dynamic Hiawatha’s Wedding Feast, with text by Klaus Uwe Ludwig. Edition Breit- years, the entire prelude of this compo- and majestic readings with a good sense Longfellow. The present collection of kopf 8756, 14 euros. sition is anchored by a B-flat pedalpoint of line and form; an energetic, forward three modest pieces comprises his com- If you only play Karg-Elert’s Nun and has three statements of a principal driving momentum; and the use of dra- plete output for organ. Despite the danket alle Gott you will be surprised theme separated by episodic material. matic dynamic contrasts and accelera- tempo directions andante con moto and by the editor’s assertion that this prolif- The fugue is in three sections, initially tions to generate excitement and build allegro, the impression remains of ic composer of the early twentieth cen- in compound meter with mostly eighth- to climaxes. serene, unhurried melody. Elsewhere he tury was considered at the time to be note motion, a second section on the These are well-recorded perfor- championed the music of the American the most important composer for organ swell mixture stops where a sixteenth- mances by Fox at the peak of his per- and African Negro, but these pieces do since J. S. Bach. He wrote numerous note countersubject is introduced, and forming powers and before the theatri- not illustrate that interest. chorale-based works as well as free- a final section with sixteenth-note cal flamboyant mass appeal of his “heavy style compositions, and he employed a triplet accompaniment of the initial organ” era. He made sense of the music Donald Busarow, Five Chorale Pre- variety of styles and approaches to fugue subject. The rhythmic crescendo by filtering it through his prodigious ludes for Organ. Augsburg Fortress, tonality. Cathedral Windows (the origi- is accompanied by a gradual registra- technical abilities and larger than life 0-8006-7677-7, $12.50. nal title is in English, since it was first tion increase that brings the work to a personality. This is the final volume in A veteran Lutheran composer treats published in England) is subtitled Six grandiose conclusion. Although the the fine documentary series consisting of some familiar Lutheran chorale tunes Pieces on Gregorian Tunes. Three of technical difficulties are not insur- Volume I (his Girard College recordings and makes a skirmish into Methodist ter- the tunes, Resonet in laudibus, Adeste mountable, the work is by no means of 1941); Volume II (his Hammond Cas- ritory with Rock of Ages, Cleft for Me set fideles and an Ave Maria, are not to be easy, especially in the final third of the tle records of 1946 and 1953); and his in imitative counterpoint. One detects found in the present Roman liturgy, but fugue where one must be comfortable Great Protestant Hymns recordings (on echoes of Mouret’s Symphonies de Fan- in fact Karg-Elert treats them just like playing sextuplets of parallel thirds at a the Aeolian-Skinner organ at The River- fares in the accompaniment of Nun freut the Kyrie, Lauda Sion and a second Ave relatively quick tempo. side Church of 1956). If these perfor- euch, and of Jesu, Joy of Man’s Desiring Maria, which are found in the Liber —Warren Apple mances are not for the scholar expecting in the ritornello of Herr Jesu Christ, dich usualis. In each case selected melodic Venice Presbyterian Church historical performance accuracy, they zu uns wend. O du liebe, meine liebe fragments are freely elaborated as Venice, Florida are at least for people who like exciting receives a cantus firmus treatment illus- performances of organ music, and that trating the text “Jesus, Refuge of the has value, too. Virgil Fox was a per- Weary.” The accompaniment in Seelen- former who had fun! braütigam is derived from the rhythm of —Jeffrey K. Chase, M.Mus., J.D. the first measure, and the setting is Ann Arbor, Michigan expanded by a free fantasy on the second Eloquence and Artistry stanza of the tune. Robin Dinda, Organ Duets No. 3: in Organ Building New Organ Music Max Cat Rag, for Two Performers on One Organ. Wayne Leupold Edi- tions, Inc. WL700029, $10.00. John Ferguson, Shall We Gather at A photo of Max and the composer the River. Augsburg Fortress 11- precedes the brief Max Cat Rag, third in 10824, $12.00. Dinda’s series called Organ Duets. The “For Organ and Congregational style is traditional piano ragtime as Singing,” suggests the composer on the brought to the organ by William cover, and inside he urges the same, Albright. Each performer has his/her whether the use is worship or recital. own pedal part, and there is a section for Each succeeding stanza is a half step pedals alone (double pedal for each per- higher than the preceding one. One former), which could be entertaining for treatment emphasizes the flowing an audience to view. water; the others are animated by the dotted rhythm of the tune. Play it in a Robin Dinda, Nibs and Nobs: Rag for “gospel” style, Ferguson recommends, Organ. Wayne Leupold Editions, explaining that this means relaxing the Inc. WL700027, $9.00. dotted eighth plus sixteenth into a Above and beyond the expectations of triplet, with the optional addition of a the style, Dinda includes some original tambourine. Surely this must be the syncopation and rolls the tune down into Lutheran version of gospel style! the pedals from time to time. Accompa- nying is a photo of Nibber and Nobber, John Ferguson, A Wedding Triptych the ribbon snakes for whom the piece is Based on Three Hymns. Morn- named. ingStar MSM-10-650, $8.00. In the Prelude on When Love Is Robert A. Hobby, 3 Hymns of Praise, Found (O Waly Waly) the composer, Set 6. MorningStar MSM-10-542, not surprisingly, finds a canon. The Pro- $11.00. cessional on Now Thank We All Our Double pedal, although it is not too God features a carillon figure in parallel strenuous, is required in the setting of fourths over the theme in double pedal. Cwm Rhondda. The interludes between The warmth of parallel sixths in the sections, besides enabling modulations St. Bede Catholic Church, Williamsburg, VA Rhapsody on Go, My Children, with My to new keys, give breathing space to the Neil Kraft, Music Director Blessing (Ar hyd y nos) contrasts with music. Nettleton receives a contempla- Member, Associated Pipe Organ RONALD CAMERON BISHOP Hupalo & Repasky John-Paul Consultant s Builders of America Pipe Organ 112 West Hill Street Pipe Organs Buzard Digital Enhancements 1785 Timothy Dr. Unit 4 Pipe Organ Builders Champaign, Illinois 61820 All-digital Instruments San Leandro, Calif. 94577-2313 800.397.3103 • www.Buzardorgans.com 510 483 6905 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595 www.hupalorepasky.com
MAY, 2006 19 The 45th Conference on Organ Music The University of Michigan, October 9–12, 2005 Marcia Van Oyen
Organ conferences centered on III that identified him as an organist, repertoire, performance practice, and confirming his public reputation. Such a history rather than purely practical mat- collection of organ music was unprece- ters are few and far between. Outside of dented, including works at the upper the American Guild of Organists con- limits of organ technique, testing Bach’s ventions and pedagogy conferences, or ability as a composer as well. At the time, single-topic workshops given by other there were probably only twelve organ- entities, the annual University of Michi- ists with the ability to play the large gan Organ Conference stands out for its chorales in the collection, so as a mar- breadth and depth. The conference’s keting strategy, Bach added the smaller three days, packed with presentations chorales and duets, which could be by local, national and international played on the harpsichord or clavichord. experts, offer a terrific opportunity to In addition, the pieces are a musical cat- delve into academic topics and re- echism to be studied daily, using teach- engage with the details of the organ and ings of the Lutheran faith and hymns of its history. In addition, the conference is the Mass. The title page of the Part III a bonus for Michigan students, exposing includes the phrase “for the recreation them to topics, lecturers and perfor- and education of the soul,” and is the mances beyond the tutelage of the only volume of the four that refers to excellent Michigan faculty. education. In addition, it is the most The annual organ conference is the comprehensively thought out and pro- brainchild of Dr. Marilyn Mason. When found of all Bach’s collections, standing asked how long she has been involved at the threshold of Bach’s late works. with the conference, she replied: Christoph Wolff, Marilyn Mason, Samuel Swansen, Toni Vogel Carey (MVO) The Clavierübung was a systematical- ly developed project, composed in the Yes, I have been responsible for all of Reader, and Johann Sebastian Bach: The sional ambitions became his assistants. second half of the 1730s, and published them!! I began the first conference in 1961 Learned Musician. Wolff is simultane- The query “Did Bach write concertos in 1739. Part III is an ideal organ con- because my manager, Lillian Murtagh, ously erudite and engaging, bringing the for organ and orchestra?” provided the cert as Bach would have conceived it, had written that Anton Heiller would be coming to the USA. Right then I said we listener into his research process, shar- motivation for Wolff’s second lecture. beginning with a prelude, ending with a wanted him in October, and we signed ing how he has arrived at connections His conclusion is that the bulk of Bach’s fugue, with chorales in between; he may him for the first Conference on Organ and conclusions. He is an articulate harpsichord concertos originated as have played the large pieces for the ded- Music. Through the years I have had assis- speaker, and conference attendees were organ concertos that were later ication of the Silbermann organ in the tance from both James Kibbie and privileged to hear him present four lec- reworked into cantata movements. He Frauenkirche in Dresden in 1736. On Michele Johns, but I have been responsi- tures on J. S. Bach and his music. guided listeners along the trail that led the heels of Wolff’s lecture on Part III, ble (with a conference committee) for the to this thesis. Some of the signposts doctoral students of Marilyn Mason program and presenters. Bach lectures by Christoph Wolff along the trail included these facts: The (David Saunders, Andrew Meagher, All of the conference events this year, Wolff’s first lecture, “J. S. Bach and bulk of the orchestral repertoire is from Marcia Heirman, Kirsten Hellman, except for one lecture and one concert, His Circle,” offered insight into the the Leipzig period. The Brandenburg Monica Sparzak, and Kim Manz) played were held at Hill Auditorium, home of societal and musical influences sur- Concerti, though dedicated in 1721, are the complete work on the Fisk organ in the Frieze Memorial Organ. Having rounding the great master. The circle, actually pre-Cöthen and have a relation- Blanche Anderson Moore Hall at the survived several tonal re-workings, as defined by Wolff, consisted of musi- ship to the Weimar cantatas; these School of Music. Wolff gave a brief water damage two decades ago, and glo- cians of the Bach family, influential works could not have been written in description and guide for listening to riously emerging following an extensive musicians outside the family, students Cöthen for political reasons. Idiomatic each piece. renovation of the auditorium completed of Bach, and patrons of Bach. The his- writing in the E-major harpsichord con- Typically, the chorales or the prelude in late 2004, the organ is in fine shape. torical depth of his musical family is certo and its keys, range, and style point and fugue are excerpted for concert In expert hands and played with clarity, unique to Bach. The combination of to organ performance. Wolff plans to use, but hearing the collection as a this instrument is quite versatile. The profundity and expressivity in the music present an edition of concertos using whole brings to light Bach’s carefully deepened color scheme of the auditori- his relatives composed is fundamental the right hand parts Bach typically planned compositional architecture and um and the organ’s newly gold front to understanding Bach’s work. The wrote out (he improvised the left hand) enhances the beauty of the works. By pipes lend an aura of warmth and young Bach was immersed in this music, and the full harpsichord part. the time the final fugue is played, no ambiance previously lacking, and in this full of innovative practices. Wolff’s third lecture was “Bach and introduction or explanatory note is nec- environment the organ’s smoky-sound- One of the prominent musicians influ- the Silbermann Connection.” Johann essary—the work is heard as a natural ing strings, full-bodied principals, and encing the young J. S. Bach was family Sebastian Bach and organbuilder Gott- conclusion to what has come before. high-pressure reeds shine. friend Johann Pachelbel, who trained fried Silbermann met in 1724 when Hearing the pieces in one sitting is Conference lectures took place in a keyboardists with a mixed repertoire of Bach played a concert in Dresden on demanding for the listener, weighty pleasant, light-filled meeting room on Italian, French and German music. Cen- the new organ at the church of St. Sofia. stuff even for the organ crowd, but it is the mezzanine level of the facility, allow- tral Germany was a colorful cultural Bach was a technical expert, able to con- a very satisfying experience. ing easy access to the auditorium down- scene, with many small political entities, verse at Silbermann’s level, and fre- Dr. Mason’s students played the stairs and the array of colorful restau- and this was reflected in its music. Ger- quently examined the structure, demanding pieces very ably, handling rants in Ann Arbor’s downtown area. man composers took the best of what mechanics, and acoustics of new organs. the sensitive action of the Fisk organ Anticipation was in the air as the first existed from eclectic sources and com- Another important meeting occurred in well. This organ is an important historical lecturer, Christoph Wolff, the world’s bined it in a new way, creating a cos- 1736 when Bach played the dedication teaching tool, and its tonal palette and foremost Bach scholar, took the podium. mopolitan style. Pachelbel was an impor- of a new Silbermann organ at the unequal temperament provided the req- Christoph Wolff, born and educated tant transmitter of this mixed style. Frauenkirche. When Silbermann was uisite colors to elucidate Bach’s works. in Germany, is Adams University Profes- As a teacher, Bach allowed his stu- experimenting with building a fortepi- sor at Harvard University. He has pub- dents to develop along their own path, ano, he called on Bach to examine the The Global Bach Community lished widely on the history of music according to their own tastes and pace, prototype. The two were also known to Following the Bach concert, confer- from the 15th to the 20th centuries; and nurtured their best individual qual- have examined a new organ in Naum- ence attendees were invited to join a recent books include Bach: Essays on ities. His students worked with him all burg in 1746, the largest instrument lunch-time discussion with leaders of His Life and Music, The New Bach day every day, and those with profes- built by Hildebrandt. the Global Bach Community: president Wolff’s final lecture was on the Samuel Swansen, vice president Mari- Clavierübung Part III. Both Kuhnau lyn Mason, secretary Toni Vogel Carey, and Lübeck had published volumes and advisory board member Christoph Built in the 21st Century titled “Clavierübung” to train perform- Wolff. The community was founded in ers and composers, and Bach selected 2000 with the following mission: to rec- Installations in the United States this title in order to accommodate sev- ognize and foster the common spirit United Congregational Church - Little Compton, Rhode Island 2001 eral volumes of his work. At the St. that exists universally among lovers of Church of the Epiphany - Miami, Florida 2002 Thomas School and Leipzig University, Bach’s music, to facilitate Bach-cen- United Lutheran Church, Mt. Lebanon - Pittsburgh, Pennsylvania 2002 Bach was surrounded by colleagues who tered projects worldwide—artistic, Cathedral of the Immaculate Conception - Kansas City, Missouri 2003 were publishing. Bach was at a disad- educational, social and spiritual, to help Brigham Young University - Rexburg, Idaho - fourth division addition 2004 vantage because he had no academic the Bach community flourish, in part Phillips Church, Phillips Exeter Academy - Exeter, New Hampshire 2004 degree, but needed to establish that he through the ability to raise funds not First Presbyterian Church - Naples, Florida 2004 had the credentials to teach. He wanted normally available to individual Bach Immanuel Baptist Church - Little Rock, Arkansas 2005 to publish a series that would show he organizations. In cooperation with The ~ Coming Soon ~ was a very experienced, innovative, Bach Festival of Philadelphia’s website, Friendship Missionary Baptist Church - Charlotte, North Carolina 2006 scholarly musician, highly qualified to the Global Bach Community has Johns Creek Baptist Church - Alpharetta, Georgia 2006 serve as music director and cantor at St. emerged as the central resource for Visit www.ruffatti.com for specifications Thomas. In 1723, Bach added a title Bach organizations worldwide page to the Orgelbüchlein (composed in (www.bach-net.org). Weimar), doing the same for the Inven- tions and Sinfonias and the Well-Tem- Lectures—Innig, Hamilton, and Distinguished pipe organ builders of Padua, Italy pered Clavier in order to document his Barone teaching method. Rudolf Innig has concertized Via Facciolati, 166 • 35126 Padua, Italy While Part IV of the Clavierübung, throughout the world and made numer- Telephone 39-049-750-666 • Fax 39-049-850-483 • In the United States: 330-867-4370 the Goldberg Variations, portrayed ous recordings for radio broadcast as Bach as a keyboard master, it was Part well as commercial sale, including the
20 THE DIAPASON ent in the pipe organ world: “There is never any one way any more than there is any one player.” He closed with one more recording: the Toccata from Boëllmann’s Suite Gothique played by an accordion band. “It’s the ultimate in flexible wind,” Barone quipped. Organ concerts—Hamilton, Disselhorst and Innig Three artists presented evening con- certs in Hill Auditorium: Stephen Michael Barone and Jerome Butera (MVO) Hamilton, Delbert Disselhorst, and Rudolph Innig. Hamilton’s selection of repertoire, labeled “Alain and His Cir- cle,” included L’Ascension by Messiaen, the Te Deum by Langlais, Trois Mouve- ments pour orgue et flute by Jehan Alain, and Prelude and Fugue in B major by Dupré. Hamilton’s playing is fluid and virtuosic, and he knows how to coax the loveliest sounds from the Hill At the reception honoring Robert Glasgow on the stage of Hill Auditorium (KC) organ. He is expressive with his physical movement at the console, even “con- rendition played by G. D. Cunningham, Choral played on the piano by Vladimir ducting” with a free arm at times. His Delbert Disselhorst and Stephen Dupré’s whirlwind take on his own G- Viardo of the University of North Texas. performance of the sustained prayer in Hamilton (MVO) minor Prelude and Fugue in his youth (If you play or are fond of this piece, this L’Ascension didn’t seem static, but felt and a much older Dupré playing one of is a must-have recording, available from alive, moving forward. He attributes this complete works of Messiaen. His organ the Preludes and Fugues from Opus 36.
Rheinberger, but having become fond BUZARD CASAVANT DYER FISK GARLAND GOULDING FRERES DOBSON R. & WOOD of Rheinberger’s music, then told the audience, “I want not only to inform, but to convince.” Compared to his con- temporaries Mendelssohn, Brahms, and Liszt, Rheinberger’s life and education at the Munich conservatory were unre- markable. He wrote music simply to express joy, his style was provincial rather than cosmopolitan, and his music APOBA is not innovative. Innig asserted that Rheinberger’s music has receded into history due to these factors. By the time he began to write organ sonatas late in life, Rheinberger had already composed Get the Best numerous symphonies, operas and songs. It is in the organ sonatas that he truly developed his personal style, com- posing at least one large organ work per From the Best. year 1875–1894. Innig hopes to garner attention for these works with his recording series. Stephen Hamilton is minister of Then music at the historic Church of the Holy Trinity (Episcopal) in New York City and has recorded Marcel Dupré’s La Rest Assured. Chemin de la Croix to great acclaim. He studied with Marie-Claire Alain, had the opportunity to play L’Ascension for Messiaen, and has an extensive collec- tion of correspondence between Marcel Dupré and both Arthur Poister and Robert Shepfer. During his lecture, “The French Connection,” he shared Whether your new organ is to anecdotes, recounting his experiences with various teachers, including Russell be small or large, electric Saunders (who taught the fourth-grade Hamilton), as well as personal reflec- or mechanical action, tions. The bulk of his presentation dealt with the life of Marcel Dupré and his APOBA members are value as a pedagogue. He distributed a proven, ethical firms. complete listing of Dupré’s organ works, encouraging the performance of the extensive oeuvre beyond the six or seven typically played works. And we’ll be here tomorrow Michael Barone, host of the radio pro- gram “Pipedreams,” and self-proclaimed and for generations of master of playing CDs rather than play- ing the organ, is clearly more comfort- tomorrows to meet your needs. able when fiddling with the knobs and controls of hi-fi equipment rather than giving a formal lecture. He has the self- confidence and sense to let the music To receive information about pipe organs speak for itself, rather than interrupting or pre-empting it with unnecessary chat- A and recognized pipe organ builders ter. He reminded the audience that the P write or call toll free 1-800-473-5270 art of recording the pipe organ is rela- tively new, coming into its own after the O or on the web @ www.apoba.com invention of electricity in the 1920s. His B Associated Pipe Organ Builders of America presentation was an enjoyable musical A survey of playing styles entitled, “They P.O. Box 155 • Chicago Ridge, Illinois 60415 Did It That Way?!” Drawing from his vast library BOODY of & QUIMBY PARSONS OTT REDMAN SCHANTZ SCHOENSTEIN TAYLOR recordings, Barone made his point by juxtaposing Widor’s performance of his NOACK MURPHY KEGG JAECKEL HOLTKAMP HENDRICKSON Toccata at age 80 with a lightning-fast
MAY, 2006 21 blend seamlessly with beautiful effect. The Dupré B-major began brilliantly, but spun out of control due to a glitch with the piston sequencer. Despite an accelerated tempo, Hamilton held the piece together to finish with success. Hamilton returned for an encore— Alain’s Litanies—played with a frantic, exciting, if blurry, rush of virtuosity. Delbert Disselhorst, professor of organ at the University of Iowa and graduate of Michigan, is an organ con- ference regular, performing every few years. His memorized program was ambitious, opening with the Prelude and Fugue in G minor by Brahms, negotiated with seamless manual changes, perfectly under control. Fol- lowing the chorale prelude and fugue Andrew Meagher at the Fisk (MVO) on Meine Seele by Bach, he launched into another tour de force, a Passacaglia by Swiss composer Otto Barblan. This Brahmsian work includes rhythms rem- iniscent of the Bach C-minor Pas- sacaglia dressed in weighty, dense har- monic clothing. After intermission, Disselhorst offered a solid rendition of Mendelssohn’s Students of Marilyn Mason (MVO) Sonata III, followed by Bach’s Sonata III, played with an unfussy neutral Recently, Michigan has recently become be invited. This year, the Ann Arbor touch. The Theme with Variations by home to a second carillon, located in a AGO chapter organized a choral festi- Johann Friedrich Ludwig Thiele, a virtu- modernistic tower on the north campus. val, dedicated to the late Donald osic torrent of notes, closed the program Williams, and Herman Taylor gave a with moto perpetuo pedal and a cadenza Student recitals lecture entitled “The Joys and Sorrows Scott Raab, Christopher Lees, and for the manuals. Disselhorst delivered an Three doctoral recitals by students of of Contemporary Church Music.” Andrew Nardone (KC) heroic performance with a pleasing vari- Marilyn Mason afforded the performers At the choral festival, Ann Arbor AGO ety of texture and drama in the reper- a larger audience than they otherwise Dean Edward Maki-Schramm gave toire selected. would have had and a nice opportunity opening remarks, pointing out that this Rudolph Innig has clearly developed to play for professional colleagues. Seth effort relies upon the copious hours of a passion for Rheinberger’s organ Nelson played the complete Widor First dedication and practice of many volun- music. He approached the console and Symphony, whose fifth movement is the teers. He illustrated his point by took command immediately with famous “Marche Pontificale.” Perform- attempting to tabulate the cumulative expressive, dramatic playing. His pro- ing gargantuan works such as this from number of practice hours for all involved gram consisted of three sonatas, includ- memory happens only in the rarefied in the service, which featured a choir ing the F major, op. 20, the last sonata atmosphere of intense study and focus, comprising volunteer singers from the Rheinberger composed (1899). This a feat always eliciting admiration from AGO board members’ churches. The sonata is subtitled “Zur Friedens- an audience. choir sang two anthems by Vaughan feier”—for the ceremony of peace, and Doctoral candidates Shin-Ae Chun Williams and Mendelssohn tentatively, celebrates the confidence in Germany at and Alan Knight also performed disser- but seemed to relax and enjoy singing the time that a world war in the near tation recitals, Ms. Chun particularly Moses Hogan’s Music Down in My Soul. future would be avoided. Rheinberger’s shining in her rendition of the Liszt Pre- Dr. Schramm confidently accompanied Jerome Butera and Marilyn Mason (SB) sonata forms are irregular, but the lude and Fugue on B-A-C-H. Joseph the choir, and David Hufford played the movements are often related to one Balistreri, Michael Stefanek, Elizabeth prelude, a solo within the service, and a however, Taylor finds joy in enhancing another with common themes and inter- Claar, Matthew Bogart, students of solid performance of the Toccata from the songs with more sophisticated har- vals. Sequential writing, as in the D- James Kibbie, played a concert at Hill Duruflé’s Suite for the postlude. mony. He realizes that many composers minor Sonata, op. 148, often lends Auditorium on Tuesday afternoon, each The festival service included the of contemporary songs simply lack the shape to the movements. The works are giving a commendable performance. singing of several hymns as well, capably musical training to harmonize their rhythmically energetic, akin to led by Dr. Schramm at the console, melodies with any complexity. He has Mendelssohn but with denser writing, Church music at the conference among them Sing a New Song to God, contacted them about modifying and although they are not dissonant or high- For a number of years, the confer- with its athletic but very singable tune elaborating on the harmony of their ly chromatic. Innig’s registration con- ence has opened with a worship service composed by Kevin Bylsma. Unfortu- songs, receiving positive responses. Tay- sisted of foundation stops with reeds at or hymn festival, and has included a lec- nately, for all its charms, Hill Auditori- lor’s harmonic alterations are subtle but various volume levels for the most part. ture or two on a worship-related topic. um is not conducive to worship, and is do add richness to the songs, which he Following Innig’s concert, university The inclusion of church music elements deadly for congregational singing, espe- invited the audience to sing while he carilloneur Stephen Ball and his stu- in an otherwise scholarly conference cially when the “congregation” is spread demonstrated his techniques. His wife, dents hosted a candlelit reception in acknowledges the importance of ser- out among the padded seats. Future Vivian Hicks Taylor, served as cantor. Burton Tower, home of the Baird vice-playing skills for organists, gives a planners of the conference’s worship Dr. Taylor also addressed “gospelizing” memorial carillon. Guests had the good opportunity for the local AGO event would do well to choose one of the hymns, a practice that includes adding opportunity to view the massive bells chapter to participate, and provides nearby churches as the venue rather rhythm and passing tones to create a and try out the carillon’s keyboards. another event to which the public can than the 4000-seat auditorium. Gospel feel. One highlight of the choral festival was the homily given by the Reverend A tribute to Robert Glasgow University of Michigan Forum JoAnn Kennedy Slater, J.D., Ann Arbor Professor Robert Glasgow has formal- AGO chaplain. “Music,” she said, “is one ly retired from teaching, and as a tribute, The University of Michigan of the more visceral, organic thresholds nine of his former students played a con- th to God. Because of God’s incredible cert at Hill Auditorium. Thomas Bara, 27 Institute of Organ & Church Music trust and vulnerability we each then Monte Thomas, Charles Kennedy, June 25–27, 2006 have a share in that divinity and that joy Christopher Lees, Ronald Krebs, Joel and wonder; and music is one way to Hastings, Deborah Friauff, Douglas Faculty: Gordon Atkinson, Christine Clewell, Ralph create and sustain such a sacred space in Reed, and Jeremy David Tarrant Kneeream, Michele Johns, Tapani Yrjola our bodies, mind, and souls, in the demonstrated the Glasgow legacy with sacred spaces of our places of worship as excellent performances of a wide variety Degree Recitals: Scott Hyslop, David Saunders, Paul Haebig well as in the secular world of music as of repertoire. Tom Bara’s taut, com- entertainment.” Her remarks were pelling rendition of Mendelssohn’s Alle- U. M. Historic Tour 53 in 2006 heartfelt and sincere, descriptive rather gro, Chorale and Fugue was particularly July 10–24, 2006 — France than didactic, displaying an understand- noteworthy, and Charles Kennedy For information: ing of the ephemeral art of music. played the Brahms Chorale and Fugue Conlin Travel, 3270 Washtenaw Ave, Ann Arbor, MI 48104 On a more practical note, Herman on “O Traurigkeit” with understated ele- Contact: Sharon at (888) 426-6546 ([email protected]) Taylor presented a lecture/demonstra- gance. Joel Hastings played Vierne’s tion he dubbed “The Joys and Sorrows of Naïades to perfection, the fountain of U. M. 46th Conference on Organ Music Contemporary Church Music.” Having notes bubbling effortlessly and unaffect- October 1–4, 2006 retired from teaching at Eastern Illinois edly, and Jeremy David Tarrant negoti- Hill Auditorium University, he now serves as organist at ated the mammoth Prelude, Andante Music of France Immaculate Conception Catholic and Toccata by Fleury with ease. Doug- Guests: Marie-Claire Alain, Maurice Clerc, UM Faculty, and others. Church in Charleston, Illinois. He las Reed lent a touch of humor to the earned his master’s and doctoral degrees program by choosing to play two move- Marilyn Mason Prague Recording at Michigan, and is a presenter or per- ments from De Spiritum by William former at the conference every few years. Albright, a work requiring two assistants. Three Concertos: Alaska Suite Second Concerto For Taylor, the sorrow is that contem- Following the program, guests min- First recordings of Emma Lou Diemer’s ; Petr Eben’s ; porary (read: pop style) church music in gled at a reception on the stage, offering Sowerby’s Classic Concerto; and Gospel Preludes its raw state is overly simplistic, devoid their greetings and congratulations to William Bolcom’s , Volume IV. of through-composition, modified Dr. Glasgow. One was struck by the For recording please send $15 with address for mailing to: Marilyn Mason, University of Michigan School of Music, 1100 Baits Dr., Ann Arbor, MI 48109 strophic forms, or creative harmoniza- legacy Glasgow leaves in the form of his tion. Recognizing quality in many of the many fine students. He taught as much “contemporary” melodies and texts, by the example of his own playing as he
22 THE DIAPASON Robert Glasgow and Jeremy Tarrant (KC)
Albert Stanley (courtesy Bentley Historical Library)
to race and gender. A fine example of Robert Glasgow and Robert Griffith (KC) these hallmarks is William Bolcom’s epic University Hall (courtesy Bentley Historical Library) Songs of Innocence and Experience, which has received three Grammy in 1880 with four teachers. Cady taught academic rank in the university. The awards, including Best Classical Album. piano, organ, harmony and composition. master’s degree was also created at this In the vein of entrepreneurial spirit, the Following half a century of European time. In 1940, the School of Music was School of Music has recently launched artists holding sway in the realm of seri- made an autonomous unit of the Univer- Block M Records, giving Michigan stu- ous music-making in the United States, sity of Michigan, with professors on dents and faculty the opportunity to after about 1850 Americans began to salary rather than relying on student record, produce and distribute original establish their own institutions for fees, and in 1941 the School of Music material without having to go through an musical training. In 1862, Harvard Uni- began to provide summer programs at outside company. This venture affords versity appointed an instructor of Interlochen. In 1945, the school offered students hands-on experience with music, and within the next two decades a Ph.D. in musicology and music educa- recording and production, and allows a number of colleges and universities tion, and less than a decade later in 1953 University-based musicians to receive had followed suit, including Michigan. the D.M.A. in composition and perfor- greater benefit from recording sales. All Conservatories also began to be estab- mance was created to certify teachers for recordings are distributed via the Inter- Robert Glasgow and Jerome Butera (SB) lished in the East, Peabody in Balti- new college positions. net at
MAY, 2006 23 The Williams Family of New Orleans: Installing and Maintaining Aeolian-Skinner Organs An Interview with Nora Williams Lorenz Maycher
Those interested in organ playing and organ building have since 1909 turned to THE DIAPASON as a font of informa- tion. There have been wonderful articles over the years about gentlemen and ladies who have distinguished them- selves as organists; Clarence Watters, writing on his mentor, Marcel Dupré, and the recent tributes to Marilyn Mason come to mind immediately. There has been a dearth of informa- tion about female organbuilders. Cer- tainly there have been women involved in organ building over the decades, past and present. Recent developments in society in general towards more equali- ty in the workforce can only have a ben- eficial effect in this direction. We are Nora Williams installing Aeolian-Skin- fortunate indeed to have this historical ner Opus 1174, First Baptist Church, vignette by the first lady of American Longview, Texas, 1950 organbuilding, Nora Williams. —Charles Callahan Orwell, Vermont Nora Williams, circa 1949 An Interview with Nora Williams March 10, July 1, 2, and 3, 2005 first son, and then they had Jack— the same little Methodist church where New Orleans Thomas Jackson, Jr. his mother and daddy were married. I met Jimmy on March 15, 1947, and I knew nothing about pipe organs. I LM: Your family installed and we got married on March 28, 1947. (We was just the average person who sat in maintained some of the great Aeo- waited a week because his daddy was church on Sunday. As a kid, I would lian-Skinner organs in this country. out of town.) We knew it was a take look at the front pipes, wondering how How did you get started in the busi- from the beginning. I had been singing they got all those different sounds out of ness, and how did your family’s with a band on a riverboat, had signed to just 27 pipes. I was always curious about affiliation with Aeolian-Skinner go on tour in a road show, and was sup- that. The first time I ever ventured into come about? posed to leave town for rehearsals in an organ chamber, Jimmy’s daddy was NW: My father-in-law, Thomas Jack- Mobile on March 23. When I met at the console. He waited until I was in son Williams (Jack, or T.J., as he was Jimmy, and we fell in love, I told him I the middle of it, and then really let go known) was from Ripley, Tennessee. had to leave town on the 23rd. He said, with a big chord. I went running out of He came to New Orleans to install a lit- “You’re not leaving, even if I have to it, thinking, “This thing is a beast!” Jimmy Williams tle Möller pipe organ in Algiers marry you to keep you here.” I said, Jimmy had been in another line of Methodist Church, met Jimmy’s moth- “That’s the only way you’ll keep me business. For convenience’s sake, he Mr. Harrison asked us to install that er, and they married. Jimmy was their here.” Sure enough, we got married in started working with his daddy, and I one. He came down on the train during went along with them. On one job, in its installation—he loved taking trains. Gilmer, Texas, I was watching Jimmy One of the biggest compliments we ever splicing some cables. He would take received in our career took place when his knife and strip a wire, twist it on, we were up in the organ chamber. Mr. then go to the next one. I said, “That Harrison said, “Would someone go looks like fun. Can I do one?” He had down and turn on the wind, please?” four or five lined up in a row. He said, Jimmy said, “Mr. Harrison, the wind is “Sure, go to it,” and handed me a knife on.” He looked at the reservoir and said, and a pair of cutters. I just went phfft, “Oh, my word, it is.” phfft, phfft, phfft, phfft, and had it And, so, we had a marvelous relation- done in no time, asking him for anoth- ship with the company from the very er one. He said, “Did you already finish beginning. Mr. Harrison started that one?” When I said yes, he said, requesting us for other installations. “Look, I’ll go do something else!” He Meanwhile, Roy was so carried away handed the whole job over to me. That with “The Boss,” as he always referred is how I got started. We went from job to Mr. Harrison, and with the sound and to job after that. the product, that if anyone came to him for advice about an organ, he would say, LM: Were you working for Möller “Aeolian-Skinner.” All Roy had to do exclusively at that time? was get an organ committee to Kilgore. NW: Daddy was his own indepen- Once he played the organ for them, dent service man, but did a lot of work they would just cry, it was so beautiful. for Möller, and had always taken care of There was no question who they were the organ in Kilgore [*First Presbyter- signing with, especially when they ian Church, Kilgore, Texas], which was found out Aeolian-Skinner cost more a Möller at that time. In 1948, Roy than anybody else did! They wanted the Perry [*organist-choirmaster at First top of the line. Presbyterian Church for 40 years] want- ed to make some changes in the organ, LM: That Kilgore organ is a special and asked Möller to do the work. Möller organ among Aeolian-Skinners. Is told him they were too busy to fool with this because of Roy Perry? it, so Roy went to Boston and talked to NW: He had a lot to do with the scal- G. Donald Harrison about the changes ing, but it was a collaboration between he had in mind. Mr. Harrison said Aeo- Harrison and Roy. Roy knew what he lian-Skinner would be happy to make wanted to eliminate from the old organ. the changes. Roy told him he wanted his I know he insisted on keeping the Vox own organ men to do the installation, Humana and French Horn, because and Mr. Harrison agreed, since Aeolian- they were outstanding, among a few Skinner always sent out an outside crew other things. People were outgrowing to do its installations. Vox Humanas at that time, but Roy We got on the job, and in no time, could see beyond this trend, and thought had it finished. Mr. Harrison was aston- the Kilgore Vox was very effective. ished that it had gone so smoothly, with- We always called Kilgore “Mecca.” out our ever calling in griping about not When we heard that Trompette-en- having this or that. He was so impressed Chamade for the first time, we didn’t that he asked us to go to San Antonio to know what to think. [*A-S Opus 1173, ORGAN HISTORICAL SOCIETY put up an organ at Laurel Heights Kilgore, Texas, contains the first BOX 26811 RICHMOND, VA 23261 Methodist. We went down and installed Trompette-en-Chamade installed in the Order 24 Hours Daily www.ohscatalog.org it, and, again, Mr. Harrison was pleased United States.] We thought, “Did we do 804-353-9226 (REAL PEOPLE 9:30 TO 5 EST MON - FRI) with our work. Meanwhile, Aeolian- this right?” Roy was just scared to death. FAX 804-353-9266 e-mail [email protected] Skinner was about to ship the organ out We had never heard such a thing, but to First Baptist, Longview, Texas, and knew it had to be spectacular. We
24 THE DIAPASON lay it in neatly going up the spreader strip. If I had a 61-note switch, I would hook that up first, then “ring it out” with the doorbell at the other end, to make sure everything was in order. It was messy. When I would untwist the wires at one end, I would end up with wax all over the floor. But, it was a system that worked. When the company told us they were switching to a new type of color- coded cables, I was sure I would never learn it, having figured out my own sys- tem. But, once I saw it, it was a dream. I could hook up one end, keep my own notes on it, and then hook up the other end and solder it without ever having to ring it out. Nothing made me happier in life than to have a switchboard full of wires to work on. I loved it! When we were installing the organ at First Baptist in Longview, there was a Nora Williams installing Aeolian-Skin- copper shortage, and cable was hard to ner Opus 1174, First Baptist Church, come by. Roy finagled around and got a Longview, Texas, 1950 roll of cable from somebody at the tele- phone company, which was disastrous. The wires were wrapped in paper, and I had the time of my life cutting that Nora Williams installing Aeolian-Skinner Opus 1476, First Baptist Church, Chat- paper so the wires wouldn’t touch each tanooga, Tennessee, 1968 other. If I’d had to do that on all the jobs, I would’ve headed for the hills. scotch, he would say, “My word, but not say a word. He just sat there and Mabel Birdsong was organist there at scotch is good.” gritted his teeth. When he got home, he the time. After she retired, they had a But, Roy was the biggest character of called a local chicken farmer and had husband and wife team. He directed anyone in my life I’ve ever met. He was him deliver a truckload of chicken fer- the choir, and she played the organ. We a man of many moods. The first time I tilizer to Margie’s house and dump it in still serviced the organ then. The last ever met him I was sitting in his office, her front yard. Not only did it burn the time we tuned there, the wife came in which also doubled as the choir room. grass, they had to hire someone to and played a few notes, and said, “This He came walking in, and I said “Good come haul it off, and the city fined them note isn’t in tune.” I told her to just turn morning, Mr. Perry.” He just growled a $500 nuisance fee. They never bought her head slightly, and it would be in at me and did not say a word. I thought, Roy another birthday cake! tune. She didn’t understand that a note “Well, pardon me!” I was petrified. But, doesn’t sound the same in one area as it Roy Perry, First Presbyterian Church, after that, it wasn’t long before we LM: When you installed an organ, does in another. I learned that ages ago! Kilgore, Texas, circa 1949 became such good friends that he’d call did the church pay you, or did Aeo- Her husband, the choir director, was so me every night in New Orleans and say, lian-Skinner? jealous of that big Aeolian-Skinner con- thought about putting flags on it, and “What are you cooking for dinner?” All NW: The company paid us per job. sole that he asked Jimmy to cut off the someone even suggested shooting me of us loved to cook. He always called We didn’t have a salary. We received top of it. He said it “shouldn’t be the out of a cannon over the audience the me a “Dolless,” saying I was a “doll ten percent of the contract price. If we focal point of the church.” Later on I first time it was played. But, as it turned turned inside out.” You work that one needed incidentals, we would keep a list found out he had built a set of steps out, it was more than a success. When out for yourself. of our expenditures and Aeolian-Skin- behind the console so he could stand Willie Watkins [*William Watkins, Roy loved to giggle and have fun ner would reimburse us. But, they above it and be the focal point himself! organist at New York Avenue Presbyter- when he felt relaxed with people, but always sent so much to the job, like fric- The pastor’s wife, Mrs. Ford, told me ian Church, Washington, D.C., and he could also be very mischievous. tion tape and spools of wire, that we this, and I asked her if he ever got a later organist-choirmaster at George- Margie and Marvin Hall had the drug were pretty well set. We used our own nosebleed. Of course, we had worked town Presbyterian Church, Washington, store across the street from Roy’s tools, like a table saw and drill press, with the church’s architect in the first D.C., for 40 years] played the Healey church in Kilgore. Marvin was the and just set up shop on site. place to design that console to match Willan Introduction, Passacaglia and druggist, and his wife expanded the his designs for the building. It suited it Fugue on it in 1950, it just knocked store with gift items, traveling all over LM: After that first job in Gilmer, perfectly. When that choir director everybody over. We knew we had got- the country to stock it. Roy never went you were relegated to wiring? asked Jimmy to cut off the top of the ten it right. to the church without stopping by the NW: Oh yes, from then on. Jimmy console, Jimmy told him yes, but they’d It wasn’t long before we became rep- drugstore to say good morning. One hated wiring. The first kind of cable we have to do without the combination resentatives for Aeolian-Skinner— year, Roy’s birthday came along and had was cotton covered, with paraffin on action, couplers, and top few rows of Jimmy, his dad, and Roy. As time went Margie wanted to take him out to din- it. I had to get it all straightened out, drawknobs. That is the last time we by, the bookkeeping became difficult. ner to celebrate. Roy agreed to it, but then “buzz it out” on the other end, ever entered that church. Those people With the down payment on the contract made it clear to her he did not like any- meaning each end had to be identified. were out of their element. price, then splitting the commission one drawing attention to his birthday in All the wires were white, so we would three ways every time a check came in, public. He asked her not to have a cake set up earphones on one end, using a lit- LM: What was Mrs. Birdsong like? they finally gave Roy all the work in or have anyone sing to him. Sure tle doorbell on the other to identify the NW: She was the sweetest thing in Texas, and we took all the work in enough, after dinner, here came the different groups. The cable was done in the world. Her husband was wonder- Louisiana and Mississippi. But, we all waitress with a birthday cake and can- groups of ten wires, so you could identi- ful. Their son, “Sonny,” is also a won- worked together on each installation dle, singing “Happy Birthday.” Roy did fy the groups as 1–10, 11–20, and then derful person. When they put parking and on all the tonal finishing. That is the way it was for years. Roy always came into a job before the pipework was committed, so he could set strengths and work out the scaling. Everywhere we worked, he would bring MORAVIAN MUSIC FOUNDATION sample Cs and set them on site in the M M F church, so that by installation time, the 50 Years of Preserving, Sharing, and Celebrating the Musical Culture of Moravians and Early America pipes were ready to go. This was our way of life for years and years. Occa- sionally Mr. Harrison would ask us to go out of our own territory for an installa- Moravian Sketches for Organ by Brian Henkelmann tion, like St. Luke’s Methodist in Okla- homa City, or First Methodist in Mar- $20.00 (plus s&h) each low, Oklahoma. Volume I: Advent, Christmas and Epiphany LM: What was Mr. Harrison like? includes Morning Star, O Cheering Sight; Once He Came in NW: Mr. Harrison was a work of art. His hair was snow white, his eyes so Blessing; Christ the Lord, the Lord Most Glorious blue, and his complexion so red that he 11 tunes in all. looked like the American flag. He was striking and very beautiful—and laid back. We would haul him off to little Volume II: Lent towns like Georgetown, Texas, and he includes Go to Dark Gethsemane; Hail O Once Despised would love it. There was a restaurant in Georgetown that had wonderful scotch. Jesus; Ride On! Ride On in Majesty! He was devoted to scotch. He and his 9 tunes in all wife, Helen, had a little dog that Roy called a “Maggie and Jiggs” dog. It looked like it was made out of sticks. Southern Office Northern Office When they got onto the train, she 457 South Church Street To order, visit our catalog at 41 West Locust Street would put this little dog into her knit- Winston-Salem, NC 27101 Bethlehem, PA 18018 ting bag, and carry it on with them. www.moravianmusic.org Don’t ask me the dog’s name. Anyhow, (336) 725-0651 (610) 866-3340 after Mr. Harrison would take a sip of
MAY, 2006 25 meters in downtown Longview, Mr. Birdsong, senior, would go to the bank and get a bag full of nickels. He would walk around town, and if he saw an empty parking meter, he’d feed it, stay- ing one step ahead of the law. That was his fun, going all over town feeding parking meters. Mrs. Birdsong was a sweet, docile Southern lady. Dr. Ford, the minister at First Baptist, would say during the ser- vice, if her playing got too ambitious, “Mabel, you’re playing too loud. Tone it down a little.” Honey, this was East Texas! We didn’t like roll tops, and this organ did not have one in its design. So, Mabel brought a tea towel from home and put it over the keyboards, “to pro- Nora Williams tuning Aeolian-Skinner tect the little darlings.” Opus 1286, First Methodist Church, One time we were working at St. Marlow, Oklahoma, circa 1955 Mark’s in Shreveport, and Mabel came by with Sonny. She asked Jimmy to come over to First Baptist in Longview to fix a problem she had with the con- sole. He asked her what it was, and she said, “I’ve got it right here in my hanky.” She pulled her hanky out, unrolled it, and there was the cancel button. Bless her heart. Can’t you just see her walking around with a cancel button in her purse? They were such sweet people. Mr. Birdsong would catch squirrels in cages and then take them out into the woods to set them loose. LM: William Watkins told me Roy Perry would borrow the Longview 32v reed and use it in the Kilgore The Williams Family: Nora, J.C., Sallie, T.J. at Aeolian-Skinner Opus 1173, First organ for long periods at a time. Presbyterian Church, Kilgore, Texas, during the 1966 Aeolian-Skinner rebuild NW: I remember they were making a recording at Kilgore once and there was John Hendricksen was “The Dike Plug- too scared to open the box. J.C. (Jimmy) Williams installing Aeo- one note on a reed that sounded just fine ger.” One of the fellows in the shop, Bill Mary McGaffigan was the secretary lian-Skinner Opus 1174, First Baptist in the church, but sounded terrible on McKenzie, once asked Roy if they had who handled all the company’s corre- Church, Longview, Texas the playback tapes. We borrowed the armadillos in Texas, and Roy said, spondence and sent out our checks. Roy undertaker’s car and borrowed the same “You’d better believe it. We’ve got them would call her up and say, “Mary, go rat- pipe from the Longview organ for the all over the place. When I get back to tle your tambourine and see if you can recording. For some reason, it worked Texas, I’m going to send you one.” come up with some money for us.” just fine! When he got back to Kilgore he got a Whenever he wanted money, Roy would Roy loved going to Boston, and he bottle of booze, wrapped it up in a box, say, “Go rattle your tambourine.” would run up there at the drop of a hat. wrote on the address label, “Caution: But, Aeolian-Skinner always paid us He had a name for everyone: Tommy One live armadillo,” and shipped it off on time. We had the perfect setup. The Anderson was “The Leprechaun,” and to Boston. When Bill received it, he was company was ideal to work for, and never gave us any problems. However, it was sometimes interesting to arrive on a job to see how the church people would receive us. Some of them saw us as common laborers, and others treated us like master craftsmen. Once, I was walking down the hall in a church in San Antonio in my work clothes. These ladies were having a tea, and insisted I Roy Perry, First Presbyterian Church, come in and join them. Here I was in Kilgore, Texas, circa 1949 my work clothes, sitting in this brocade chair in an elegant parlor, sipping tea, down the hall and around the baptistry and eating cake. They were very gra- full of flowers—it must have been a Bap- cious and lovely. Other places were not tist church. As we walked by, just to like that. If they saw me coming down make conversation, I said, “Oh, these the hall in my work clothes, they would flowers are so beautiful.” He said, turn their heads to avoid having to “They’re not as lovely as you are.” Red acknowledge me. Of course, I can’t be flag! We got to his office and I grabbed a bothered by that. Just the snooty book out of desperation. He had a new churches acted that way. wire recorder he wanted to show me, saying they were able to record the ser- LM: In Dallas? vices to take to the hospitals for people NW: Houston! One minister there to hear. As he was demonstrating it, he would turn his head rather than say hello kept getting closer, and closer, so I to me. For recitals, of course, I would backed away behind his desk. I tried the get dressed up. That was a different ball- opposite direction, and he followed me. game. He would then say, “Hello! It is so After about three times around his desk, good to see you.” I wanted to say, “I’m I flew out that office door. If I had told the one you turned away from this morn- Jimmy’s daddy about it, he would have ing!” So much two-faced phoniness goes clobbered that man. I had already on behind the scenes in churches that learned that. the average person never sees or real- Old St. Anna’s Church here in New izes. Churches are often very shallow, Orleans was condemned, and had to be for what they are supposed to represent. torn down. It had a pipe organ, so we Jimmy and his daddy were working in disassembled it for storage. It had a very a church in Shreveport, pre-Aeolian- nice wainscoting in the choir chamber, Skinner, re-covering some valves. This and Jimmy’s daddy wanted to save it. We was before they had discovered my abil- had a big chute going from the organ to ities, so I was absolved from doing any send parts down to the main floor. Jim- work. I was just sitting around. The my’s grandpa was still alive, and he, preacher asked me if I liked poetry, and Daddy, and I were on the floor, with I said yes. He invited me up to his office, Jimmy and some other men up in the where he had lots of books. We went organ. We had some sawhorses set up,
26 THE DIAPASON Rayne Memorial Church, here in New Orleans. The sheepherder asked if he could come work on it for us, and Jimmy said yes. About two weeks into the job, Jimmy sent him to the hardware store for supplies. On the way back, he wrecked our car. That is why we pre- ferred doing our own work—to avoid such headaches. We did however, have Tom Cotner work full-time for us for several years in the early ’60s. He joined us when we were putting in the organ at First Presbyterian Church in Wichita Falls, Texas. He stayed with us until 1965, when he went on his own. He is on my “A” list—very talented, and I would trust him with anything. LM: Was there a noticeable change at Aeolian-Skinner after Mr. Har- Claire Coci at First Presbyterian rison’s death? Church, Laurel, Mississippi NW: Yes—slowly at first. I think organbuilding was just a hobby for Joe Whiteford. He was a nice man but was a rich playboy. His family had money, and his job at Aeolian-Skinner was presti- gious, but he did not sweat to put out Nora and Jimmy Williams, circa 1949 organs as Mr. Harrison had. His main interest was opera, and he enjoyed sium once, and we were there. It must the knuckles of her students from time going to all the opening night perfor- have been right after we installed the to time. She wanted everything just right mances. He had a certain amount of organ. During her recital, someone from out of them. We also put in the organs at input of value, but not like Harrison’s. the church presented her with an Indian Caruth Auditorium, Lover’s Lane After Mr. Harrison died, Joe realized headdress to welcome her to Oklahoma, Methodist, Fifth Church of Christ, Sci- the job was more than he could handle. making her an honorary Indian and giv- entist, Temple Emanuel, and Church of He eased out of it, and that was the ing her the Indian name “Princess The Incarnation, all in Dallas. decline of the company. It went slowly Crow’s Ear.” The church did this out of downhill from there. complete sincerity, and it was an honor. LM: How many employees did you Poor Catharine just looked deadpan at take along for big lifting jobs at LM: How did you react to the news her husband, Harold, like “What do I do installations? of Mr. Harrison’s death? now?” It was beyond her comprehen- NW: We didn’t have employees, per NW: I cried and cried and cried. And, sion. If that had been Marilyn Mason, se, but hired casual labor onsite for our I could do it very easily right now, too. she would have given them their mon- installations. We had our own hoisting J.C. (Jimmy) Williams installing Aeo- ey’s worth! ropes and block and tackle. Jimmy LM: I’ve heard that you would lian-Skinner Opus 1174, First Baptist Another memorable adventure we wanted to keep everything on our own sometimes rescale some organs as Church, Longview, Texas had was serving dinner to the Duruflés level, without having to worry about they arrived from the factory after in Houston. They were playing a pro- part-time or full-time employees. We Mr. Harrison died. gram at First Methodist, and we invited did not want that kind of responsibility. NW: Honey! At St. Mark’s in Shreve- them over to Charles Moseley’s apart- When we put in the Aeolian-Skinner at port I had to cut every mixture pipe in ment following their recital. Mrs. Duru- St. Mark’s Church, Beaumont, Texas, that organ! They locked me in a room! flé had to do all the translating because we hired a local sheepherder to help. Roy and Jimmy would take a sample he could not speak English. Mr. Duruflé Right after that installation, we had to pipe and figure out how high they want- became very tired, and she explained it immediately start putting in the organ at ed it cut, then would give me the pro- was such a strain on him not knowing the language. We were running late with dinner and could see he was get- NINTH ANNUAL ting edgy sitting out on the sofa, so Jimmy went out and gave Mr. Duruflé ALBERT SCHWEITZER ORGAN FESTIVAL/USA the menu. When he heard we were NORTH AMERICAN COMPETITION serving a chateaubriand with Madeira sauce, he perked up. It was something Console of Aeolian-Skinner Opus 1174, he had been missing on their tours, hav- PANEL OF JUDGES First Baptist Church, Longview, Texas ing been subjected to American cook- High School Division ing. Jimmy prepared a wonderful and I was knocking out nails, while French dinner from beginning to end, FIRST PRIZE: $2,000 Grandpa put them into little bundles. and had carefully chosen the wines, too. Provided in part by Ahlborn-Galanti Organs This man walked into the church and The Duruflés were very friendly. She Other prizes also awarded watched, and watched, and watched me played the Liszt “Ad nos” on that recital, while we worked. I didn’t realize it, but and it was just wonderful. Jimmy’s daddy was seething. Finally, he * Frederick Hohman had had enough. He looked at that man LM: Did you know Claire Coci? College/Young Professional and shook his hammer, saying, “What’s NW: Oh, yes. She was from New FIRST PRIZE: $3,500 the matter with you? Haven’t you ever Orleans, and was delightful and unpre- seen a woman work before?” That man’s tentious. She felt at home in any setting. Provided in part by eyes got big as saucers, and he went tear- She was an exciting player, a fancy dress- J.H. & C.S. Odell Organ Builders ing out of that church! er, and wore a lot of makeup. She used to play in Laurel a lot, and I have a won- This includes an appearance on our LM: When did Mr. Williams, senior, derful photo of her seated at the old 2006-2007 Concert Series Thomas Heywood retire from the business? Austin console there at First Presbyter- *Through age 26 NW: In the early 1960s. He had a bad ian Church. Other prizes also awarded fall in an organ chamber in Hattiesburg, and wasn’t able to do heavy work after LM: How about Nita Akin? that. He could still do small jobs, though. NW: Yes. We installed the big Aeo- AUDITION TAPES/CDs: He was a good tuner, and used a tuning lian-Skinner in her church, First Due: June 1, 2006 fork to set the temperament in the mid- Methodist Church, Wichita Falls. That dle octave. That is how we tuned in the was a fine installation, except that Nita COMPETITION: beginning, too. We didn’t have Peterson insisted on retaining a lot of their old Sept. 8–10, 2006 Marilyn Mason tuners then. I was always pulled to be Reuter, saying she needed certain stops the key holder, and would hold keys with “to bury babies.” She also insisted on one hand and work crossword puzzles keeping the old organ’s floating string PAST JUDGES: Colin Andrews with the other. When they came out division, available on every manual, so Diane Meredith Belcher, Benjamin Dobey with the Peterson tuners, I had to work she could use it in the background to the tuner with my spare hand. That’s accompany prayers. Paul Fejko, Janette Fishell, Frederick Hohman when I started reading magazines and Katharine Pardee, Cherry Rhodes pocket books. I would tear all the pages LM: Did you also know Dora Poteet Catherine Rodland, John Rose out and put them onto the music rack. I Barclay? had to do something or I would fall NW: Yes. Perkins Chapel and High- John Walker and John Weaver asleep. Two octaves of tuning will put land Park Methodist, in Dallas, came you out faster than anything! We did along right after we started with the First Church of Christ have some wonderful adventures along company. Did you know that Dora could 250 Main Street the way, though, and reliving those are not reach a full octave? She was so tiny, Wethersfield, Connecticut 06109 the rewards of organbuilding. and her hands so small, that it is a mira- For instance, at St. Luke’s Methodist cle she could play at all. But, she sure INFORMATION AND APPLICATION: 860/529-1575, ext. 209 in Oklahoma City, Catharine Crozier could get the job done. She was very www.firstchurch.org/ASOF and her husband were doing a sympo- nice and easygoing with us, but cracked
MAY, 2006 27 portional dividers. I would scribe it, go through and get them all marked, then cut them up. This went on for over a week—maybe even two. We would do this and not let the bosses know. It was always, “Don’t tell Whiteford,” or, “Don’t tell Gillett.” LM: So you did it with other organs, too? NW: Oh, yes—First Baptist in Chat- tanooga was one we messed with a lot. Don Gillett sent down what he thought were the perfect mixture compositions. We had boxes of our own pipes and used them to rescale his mixtures. Nobody ever knew the difference. In fact, Roy Nora Williams and Piper at Aeolian- had taken Gillett to task when he was Skinner Opus 1286, First Methodist setting up the composition for those Church, Marlow, Oklahoma, circa 1955 mixtures in the first place. Gillett would not back down, though, so Roy agreed to it. However, when the organ arrived, Roy had us change the mixture composi- tions to his own liking. When Gillett John Hendricksen and Jimmy Williams during the rebuilding of Aeolian-Skinner came down to try the organ, Roy asked Opus 1430, Columbus, Georgia him what he thought of the mixtures. Don played a few notes and said, “See, I wouldn’t say yes, and wouldn’t say no. I our best installations—First Presbyter- told you it would work!” Roy said, “You could tell by his silence, though, that the ian Church, Columbus, Georgia. were right.” We would go behind his end was near. Jimmy incorporated the exposed back and change all sorts of things, and Great into the existing façade, which had he never knew the difference. LM: Was that your last installation gold pipes. On the back of the new chest This was just at the time of the death for Aeolian-Skinner? was a metal flute. This rich lady from the throes of the company. Aeolian-Skinner NW: No. Laurel, Mississippi was our church came in one day and told us she had hired a man from Canada to oversee last job with the company, although we did not like the way that flute looked all the installations. When we got on the rebuilt the Aeolian-Skinner in Colum- there, and that her “architect” said its job at First Baptist in Chattanooga, he bus, Georgia shortly thereafter. We did pipes should also be gold. Roy had had us working long hours. He really the Columbus job independently. Don already programmed one of his famous pushed us, and we would work some Gillett had overseen its installation, and silver flutes into the design of the rebuilt nights until midnight. He brought a man it was a disaster. The preacher there, Jim swell organ, so he said, “Well, we’ll just and his son from Canada to assist in con- Johnson, who had been in Laurel, Mis- have to have a ‘gold flute,’ too.” So, First struction and erection, while we worked sissippi, was trying to get his former Presbyterian, Columbus, Georgia is the on metal and wiring. At the end of each organist, A.G. Bowen, to come from only organ I know of that has a “Flute day, we would go back and soak in a hot Laurel to take the organ job. A.G. told D’Argent” and a “Flute D’Or.” tub—it was wintertime. Finally, this man the preacher he would only take the job Our last official job for Aeolian-Skin- from Canada came in and said, “Look, if the organ were completely redone. ner was First Presbyterian in Laurel, J.C. and Nora Williams installing the they’re running behind at the factory. The preacher said fine (he was one of Mississippi. The church’s original organ William Teague residence organ, 1989 Slow down!” the few preachers on the side of music), was an Austin, and we had maintained it The Chattanooga organ is a nice one, so, Jimmy and I went up to see it. I was for many years, which gave us reason to we received the Carillon pipes from but it was a difficult installation for all of very apprehensive. It was such a mish- learn an entirely new vocabulary of Aeolian-Skinner for the Laurel organ, us. Everything was coming down to an mash that every piece of wood had a dif- curse words. Two attorneys in the the breaks were not to Roy and Jimmy’s intermediate switchboard, so I had dou- ferent job number on it. Aeolian-Skinner church’s choir were the main ramrods specifications, so Jimmy called Gillett ble the amount of cables to hook up. had made the organ out of scraps, and for getting things accomplished in the on it. Jimmy received a letter from One wall of the room where I was work- had used anything they had on hand, so church. They decided the organ needed Gillett, which said, ing was covered with fiberglass. I didn’t that there was no continuity to it. Behind to be refurbished in the late 1960s, and Looking back through the files, I find that realize it, but I was being covered with the façade was an enormous drape made we did the job for Aeolian-Skinner. I personally set out the Glockenspiel, as I fiberglass particles. My arms felt like out of what must have been the most Because money was tight, we saved on felt what we did with the breaks was more needles were going through them. And, absorbent material possible. The organ costs by using some of the old chests, practical and logical than as suggested by at some point, Jimmy fell through a sounded like someone talking with his pipework, and console, and by carrying you. As you can well understand, there can floor. Plus, it was cold, cold, cold. hand over his mouth. Everything was out the project in two phases. Roy came only be one tonal director in this company Don Gillett came down to Chat- undercooked, and I had no confidence down and decided which stops to keep at one time. And, since we are not a supply tanooga and was out at the motel with we could do anything with it. Jimmy was and which ones to discard, and house, I hardly consider my composition of us. He always drank something called convinced we could, though, and we set designed the rebuilt organ, which is a the Glockenspiel to be a ‘goof’ on our part, as you mentioned over the phone several “Heaven Hills Whiskey.” Roy called it up shop. Jimmy set up a voicing room, real knockout. Roy was fond of “Glock- times. Please do let us know how this “Heaving Hill.” While we were sitting and we had John Hendricksen come enspiel,” or “Carillon” mixtures, and rebuild turns out on the tonal end. there, having drinks, Don told us about down and revoice everything. We tore wanted one in the Laurel organ. He said all the changes going on in the company. down acres and acres of cloth, rescaled he needed it for playing what he called You never saw somebody run to the I looked at him and said, “This is the things, and added an exposed division “hotchatooty” music. We had installed telephone as fast as J.C. Williams did! end, isn’t it? This is the swan song.” He and a big reed. It turned out to be one of several of them in other organs. When He called the company and said, “As of this minute, I resign. I am no longer associated with Aeolian-Skinner.” That statement about there only being one tonal director did it. He immediately Log On and take the tour! called two job prospects that were ready to sign contracts with Aeolian-Skinner to let them know he had resigned, and explained the situation—that he would ANNUAL AND ONE-TIME COPYRIGHT not be involved with the installation. This was 1969. Aeolian-Skinner lost PERMISSIONS WITH THE those two contracts as a result. The Laurel organ did turn out to be a CLICK OF A MOUSE brilliant success, and we eventually replaced all the old Austin chests. Madi- son Lindsey and Troy Scott carried out the final phase under our supervision, and “The Boys” now maintain it and do an excellent job. Madison and Troy were very good to Jimmy and me, and are good organ men. They were very recep- tive to learning from Jimmy, and they went along with us on many jobs. They do very high quality work, and they back it up. Towards the end of our career, Jimmy and I had four jobs we were very concerned about—the “stars in our crown,” as it were. “The Boys” were able • EASY—online permission and reporting to take over all four, and that was a great • ECONOMICAL—based on average weekend attendance relief to us—knowing the organs were in • THOROUGH—your favorite songs good hands. • CONVENIENT—includes a growing list of publishers LM: You had your own independent Williams Organ Company, too. Did you build your own Williams organs LOG ON TODAY! WWW.ONELICENSE.NET at the same time you were installing for Aeolian-Skinner? NW: Yes, we built many organs on our
28 THE DIAPASON sole broken, and half the organ unplayable. We put a plan in place, and told the priest we could only work there in January, which is what we did. We ordered new contacts and other parts, and had them shipped down ahead of us, and soon enlisted Tommy Anderson and John Hendricksen to do pipework repair. The first thing you know, we were spending up to two months there at a time. We eventually replaced the console and added a 16v Principal to the pedal, and now Tom Cotner has done a lot of work replacing the old chests. There is only so much work one can do in installments, and there is no one down there who knows a thing about maintenance. But, the townspeople love the organ, and they really respond to it any time we have a recital on it. They treat us like royalty. LM: What do you think of the cur- rent state of organbuilding in this country? Lorenz Maycher and Nora Williams in NW: I heard a new organ at an AGO Laurel, Mississippi, November 2004 regional convention just last week, built by a builder who is all the rage. The own, separate from the company. That façade was beautiful, with several differ- was our arrangement with the company ent bays—very impressive visually. But, from the very beginning. Jimmy wanted the organist made the mistake of turning to remain independent, and did not want it on. My ears are still ringing. to limit us with an exclusive association. I know that styles and tastes change Aeolian-Skinner furnished most of our through the years, but I am so grateful pipework in the beginning. Later on, that my work was in what I consider the when the company went downhill, we “Golden Age of Organbuilding” in this used Organ Supply and others. We built country. What I learned was the best. I the organs and put our name on them do not appreciate these young twerps but never gave them opus numbers, so coming in and undoing our organs, there isn’t an opus list. Lorenz Maycher, Nora Williams, and Madison Lindsey in Laurel, Mississippi, either. Aeolian-Skinners are being pil- November 2004 laged all over the country, so much so LM: Wasn’t Aeolian-Skinner jealous that it is becoming difficult to find one of your Williams organs? were buttoning up the bottom of the it, I want it to sound the best it can. If we that has not been tinkered with. I have NW: They couldn’t afford to be. We exposed Great chest while people start- get the money, that is great. If not, at recently learned that one of our installa- were helping keep their doors open, so ed arriving at the church for the recital! least we can leave the job with a clear tions in Abilene, Texas is being com- they were perfectly happy to help us. We zipped out of there to get back to the conscience.” pletely rebuilt and altered as we speak. Mr. Harrison always said, “Whatever motel, clean up, and change clothes. One of our biggest jobs was the Some of these organbuilders are so jeal- Williams wants, Williams gets. We want But, the first thing we had to do was rebuilding of the Walcker organ at the ous of Aeolian-Skinner, or do not under- to keep this guy on our side.” Everything have a drink of scotch to insulate our- Cathedral in Merida, Mexico. Someone stand them in the first place, that they worked out smoothly for all of us. selves. We didn’t get back to the church had donated an electronic organ to the are just waiting in the sidelines for the until after the intermission. Afterwards, seminary there, and a local Allen repre- first opportunity to pounce upon them. LM: What were some of your we said to Bill, “Oh, that was a beautiful sentative and a friend went down to They change the organs to fit their own Williams organ installations? recital.” We never told him we had install it. While they were there, this tastes, and this just does not work. They NW: We built one for Joseph Bram- missed the entire first half. darling little priest named Padre Avila, cannot see beyond their own egos. How- lett’s house in Malibu, California. We built a nice little residence organ from the cathedral, showed up at the ever, although many of our organs have Joseph was a close friend of Roy Perry’s, for Bill Teague, and a practice organ for seminary and told them the organ at the now been rebuilt, I can still look back and was from Longview. We built his Austin College, in Sherman, Texas. cathedral needed a lot of work, and and appreciate the wonderful years and house organ in our shop in New There is also a nice one at Christ Church, asked if they could come repair it. They the work we did. I wouldn’t trade it for Orleans, and figured it would take about Tyler, Texas. Tommy Anderson made the explained to Padre Avila that they were anything in the world. I three weeks to set it up in his home in pipes for that one. First Baptist Church strictly electronic people and knew Malibu. It took three MONTHS! We in Shreveport is one of our largest organs. nothing about pipe organs, but they Lorenz Maycher is organist-choirmaster at ended up having to cook and prepare Jimmy was so carried away there that he knew one of the best pipe organ- Trinity Episcopal Church in Bethlehem, for all of Joseph’s big parties, which started playing “give away.” He kept say- builders in the United States in New Pennnsylvania, teaches organ and piano at Lafayette College, piano at Moravian College, were elaborate and full of famous stars, ing it would be so much nicer if the organ Orleans. They gave Jimmy’s address to and is interim director of music at DeSales and want-to-be stars. Jerome Lawrence, had this or that stop, so we would go Padre Avila, who wrote us to come eval- University. He has recently founded The Ver- the playwright, was Joseph’s next-door ahead and add the stops to its design, uate the cathedral’s organ. So, off we mont Organ Academy, a website dedicated to neighbor. He wrote “Inherit the Wind” hoping the church might pay for them. went to Merida. We arrived to find all promoting the organ and its music, located at and “Auntie Mame.” Anytime Joseph Jimmy said, “If my name is going to be on the blocks and key contacts in the con-
MAY, 2006 29 Cover feature
Casavant Frères, Saint-Hyacinthe, Quebec, Canada Casavant Opus 3838 Principia College, Cox Auditorium, 3 manuals, 42 stops Elsah, Illinois, Opus 3838 Grand Orgue The history of Principia dates from 16v Montre 1897 when Mary Kimball Morgan 8v Montre 8v Violoncelle began home schooling her two sons in 8v Bourdon order to give them a “fuller” education 8v Flûte harmonique than what she found in the public 4v Prestant schools in St. Louis. Mrs. Morgan, a 4v Flûte ouverte Christian Scientist, based her educa- 4v Doublette 2 tional philosophy on the writings of 2 ⁄3v Cornet III 1 Mary Baker Eddy, the founder of 1 ⁄3v Fourniture IV–V Christian Science. Soon, when other 16v Bombarde 8v Trompette parents began to observe the difference 4v Clairon between her sons and their children, she was asked to take them as students. Récit Expressif In 1898 the name Principia was chosen, 8v Diapason and by 1906 the first high school grad- 8v Bourdon uation was held. A junior college—one 8v Viole de gambe 8v Voix céleste (TC) of the first in the United States—was 4v Octave added in 1912, and in 1934 the first 4v Flûte octaviante graduates of the senior college 2v Octavin emerged to begin their careers. Today, 2v Plein jeu V although it is not an official institution 16v Basson of the Christian Science Church, Prin- 8v Trompette harmonique cipia is staffed by Christian Scientists to 8v Hautbois serve Christian Science students from 8v Voix humaine 4v Clairon harmonique infants through adults. Principia main- Tremblant tains two campuses. The college itself is magnificently located on limestone Positif bluffs overlooking the Mississippi River 16v Bourdon doux in Elsah, Illinois. 8v Principal The architect for the college campus, 8v Cor de nuit 4v Prestant Bernard Ralph Maybeck (1862–1957) of 4v Flûte à fuseau San Francisco, California, was retained 2 2 ⁄3v Nazard in 1923 to prepare a master plan. He 2v Quarte de nazard 3 decided to use an English village as the 1 ⁄5v Tierce 1 inspiration for his creation, to which he 1 ⁄3v Larigot referred as his “favorite child.” Con- 1v Mixture IV struction began in 1931 during the Great 8v Trompette Depression, and by 1935 the college 8v Cromorne moved to the new location in Elsah. In Tremblant 1993 the Principia College campus was Pédale granted National Historic Landmark sta- 32v Soubasse tus by the United States Department of Casavant Opus 3838 16v Montre (G.O.) the Interior for its unique plan and dis- 16v Contrebasse (prepared) tinctive original buildings. acoustics are fairly unforgiving. This is would link with the main stage. It quick- 16v Soubasse 16v Bourdon doux (Pos.) A large auditorium was constructed in mostly due to the thin suspended ceil- ly transpired that steel columns support- 8v Octavebasse 1964, primarily for the annual Principia ing, heavy stage curtains and padded ing the building could be neither sup- 8v Contrebasse (prepared) Public Affairs Conferences. It was soon seats. The proposed placement of the pressed nor moved. This added another 8v Bourdon realized that a much wider variety of organ at the back of the stage was layer of technical difficulties, as we 4v Octave activities were using the building and enough to depress any weathered organ- would have to build the organ either 4v Flute (prepared) that a pipe organ would be a valued builder. The instrument would have to beside or around the immovable pillars. 32v Contre Trombone asset. Detlef Kleuker Orgelbau of Brack- share the space with an active ballet and Any viable solution encompassing a steel 16v Trombone wede/Westfallen, Germany, installed a theater program; it would be allowed a column would have to give good access 8v Trompette two-manual, 32-rank instrument with strictly limited footprint that could not to the windchests and pipework for 4v Clairon electric-slider action in 1967. The organ interfere with the stage lighting; and it maintenance and tuning. After many Pos/G.O. was mounted on a platform hung from a would be subject to potential damage careful studies, we were able to propose Réc./G.O. sidewall, the console being positioned in due to the maneuvering of backdrops a solution in which the organ would be Réc./Pos. front of stage center. Virgil Fox per- and decors required by various perfor- angled by 20 degrees, with the Récit key Tirasse G.O. formed the inaugural concert. Various mances. In addition, a thick proscenium action trackers brushing past a steel col- Tirasse Pos. mechanical problems developed within a dropped about 8v from the ceiling at the umn. The success of the placement Tirasse Réc. short period, and the tonal quality of the front of the stage. Seen from the back of would have to rely on the precision of the instrument proved to be inadequate for the auditorium, the top portion of the new building extension and our own the size of the auditorium. Principia organ would have been hidden. Budget manufacturing, as both organ and build- The case design itself is a reflection of decided in 1983 to have the organ rebuilt and other administrative practicalities ing would have to fit like hand and glove. the very successful Maybeck architecture and enlarged. The result was unfortu- did not allow us much leeway. It turned out that the construction of the that graces the college buildings. We nately even less successful, both tonally We walked away scratching our heads, new chamber was superbly crafted under tried to emulate the elegant Arts & Crafts and mechanically, than the original wondering what layout would minimize the college’s supervision, and 30v tall feel by mixing strict main lines with gen- Kleuker. With two failures, the school the effect of this unfortunate placement. walls were impeccably vertical and tly curved pipeshades. Great care has administration was understandably hesi- We investigated the possibility of mov- placed within a quarter of an inch of the been given to enhance the verticality of tant to consider another organ project ing the organ forward for musical events, required dimensions. the overall composition by breaking any for Cox Auditorium. Yet, a reliable and studied the floor strength, and The internal parts of the instrument potential horizontal lines. The case is highly versatile instrument continued to researched the feasibility of air cushions. are organized in two layers: the Grand made of stained solid American walnut be a demonstrated need for the building. We were ready to try anything in order Orgue, the Positif, and the Pédale throughout, with highlights of natural The Music Department, led by college to get the sound out of the stage. upperwork occupy the front section in maple in the pipeshades. The polished tin organist Dr. John Near, initiated discus- That is when the ballet program came the protruding casework, while the Récit façade provides a strong contrast with the sions with the administration in 2000 to to the rescue. After a particularly suc- Expressif and the large pedal pipework soft grain of the walnut. The ensemble have several organ builders visit the cam- cessful ballet evening, the dance group stand behind in the new chamber. The warmly glows in the auditorium. pus and provide proposals for a mechan- effectively argued that the loss of pre- organ is set on symmetrical windchests Despite its curved drawstop terraces ical action organ that would reflect many cious stage floor would drastically laid out in major thirds from tenor C for and porcelain stop nameplates, the con- of the tenets found in the organs of restrict the breadth of their shows. The the manual divisions. Since the case fol- sole is not trying to copy any Cavaillé- Cavaillé-Coll. Casavant Frères was organ had to go elsewhere. lows a strict Werkprinzip, one can read Coll examples. The various elements awarded the contract in August 2002 The move off the stage was certainly the placement of the main divisions on and their arrangement have been cho- after several individual donors and the good news, visually and tonally. We gave the façade: the Positif, just above the sen for their elegance and feel. It is a college classes of 1952 and 1953 gener- a sigh of relief, although the placement console, is crowned by the Grand Orgue play of simplicity and richness with the ously provided funding as their 50th question was still not solved. The previ- and its Montre 8v; the Pédale is on either walnut highlighted by thin strips of reunion gift to Principia. ous defunct organ was set against the left side behind the 16v Montre. The Récit ebony. All the electronic controls, with When the Casavant team of Jacquelin wall on a small platform, but such a posi- division has been split in two sections: the exception of a small readout, are dis- Rochette (tonal director), Didier tion would not have been adequate for the flues, Hautbois, and Voix humaine creetly hidden behind small doors. Grassin (tracker workshop director), and the large three-manual scheme that was are at the front, and the battery of 16v, 8v The tonal architecture of the instru- Carroll Hanson (Casavant representa- envisioned. The college was ready to and 4v reeds are at the back. The key ment is thoroughly grounded in the tive) visited the site for the first time, we explore all options. The possibility of action has been realized with traditional 19th-century French tradition. Dr. clearly realized the challenges that Cox adding a side extension to the building wooden trackers, wooden squares, and Near’s passion for French organ litera- Auditorium would bring. The 1100-seat opened the door to a viable solution. It steel rollers. The electric drawstop ture, especially that of Charles-Marie auditorium is a shoebox-shaped room was felt that the organ should not speak action is complemented with a generous Widor, had to find a good vehicle 180v long and 72v wide with a rising seat- entirely sideways to the audience, and capture system. The winding is done through a full and noble sound. ing floor and a large stage. Despite the sketches were prepared to study the fea- through large single rise reservoirs and Jacquelin Rochette shaped a tonal concrete floor and brick sidewalls, the sibility of an angled case whose platform wooden trunks. structure that continues the musical
30 THE DIAPASON Grand Orgue Wind pressure Pipe diameters (mm) 90mm C1 C2 C3 C4 C5
1 Montre 16' 250 148 84 50 30 2 Montre 8' 150 85 52 31 20,5 3 Violoncelle 8' 120 71,5 43,7 26,8 16,4 4 Bourdon 8' 125 86,7 52,9 31,3 23,7 5 Flute harmonique 8' 135 85 56 44 32 6 Prestant 4' 88 49 31 20 13 7 Flûte ouverte 4' 97 60 38,7 25 16,1 8 Doublette 2' 49 28 17 11 8 9 Cornet III 2 2/3' TC 50 34 22 16 2' MC 28 18 13 1 3/5' TC 36 24 16 11
10 Fourniture IV-V 1 1/3' 1 1/3' 31,9 C1: 19 22 26 29 1' 25,3 C2: 15 19 22 26 2/3' 18,9 Console C3: 12 15 19 22 1/2' 15,5 F3: 8 12 15 19 22 C4: 1 8 12 15 19 D5: 1 5 8 12 15
11 Bombarde 16' Full length 194 131 96 75 62 12 Trompette 8' 131 96 75 62 54 13 Clairon 4' 96 75 62 54 54
Récit Wind pressure Pipe diameters (mm) 100mm C1 C2 C3 C4 C5
14 Diapason 8' 142 85 51,4 31,5 19,3 15 Bourdon 8' 1-12 wood 150,8 X 128,6 89,3 55,5 32,7 24,2 16 Viole de gambe 8' 100,8 60,5 37,1 22,7 14 17 Voix céleste (TC) 8' 55,8 34,2 21 12,85 18 Octave 4' 81,5 49,3 30,2 18,5 11,4 19 Flûte octaviante 4' 82,7 56,9 43,9 29,2 17,8 20 Octavin 2' 55,3 42,6 28 16,8 9,3 21 Plein jeu V 2' 2' 43,1 C1: 15 19 22 26 29 11/3' 33,4 F2: 12 15 19 22 26 1' 27,8 F3: 8 12 15 19 22 2/3' 21,5 F4: 1 8 12 15 19 1/2' 13,9 D5: 1 5 8 12 15
22 Basson 16' Full Length 131 96 75 62 54 23 Trompette harmonique 8' 111 84 67 57 51 24 Hautbois 8' 92 56 52 41 32 25 Voix humaine 8' 37 33 29 27 25 26 Clairon harmonique 4' 75 62 54 48
Positif Wind pressure Pipe diameters (mm) 80mm C1 C2 C3 C4 C5
Organ section 27 Bourdon doux 16' 1-24 wood 231 X 200 139,7 X 50,5 29,8 23,2 28 Principal 8' 142 84 50 30 20 29 Cor de nuit 8' 1-12 wood 117 X 143 50,5 29,8 23,2 14,5 30 Prestant 4' 86 48 29 18 12 31 Flûte à fuseau 4' 86 57 33,5 20 13 32 Nazard 2 2/3' 72 46 30 18 12 33 Quarte de nazard 2' 62 38 24 15 10 34 Tierce 1 3/5' 54 34 20 12 8,5 35 Larigot 1 1/3' 42 28 18 12 8 36 Mixture IV 1 1' 25,31 C1: 22 29 33 36 2/3' 19,33 C2: 22 26 29 33 1/2' 15,9 F2: 15 22 26 29 1/3' 12,17 C3:15 19 22 26 1/4' 10,04 F3: 12 15 19 22 C4: 8 12 15 19 D5: 1 8 12 15
37 Trompette 8' 111 84 67 57 51 38 Cromorne 8' 42 36 33 30 26
principles set in the highly successful reeds and stopped flutes have been organ of Brick Church in New York City obtained through extensions. and which serves effectively the Thanks to the wealth of foundation immense corpus of the French reper- stops, many built with “entaille de tim- toire. The organ is articulated around a bre,” the organ is solidly grounded, traditional 16v Grand Orgue. The Récit and the generous basses contribute a Expressif is typical of the large Récit wonderful gravitas to the instrument. found in late grand Cavaillé-Coll Given the musical goals of retaining organs, with the exception of the 16v clarity throughout the entire compass Bourdon that Dr. Near preferred to and achieving nice initiation of speech, have in the Positif. The Positif is treated the mixtures have been purposely kept more classically with its series of muta- under control to avoid any aggressive- tions and a large-scale Cromorne. The ness. At the same time, though, the Pédale is richly endowed from 32v large number of reed stops—twenty Auditorium plan upwards, although it is the division with percent of the ensemble, built with the most compromises, as the large full-length resonators and designed
MAY, 2006 31 Pédale Wind pressure Pipe diameters (mm) 90mm C1 C2 C3 New Organs Reeds 150mm
39 Soubasse 32' 420 X 465 264 X 300 40 Contrebasse 16' Prepared 244 X 293 152 X 182 92 X 110 42 Soubasse 16' 1-24 wood 264 X 300 165 X 193 91,9 45 Octavebasse 8' 155 92,8 55,8 46 Contrebasse 8' Prepared 152 X 182 92 X 110 58,5 X 70 47 Bourdon 8' 165 X 193 91,9 58,6 48 Octave 4' 85,2 51,4 31,5 49 Flute 4' Prepared 92 X 110 58,5 X 70 50 Contre-trombone 32' Extension 330 208 51 Trombone 16' Full length 208 152 114 53 Trompette 8' 152 114 87 54 Clairon 4' 114 87 67
Gober Organs, Inc., Elora, on a podium two steps up from floor Ontario, Canada level, facilitating her view of the choris- The Lutheran Church of the Good ters or other musicians. Shepherd (ELCA), Brooklyn, Ohio The organ is North German in style. The classic form of the tracker organ, Most of its pipes are of lead, made in with a slender lower case and wider our shop, including the hand-burnished upper case, the transition made elegant façade pipes, plus several stops, Organ plan by curved consoles or brackets, has revoiced, from the church’s previous become iconic. But if we take in the organ. The sanctuary’s overall acoustical whole range of historic organs, the num- dryness is compounded at floor level by ber that deviate from that scheme is a number of windows. But the 28-foot great. Organs with the keydesk tall organ benefits, as we had hoped, detached, off-center, on the side of the from the much more supportive envi- case or the rear of the case, make up a ronment overhead. very significant portion of historic The organ was selected by a commit- organs. Then, as now, the physical situ- tee headed by Linda Kempke, cantor ation often suggested a layout other and parish assistant at Good Shepherd. than the one we now tend to regard as They were assisted in their work by con- the norm. sultant David Boe of the Oberlin Con- The Lutheran Church of the Good servatory, who also played the dedica- Shepherd in the Cleveland, Ohio, sub- tion recital. The organ can be heard on urb of Brooklyn has no loft. The choir a forthcoming CD recorded by Craig and other musicians are located behind Cramer of the University of Notre the congregation and at the same level. Dame. First efforts to design an asymmetrical —Halbert Gober organ on one side of the aisle were fruit- less. Such a design would have cramped Hauptwerk C–g3 the pipes and not got them far enough 16v Bourdon 8v Praestant up over the heads of the people to take 8v Viola da Gamba advantage of the acoustic volume of the 8v Gedackt high-ceilinged sanctuary. 4v Oktav Once our proposed organ straddling 3v Quinte the aisle was accepted, the engineering 2v Oktav Drawknob detail was a matter of reconciling all our nor- Mixtur IV mal principles: simplifying the action, 8v Trompete A note from the college organist with Cavaillé-Coll shallots—provides a eliminating mass and friction, devising a Oberwerk C–g3 thrilling tutti of great richness without Principia is thrilled to have this layout that produces a dramatic façade 8v Rohrflöte ever being shrill. magnificent new organ in Cox Audito- with good proportions and strong geo- 8v Traversflöte This instrument was not without rium. It brings a much-needed new metric patterns and that relates to the 4v Koppelflöte technical difficulties, and we have dimension to the performance oppor- windchest pipe order. The resulting 2v Spitzflöte been fortunate to work alongside a tunities at the college, and it is a won- action is not only pleasant to play, but Sesquialtera II college whose search for excellence derful addition to the musical land- also stable through the extreme humid- 8v Dulzian has encouraged us to challenge our- scape of the greater St. Louis commu- ity changes between winter and summer Pedal C–f1 selves. This exhilarating experience nity. I want to express my gratitude to in the un-air conditioned sanctuary. 16v Prinzipal was greatly facilitated by their contin- the many generous donors who made The Hauptwerk and Pedal are at 16v Subbass uing support and assistance. A special the project possible, and to all the impost level, with the Hauptwerk on the 8v Oktav thanks goes to Dr. John Near for his Casavant personnel who worked so left just above the keyboards, and the 6v Nasat valuable guidance and his deep tirelessly to make the instrument such Pedal on the right. The Oberwerk is 4v Choralbass involvement during the entire project. a fine success. above and centered in the case. Façade 2v Nachthorn Dr. Near will inaugurate the organ on John R. Near pipes are taken from the Hauptwerk 16v Posaune May 11. Professor of Music and Pedal Prinzipal 8v and 16v stops as 8v Trompete Didier Grassin well as the Pedal Choralbass and the Normal couplers Jacquelin Rochette Photo credit: Ellen Sprague, Principia Col- Oberwerk Traversflöte 8v, a harmonic Tremulant to entire organ Casavant Frères lege. Drawings courtesy Casavant Frères. flute. Seated at the organ, the player is Zimbelstern, wind-driven
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church Park Ridge, IL Bradley Althoff; Church of St. Louis, King of Pickle Piano & Church Organs France, St. Paul, MN 12:35 pm This calendar runs from the 15th of the month Bloomingdale, IL of issue through the following month. The deadline is the first of the preceding month (Jan. 1 for 24 MAY Feb. issue). All events are assumed to be organ Paul Leddington Wright; Methuen Memorial recitals unless otherwise indicated and are grouped Music Hall, Methuen, MA 8 pm within each date north-south and east-west. •=AGO Matthew Dirst, harpsichord; St. chapter event, • •=RCCO centre event, +=new Bartholomew’s, New York, NY 7:30 pm organ dedication, ++= OHS event. Information cannot be accepted unless it spec- 25 MAY ifies artist name, date, location, and hour in writ- Bach Vespers; St. Lorenz Lutheran, Franken- ing. Multiple listings should be in chronological muth, MI 7 pm order; please do not send duplicate listings. THE DIAPASON regrets that it cannot assume responsi- 26 MAY bility for the accuracy of calendar entries. +Peter Richard Conte; The Kimmel Center, Philadelphia, PA 11 am Joe Marchio; Fourth Presbyterian, Chicago, IL 12:10 pm UNITED STATES East of the Mississippi 27 MAY Vento Chiaro; All Saints’ Episcopal, Wolfeboro, NH 8 pm 15 MAY Ken Cowan; Calvary Episcopal, Cincinnati, 28 MAY OH 8 pm Kyle Babin; Central Synagogue, New York, NY 12:30 pm 16 MAY Andrew Peters; Christ Church, New Ray Cornils, youth concert; Portland City Brunswick, NJ 6:30 pm, Vespers at 6 pm Hall, Portland, ME 10:30 am Anthony Williams; Washington National Unionville High School Choir; Longwood Gar- Cathedral, Washington, DC 5 pm dens, Kennett Square, PA 2 pm Herndon Spillman; St. Patrick Catholic Frances Nobert; Church of St. Louis, King of Church, Meridian, MS 4 pm France, St. Paul, MN 12:35 pm 31 MAY 17 MAY Margaret Angelini; Methuen Memorial Music McNeil Robinson; Church of the Holy Apos- Hall, Methuen, MA 8 pm tles, New York, NY 7:30 pm Ken Cowan; Emmanuel Episcopal, Chester- Paul Skevington; St. Luke Catholic Church, town, MD 8 pm McLean, VA 1 pm 1 JUNE 19 MAY Paul Jacobs; Wesley Methodist, Bethlehem, Ken Cowan; West Parish Church, West PA 8 pm Barnstable, MA 7:30 pm Jeffrey Wood; Center Church, Hartford, CT 2 JUNE 12:10 pm Alan Morrison; St. Martin-in-the-Fields, Matthew Walsh; Fourth Presbyterian, Chica- Philadelphia, PA 8 pm go, IL 12:10 pm William Ferris Chorale; Mt. Carmel Church, 3 JUNE Chicago, IL 8 pm John Gouwens, carillon; The Culver Acade- mies, Culver, IN 7:30 pm 20 MAY Northwest Choral Society; Edison Park Ken Cowan, masterclass; West Parish Lutheran, Chicago, IL 7:30 pm Church, West Barnstable, MA 10 am +Peter Richard Conte; The Kimmel Center, 4 JUNE Philadelphia, PA 11 am Renée Louprette; St. Ignatius Loyola, New John Gouwens, carillon; The Culver Acade- York, NY 4 pm mies, Culver, IN 4 pm Choral Evensong; Grace Church, New York, NY 4 pm 21 MAY Jeremy Bruns; St. Mary the Virgin, New Colonial Singers; First Church of Christ, York, NY 4:40 pm Wethersfield, CT 7 pm Choral concert, with orchestra; Christ Church, Choral concert; Center Church, Hartford, CT New Brunswick, NJ 7:30 pm 4 pm James Guthrie; St. Luke’s, Smithfield, VA 3 Peter DuBois; Memorial Art Gallery, pm Rochester, NY 5:30 pm Felix Hell; Episcopal Church of the Brahms, Requiem; Church of St. Joseph, Redeemer, Midlothian, VA 4 pm Bronxville, NY 3 pm J. Michael Grant & Christopher Brayne; Hymn Festival; St. Peter’s Episcopal, Bay Christ Episcopal, Charlotte, NC 7:30 pm Shore, NY 5 pm Jeremy David Tarrant; Christ Church Cran- Jonathan Hall; Cathedral of St. Patrick, New brook, Bloomfield Hills, MI 6 pm York, NY 4:30 pm Duruflé, Requiem; Cathedral Church of the Mark Bani; St. Thomas Church Fifth Avenue, Advent, Birmingham, AL 4 pm New York, NY 5:15 pm Northwest Choral Society; Trinity Lutheran, Gwendolyn Toth; Christ Church, New Des Plaines, IL 4 pm Brunswick, NJ 6:30 pm, Vespers at 6 pm Choral Evensong; St. James Episcopal Felix Hell; Lutheran Theological Seminary, Cathedral, Chicago, IL 4 pm Gettysburg, PA 3 pm Chicago Bronze English Handbell Ensemble; Anne Wilson, Song of Hope; Doylestown Grace United Methodist, Naperville, IL 4 pm Presbyterian, Doylestown, PA 7 pm Ken Cowan; First Presbyterian, Neenah, WI Choral concert; Cathedral of Mary Our 7 pm Queen, Baltimore, MD 5:30 pm Mary Preston; Grace Covenant Presbyter- 5 JUNE ian, Richmond, VA 5 pm Yoon-Mi Lim; Cathedral of St. Thomas More, Cantate; First Presbyterian, Lynchburg, VA 3 Arlington, VA 8 pm pm Paul Jacobs; Forrest Burdett United 7 JUNE Methodist, Hurricane, WV 3 pm Wilma Jensen; Methuen Memorial Music Gerre Hancock; First Baptist, Henderson, Hall, Methuen, MA 8 pm NC 11 am worship service, 4 pm recital Daniel Steinert; Zion Lutheran, Appleton, WI Antone Godding Atlanta Baroque Orchestra; Peachtree Road 12:15 pm United Methodist, Atlanta, GA 3 pm Naomi Rowley; Sinsinawa Mound, Sinsi- Nichols Hills Bruce Neswick; St. Philip’s Cathedral, nawa, WI 7 pm United Methodist Church Atlanta, GA 3:30 pm, Evensong at 4 pm Oklahoma City Choral concert; Cathedral Church of St. Paul, 9 JUNE Detroit, MI 4 pm Choral concert; Church of the Advent, Orff, Carmina Burana; St. Mary’s College, Boston, MA 8 pm Notre Dame, IN 7:30 pm LORRAINELORRAINE BRUGH, BRUGH, Ph.D.Ph.D. Duruflé, Requiem; Cathedral Church of the 10 JUNE Advent, Birmingham, AL 4 pm Neil Jensen; John Dickinson High School, Thomas Wikman; St. Chrysostom’s, Chica- Wilmington, DE 8 pm Associate Professor go, IL 2:30 pm Toronto Children’s Chorus; First Presbyter- ian, Lockport, NY 7:30 pm University Organist 22 MAY Alan Morrison; Lord & Taylor Department Cathryn Wilkinson; Elliott Chapel, The Pres- Store, Philadelphia, PA 10 am Valparaiso University byterian Homes, Evanston, IL 1:30 pm Ann-Kirstine Christiansen, carillon; Long- Valparaiso, IN •Tracy Figard; St. Ita’s, Chicago, IL 7 pm wood Gardens, Kennett Square, PA 7 pm www.valpo.edu 23 MAY 11 JUNE Jason Roberts; Central Synagogue, New Scott Lamlein, hymn festival; Wesley United York, NY 12:30 pm Methodist, Worcester, MA 2 pm 219-464-5084 Peter Richard Conte; St. Mary’s Cathedral, Louis Perazza; Washington National Cathe- [email protected] Peoria, IL 7:15 pm dral, Washington, DC 5 pm
MAY, 2006 33 Philip T.D. Cooper; Gray Auditorium, Old 21 MAY Salem, Winston-Salem, NC 3 pm Robert Bates; Fredericksburg United Lee Northcutt, with baritone; Myers Park Methodist, Fredericksburg, TX 3 pm United Methodist, Charlotte, NC 7:30 pm Michael Britt; St. Stephen Presbyterian, Fort Worth, TX 7:30 pm 13 JUNE Bach Choir and Orchestra; Christ the King Ray Cornils, with brass; Portland City Hall, Lutheran, Houston, TX 5 pm Portland, ME 7:30 pm Britten, Noyes Fludde; Cathedral of the Madeleine, Salt Lake City, UT 8 pm 14 JUNE Roberta Gary; St. John's Presbyterian, Sylvie Poirier & Philip Crozier; Methuen Berkeley, CA 4 pm Memorial Music Hall, Methuen, MA 8 pm Brian Jones Choral concert; Independent Presbyterian, 24 MAY Director of Music Emeritus Birmingham, AL 7 pm Gail Archer; St. John’s Episcopal, Jackson Sarah Mahler Hughes; First English Luther- Hole, WY 8 pm TRINITY CHURCH an, Appleton, WI 12:15 pm Stephen Steely; Sinsinawa Mound, Sinsi- 26 MAY BOSTON nawa, WI 7 pm Gail Archer; Trinity Episcopal, Reno, NV 12 noon 16 JUNE John Scott; St. Bede Catholic Church, 28 MAY Williamsburg, VA 7:30 pm Memorial Day Evensong; Christ Church Cathedral, St. Louis, MO 5 pm 17 JUNE Gail Archer; Cathedral of St. Mary of the Vegar Sandholt, carillon; Longwood Gar- Assumption, San Francisco, CA 3:30 pm dens, Kennett Square, PA 6 pm Carol Williams; Balboa Park, San Diego, CA 2 pm 18 JUNE Andrew Henderson; Cathedral of St. Patrick, 2 JUNE New York, NY 4:30 pm Joseph Adam, with Seattle Symphony; Christopher Jennings; Christ Church, New Benaroya Hall, Seattle, WA 7:30 pm DAVID K. LAMB, D.MUS. Brunswick, NJ 6:30 pm, Vespers at 6 pm Karel Paukert; Washington National Cathe- 4 JUNE Director of Music/Organist dral, Washington, DC 5 pm Jason Roberts; Christ Church Cathedral, Mary Mozelle, with trumpet; Old Presbyterian Houston, TX 4:15 pm; Evensong at 5 pm First United Methodist Church Meeting House, Alexandria, VA 5 pm Maxine Thevenot, Proulx, Concerto for Columbus, Indiana Herndon Spillman; St. James Episcopal, Organ; Cathedral Church of St. John, Albu- 812/372-2851 Alexandria, LA 4 pm querque, NM 4 pm Mozart, Coronation Mass; Cathedral of St. 20 JUNE Mary of the Assumption, San Francisco, CA Felix Hell; Portland City Hall, Portland, ME 3:30 pm 7:30 pm Marilyn Keiser; Grace Cathedral, San Fran- cisco, CA 4 pm 21 JUNE AMES ETZLER Vincent Dubois, Poulenc, Organ Concerto; J R. M Elaine Chard; Methuen Memorial Music Hall, Walt Disney Concert Hall, Los Angeles, CA Methuen, MA 8 pm TRINITY CATHEDRAL 2 pm Orchestra of St. Luke’s; St. Bartholomew’s, Carol Williams; Balboa Park, San Diego, CA LITTLE ROCK New York, NY 8 pm 2 pm Nigel Potts; Trinity Episcopal Cathedral, Columbia, SC 7:30 pm 8 JUNE Joanne Peterson; St. Joseph Catholic Todd Wilson; Bates Recital Hall, University Church, Appleton, WI 12:45 pm of Texas, Austin, TX 8 pm Patrick Collins; Sinsinawa Mound, Sinsi- nawa, WI 7 pm 9 JUNE 23 JUNE Paul Jacobs; St. Andrew’s Cathedral, Hon- Choral Evensong; St. John’s Episcopal, Stur- olulu, HI 7:30 pm gis, MI 7 pm 11 JUNE 24 JUNE David Cherwien, hymn festival; Faith Luther- John Gouwens, carillon; The Culver Acade- an, Redmond, WA 7 pm mies, Culver, IN 4 pm James Tevenan; Cathedral of St. Mary of the Assumption, San Francisco, CA 3:30 pm 25 JUNE Carol Williams; Balboa Park, San Diego, CA Murray Foreman; Grace Lutheran, Lancast- 2 pm er, PA 4 pm Diane Heath; Old Presbyterian Meeting 14 JUNE House, Alexandria, VA 5 pm James David Christie; Graham Chapel, St. John Scott; Washington National Cathedral, Louis, MO 7:30 pm Washington, DC 5 pm Karen Jacob, with Carolina Pro Musica; St. 15 JUNE John’s Episcopal, Charlotte, NC 7:30 pm James David Christie, workshop; Graham Chapel, St. Louis, MO 9 am 26 JUNE Joan Lippincott; Cathedral of All Saints, 18 JUNE Albany, NY 8 pm Jonas Nordwall; Zion Lutheran, Portland, Marilyn Keiser, Eucharist Service; Christ OR 4 pm Church Cathedral, Indianapolis, IN 10 am Emma Lou Diemer, Mahlon Balderston, & Karen Beaumont; Elliott Chapel, The Pres- David Gell; Trinity Episcopal, Santa Barbara, byterian Homes, Evanston, IL 1:30 pm CA 3:30 pm Carol Williams; Balboa Park, San Diego, CA 27 JUNE 2 pm Amy Johansen; Portland City Hall, Portland, ME 7:30 pm 19 JUNE Thomas Murray; Westminster Presbyterian, Carol Williams; Balboa Park, San Diego, CA Albany, NY 9:30 and 11:00 am 7:30 pm
28 JUNE 25 JUNE Ann Labounsky; Methuen Memorial Music Rodney Gehrke; Grace Lutheran, Tacoma, Hall, Methuen, MA 8 pm WA 3 pm Gerre Hancock, hymn festival; Second Pres- David Brock; Cathedral of St. Mary of the byterian, Indianapolis, IN 10:30 am Assumption, San Francisco, CA 3:30 pm Naomi Rowley; First United Methodist, Carol Williams; Balboa Park, San Diego, CA Appleton, WI 12:15 pm 2 pm Michael Elsbernd; Sinsinawa Mound, Sinsi- nawa, WI 7 pm 26 JUNE Karen Beaumont; Elliott Chapel, The Pres- 29 JUNE byterian Homes, Evanston, IL 1:30 pm Diane Meredith Belcher; St. James’ Roman Catholic Church, Albany, NY 8 pm INTERNATIONAL
Cathedral Church of St. John UNITED STATES 16 MAY Albuquerque, New Mexico West of the Mississippi Sarah Baldock; Winchester Cathedral, Win- www.stjohnsabq.org A two-inch chester, UK 7:45 pm 505-247-1581 16 MAY Carol Williams; Oxford Town Hall, Oxford, Professional Card Sae Wan Yang; Westwood United Methodist, UK 1 pm Los Angeles, CA 7:30 pm in THE DIAPASON 17 MAY 19 MAY Andrew Weleschuk, with violin and cello; St. For information on rates and Britten, Noyes Fludde; Cathedral of the Basil’s, Toronto, ON, Canada 6 pm specifications, contact: Madeleine, Salt Lake City, UT 8 pm James Welch; St. Mark’s Episcopal, Palo Alto, CA 8 pm 18 MAY Jerome Butera Alison Luedecke, with Millennia Too!; First Gordon Stewart; Haileybury Chapel, Hert- [email protected] Church of Christ, Scientist, La Mesa, CA 7 pm ford Heath, Broxbourne, Herts, UK 7:30 pm Iain Quinn Maxine Thevenot Andrew Lumsden; St. John’s Smith Square, Director of Associate Organist- 847/391-1045 20 MAY London, UK 1 pm Cathedral Music Choir Director Britten, Noyes Fludde; Cathedral of the Zygmunt Strzep; St. Margaret Lothbury, Lon- Madeleine, Salt Lake City, UT 2 pm don, UK 1:10 pm
34 THE DIAPASON 20 MAY 2 JUNE Peter Gould; Victoria Hall, Hanley, Stoke-on- Craig Cramer; Katholische Kirche, Aren- Trent, UK 12 noon berg/Eifel, Germany 7 pm RICHARD M. PEEK Matthew Owens; St. Albans Cathedral, St. Roger Judd; Christ Church Cathedral, Victo- Albans, UK 5:30 pm ria, BC, Canada 7:30 pm IN MEMORIAM Carol Williams; Cartmel Priory, Cumbria, UK 7:30 pm 3 JUNE May 17, 1927–November 28, 2005 D’Arcy Trinkwon; St. John the Evangelist, Ashley Tidy; St. Mary’s, Rock Gardens, Upper Norwood, UK 1 pm Brighton, Sussex, UK 2:30 pm Ben Saul; St. George’s Cathedral, South- Jonathan White; Canterbury Cathedral, Can- wark, UK 1:05 pm terbury, UK 7:30 pm James O’Donnell; Arundel Cathedral, West 21 MAY Sussex, UK 8 pm Jose Manuel Azcue; Eglise St-Sulpice, Thomas Heywood; St. George’s Chapel, Paris, France 4 pm Windsor Castle, Windsor, UK 6:30 pm Stephen Moore; Mountsorrel Methodist, Loughborough, UK 8 pm 4 JUNE Xavér Varnus; Palace of Arts, Budapest, 22 MAY Hungary 7:30 pm +Zsuzsa Elekes, István Baróti, Xavér Var- Richard Pilliner; Westminster Cathedral, nus, László Fassang; Palace of Arts, London, UK 4:45 pm Budapest, Hungary 7:30 pm Robert Quinney; Westminster Abbey, Lon- Alice Parker, workshop; First Metropolitan don, UK 5:45 pm United, Victoria, BC, Canada 2 pm Jonathan White; Canterbury Cathedral, Can- terbury, UK 7:30 pm 23 MAY Andrew Lumsden; Winchester Cathedral, 5 JUNE Winchester, UK 7:45 pm Craig Cramer; Basilika, Steinfeld/Eifel, Ger- Jane Watts; St. Lawrence, Alton, Hampshire, many 4 pm UK 8 pm 6 JUNE 24 MAY Claude Girard; St. James United Church, Carol Williams; Salisbury Cathedral, Salis- Montreal, QC, Canada 12:30 pm bury, UK 7:30 pm 7 JUNE 25 MAY Marie-Claire Alain; Eglise St-Sulpice, Paris, Greg Morris, Messiaen, L’Ascension; Black- France 8:30 pm burn Cathedral, Blackburn, UK 9:15 pm Paul Hale; St. Mary Magdalene, Newark, UK 7:15 pm 26 MAY Philip Crozier; Eglise Saint Anges, Lachine, Montreal, QC, Canada 12:30 pm David Palmer, with choir; St. Basil’s, Toronto, ON, Canada 7:30 pm 8 JUNE Patrick Wedd; Christ Church Cathedral, Van- David Sanger; Guildford Cathedral, Guild- DONALD W. WILLIAMS couver, BC, Canada 7:30 pm ford, UK 7:30 pm 27 MAY IN MEMORIAM 10 JUNE Craig Cramer; Evangelische Kirche, Nassau, Thomas Trotter; St. Anne’s Church, Lime- August 5, 1939–September 22, 2005 Germany 7 pm August 5, 1939–September 22, 2005 house, London, UK 2:30 pm David Collins; St. James the Great, Dursley, Roger Muttitt; Beverley Minster, Beverley, UK 11 am UK 6 pm Paul Burgoyne; St. Mary’s, Rock Gardens, Andrew Lumsden; St. Albans Cathedral, St. Brighton, Sussex, UK 2:30 pm Albans, UK 5:30 pm Alan Spedding; Bridlington Priory, Bridling- +Gillian Weir; St. Peter’s, St. Albans, UK Davis Wortman RONALD WYATT ton, UK 6 pm 7:30 pm Thomas Trotter; St. Peter’s, St. Albans, UK Bach, Mass in b; St. Margaret’s, Ilkley, UK St. James’ Church Trinity Church 7:30 pm 7:30 pm Martyn Rawles; Gloucester Cathedral, New York Galveston 28 MAY Gloucester, UK 7:30 pm D’Arcy Trinkwon; Westminster Cathedral, London, UK 4:45 pm 11 JUNE Andrew Reid; Westminster Abbey, London, Phillip Gearing; Mayne Hall, University of UK 5:45 pm Queensland, Brisbane, Australia 3 pm Sylvie Poirier, with narrator, Eben: The Marco Lo Muscio; Riga Cathedral, Riga, Labyrinth of the World and Paradise of the Latvia 7 pm Marcia van Oyen mvanoyen..com Heart; Église St-Anges, Lachine, Montreal, QC, Alison Luedecke; Notre-Dame, Paris, Canada 3 pm France 4:30 pm Roger Firth; Westminster Cathedral, London, 29 MAY UK 4:45 pm Plymouth First United Methodist Church,,Plymouth,,Michigan Christopher Newton; St. Bartholomew, Arm- Ian Keatley; St. John’s Smith Square, Lon- ley, Leeds, UK 11 am don, UK 5:45 pm Andreas Meisner; Liverpool Cathedral, Liv- erpool, UK 11:15 am 12 JUNE Andrew Canning; Lincoln Cathedral, Lincoln, Jennifer Chou; All Souls, Langham Place, UK 7 pm London, UK 7:30 pm
30 MAY 13 JUNE Carsten Møller & Jen Christiansen; St. Olivier Latry; St-Etienne-du-Mont, Paris, Andreas, Copenhagen, Denmark 8 pm France 8:30 pm
M From the House of Hope - #0618. . . recital performances on the A historic 1878 Merklin and famous 1979 Fisk organs at House of Hope Presbyterian Church on Summit Avenue in St. Paul, MN. Y The Reger Ring - #0619. . . encompassing both tumultuous and 2 tender compositions to mark the 50th anniversary of Max Reger's 0 death, May 11, 1916. 0 A Gentle Giant - #0620. . . glimpses into the life and art of respected 6 American teacher and recitalist David Craighead.
The American Muse - #0621. . . further glimpses at the remarkably diverse organ repertoire by American composers, recorded in and around Boston.
Notes on Distaff - #0622. . . or Woman Composers for the Organ, a survey of some interesting works by some interesting people.
MAY, 2006 35 Laurent Martin; St. James United Church, +Gillian Weir; St. John the Evangelist, Isling- Noël for the Flutes, Noël Suisse, Daquin; A Voice Astounds Us, Gell; Fantasy on Sleep- Montreal, QC, Canada 12:30 pm ton, London, UK 7:30 pm Carol prelude on Greensleeves, Purvis; Come ers, Awake! A Voice Astounds Us, Come Ye Shepherds, From Heaven Above to Earth Thou Long-Expected Jesus, Diemer, Manz, 15 JUNE 25 JUNE I Come, Young; Noël Symphonique, Balder- Good; Savior of the Nations, Come!, Ore, Peter Dyke; Hereford Cathedral, Hereford, Peter Planyavsky; Palace of Arts, Budapest, ston. Cooman, Manz; Fantasy on O Lord, How UK 7:30 pm Hungary 7:30 pm Shall I Meet You, Come, Thou Long-Expect- David Bednall, Messiaen, Livre du Saint John Keys; Rochdale Town Hall, Rochdale, MARILYN & JAMES BIERY, Northmin- ed Jesus, Diemer; Prepare the Way, O Zion, Sacrement; Blackburn Cathedral, Blackburn, UK 2:45 pm ster Presbyterian Church, Tucson, AZ, Janu- Wood; From Heaven Above to Earth I Come, UK 7:30 pm Stephen DIsley; Westminster Cathedral, ary 22: Fantasia in f, K. 608, Mozart; Largo Bach; Partita on From Heaven Above to Peter Ouwerkerk; St. John’s Smith Square, London, UK 4:45 pm ma non tanto (Concerto in d, BWV 1043), Earth I Come, Schack; Good Christian London, UK 1 pm Ashley Grote; Westminster Abbey, London, Bach; Le Tombeau de Couperin, Ravel; Ada- Friends, Rejoice, Infant Holy, Infant Lowly, Emanuele Cardi; St. Margaret Lothbury, Lon- UK 5:45 pm gio and Fugue in c, K. 246-546, Mozart; Dixon; Come, Thou Fount of Every Blessing, don, UK 1:10 pm David Hamilton; St. Bride’s Church, Hynd- Elegy, Biery; Psalm Variations, Hopkins. Wood, Diemer. Quentin Thomas; Haileybury Chapel, Hert- land, Glasgow, Scotland 3 pm ford Heath, Broxbourne, Herts, UK 7:30 pm ELIZABETH & RAYMOND DAVID A. GELL, with narrator, soprano 26 JUNE CHENAULT, St. Bede Catholic Church, and clarinet, Trinity Episcopal Church, Santa 16 JUNE Csaba Király, János Pálúr, Bálint Karosi; Williamsburg, VA, January 20: Rhapsody, Barbara, CA, December 18: Vom Himmel Wayne Marshall & David Briggs; Symphony Palace of Arts, Budapest, Hungary 7:30 pm Hakim; Eclogue, Shephard; Allegro for hoch, da komm ich her, Pachelbel; Noël X, Hall, Birmingham, UK 7:30 pm Organ Duet, Moore; Nativity Scenes, Daquin; Variations on a Gregorian Theme 27 JUNE Roberts; Toccata on Sine Nomine, The Emer- (Conditor alme siderum), Bate; Mary’s Story, 17 JUNE László Fassang & Philippe Lefebvre, with ald Isle, Callahan; Shenandoah, White; The Ferguson; Magnificat, Gell; Noël Polonaise, Gail Archer; Chiesa di S. Giorgio, Collalto, instruments; Palace of Arts, Budapest, Hungary Stars and Stripes Forever, Sousa, arr. Guilmant; Gesu Bambino, Yon; Noël Ancien, Italy 8:45 pm 7:30 pm Chenault. Doyen; Sweet little Jesus Boy, spiritual; God Raymond Perrin; St. James United Church, Rest You Merry, Williams; Cantique de Noël, Montreal, QC, Canada 12:30 pm 18 JUNE JOHN COLLINS, St. George’s Parish Adam; Hark! The Herald Angels Sing, Raws- Gianluca Libertucci; Westminster Cathe- thorne; Love Came Down at Christmas, 28 JUNE Church, Worthing, UK, November 19: dral, London, UK 4:45 pm Marchia: Tempesta di Mare, Anonymous; Utterback; Rhapsody on Noëls, Gigout. Matthew Martin; Westminster Abbey, Lon- Marco Lo Muscio; St. Gorans Kyrka, Mariehamn, Finland 1 pm Sonata in D, Baguer; Sonata No. 4 in B-flat, don, UK 5:45 pm Baptista; Sonata No. 5 in C, Valerj; Prelude RICHARD BARRICK HOSKINS, Olivier Latry; Palace of Arts, Budapest, Hun- Fourth Presbyterian Church, November 18: gary 7:30 pm in e (op. 3, no. 6), Fugue in G (op. 7, no. 4), 20 JUNE Albrechtsberger; Preludio, Andante & Inten- Moderato (Symphonie VII), Widor; Benedic- Paul Jacobs; Victoria Concert Hall, Singa- Matteo Imbruno; Stadtkirche, Preetz, Ger- tus, Reger; Desseins Eternels, Le Verbe, Les many 8 pm to on Ave Maris Stella, Sesé y Balaguer; Vol- pore 7:30 pm untary No. 3 in C, Beckwith; Prelude and Enfants de Dieu (La Nativité du Seigneur), Duruflé, Requiem; St-Etienne-du-Mont, Paris, Fugue in A, Burney; Voluntary No. 9 in C, Messiaen; Variations on Veni Creator spiri- France 8:30 pm 29 JUNE tus, Ferko. Etienne Walhain; Eglise St. Eustache, Paris, Thorley; Piece No. 18 in E, Keeble; Volun- Jean-Willy Kunz; St. James United Church, tary No. 2 in G, op. 5, Blewitt; Voluntary no. Montreal, QC, Canada 12:30 pm France 8 pm 12 in C, Russell. MAREK KUDLICKI, First Presbyterian 22 JUNE 30 JUNE Church, Ann Arbor, MI, November 6: Mag- Derek Longman; Haileybury Chapel, Hert- Philippe Lefebvre & Olivier Latry; Palace of PETER RICHARD CONTE, First Ply- nificat Primi Toni, Buxtehude; Preambulum ford Heath, Broxbourne, Herts, UK 7:30 pm Arts, Budapest, Hungary 7:30 pm mouth Congregational Church, Lincoln, NE, in D, Colenda, Cantio Polonica, Anonymous; Darryl Nixon; Christ Church Cathedral, Van- January 15: Empire March, Elgar, transcr. Salve Regina, Sowa; Hayducki, Alia Poz- 23 JUNE couver, BC, Canada 7:30 pm Conte; Variations on a Theme of Arcangelo nanie, Preambulum in F, Nicolaus of Cra- Wim van Beek; Grote Kerk, Harlingen, Corelli, Kreisler, transcr. Conte; Concert cow; Prelude and Fugue in e, S. 548, Bach; Netherlands 8 pm Variations on The Last Rose of Summer, Choral No. 1 in E, Franck; O Gott, du from- Buck; Nocturne (Shylock), Fauré, transcr. mer Gott, Brahms; Fantasy, Bloch; Improvi- 24 JUNE Organ Recitals Hebble; Scherzo (Sonata VIII), Guilmant; sations on the Polish Church Hymn Holy Marco Lo Muscio; Moscow Catholic Cathe- Variations on a Theme of Joseph Haydn, God, op. 38, Surzynski. dral, Moscow, Russia 7:30 pm Brahms, transcr. Conte; Fountain Reverie, First United Church of Christ, Reading, Philip Scriven; Victoria Hall, Hanley, Stoke- MAHLON E. BALDERSTON, Trinity Fletcher; Final, Franck. PA, November 11: Salve Regina, Sowa; Pre- on-Trent, UK 12 noon Episcopal Church, Santa Barbara, CA, ambulum in D, Colenda, Cantio Polonica, Alan Spedding; Beverley Minster, Beverley, November 27: Carillon Fanfare, Young; KENDALL CRILLY, Battell Chapel, Anonymous; Hayducki, Alia Poznanie, Pre- UK 3 pm Overture (Christmas Cantata), Gottes Sohn Yale University, New Haven, CT, January 15: ambulum in F, Nicolaus of Cracow; Prelude Martin Setchell; Bridlington Priory, Bridling- ist kommen, Pastorale, Now Thank We All Baroques, Bingham; Si la cintura es un junco, and Fugue in e, S. 548, Bach; Third Rhap- ton, UK 6 pm Our God, Bach; Noël and Variation in G, Zubieta; Processional for the President, Krig- sody, op. 7, Saint-Saëns; Prelude in c, op. 28, baum; It Was, Farrin; Wondrous Love, Bar- no. 20, Prelude in e, op. 28, no. 4, Prelude in ber; Incantation, Sharlat; Six Preludes for the b, op. 28, no. 6, Prelude in D-flat, op. 28, no. Time of Easter, Boursy; Divinum Mysterium 15, Chopin, arr. Kudlicki; Fantasy, Gorski; Tropes, Manthey. Es ist ein Ros’ entsprungen, O Gott, du from- mer Gott, Brahms; Improvisations on the LYNNE DAVIS, The Brick Presbyterian Polish Church Hymn Holy God, op. 38, Church, New York, NY, November 28: Surzynski. Hymne sur le Veni Creator, de Grigny; Pas- torale, Roger-Ducasse; Choral-Improvisa- NANCY LANCASTER, House of Hope tion sur le Victimae Paschali, Tournemire Presbyterian Church, St. Paul, MN, Decem- (reconstructed by Maurice Duruflé); Pièce ber 24: Wachet auf, ruft uns die Stimme, Héroïque, Franck; Rosace (10 Esquisses BWV 645, Bach; Wake, Awake, for Night Is Byzantines), Mulet; Prélude, Adagio et Flying, Manz; Vom Himmel hoch, da komm Choral varié sur le Veni Creator, Duruflé. ich her, Pachelbel; Nun komm, der Heiden Heiland, BWV 659, 661, Bach; Si c’est pour ROBERT DELCAMP, The University of ôter la vie, Dandrieu; Au jô deu de pubelle, the South, Sewanee, TN, November 17: Fan- Grand déi, ribon ribeine, Balbastre; Noël tasia and Fugue in g, BWV 542, Bach; Pas- Suisse, Daquin; Es ist ein Ros’ entsprungen, torale, op. 19, Franck; Prelude and Fugue on Brahms; Lo, How a Rose e’er Blooming, BACH, Liszt; Variations on a theme of Rogg; O Come, Emmanuel, Variations on an Paganini for pedals, Thalben-Ball; Adagio Advent Hymn, Pinkham; Marche Réligieuse (Symphony No. 3), Saint-Saëns, transcr. on ‘Lift Up Your Heads, O Ye Gates’, Bernard; Roulade, op. 9, no. 3, Bingham; Guilmant. NEW INSTRUMENTS Prelude and Fugue in B, op. 7, no. 1, Dupré. MAINTENANCE HUW LEWIS, First Presbyterian RESTORATIONS EMMA LOU DIEMER, Trinity Episco- Church, Three Rivers, MI, November 20: pal Church, Santa Barbara, CA, December Sonata for Worship, Fedak; Theme and Vari- 974 AUTUMN DRIVE 11: Break Forth, O Beauteous Heavenly ations for Christmas Night, Monnikendam; ANTIOCH, ILLINOIS 60002 Light, Bach; Intonation on Sleepers, Awake! Passacaglia in c, BWV 582, Bach; Concerto ABR 847-395-1919 F INCY PIPE ORGANS FAX 847-395-1991 www.fabryinc.com David Petty & Associates Organbuilders
27 Marlboro Lane • Eugene, OR 97405 (541) 521-7348 [email protected]
White Blower Mfg., Inc. 2540 Webster Road Lansing, Michigan 48917 1-800-433-4614 www.whiteblowermanufacturing.com
36 THE DIAPASON in D, Druckmüller; Psalm Prelude, op. 32, Christmas, op. 80, Foote; Sonata No. 15 in no. 1, Howells; Offertorium, Gounod; Intro- D, op. 28, Beethoven; Pastorale, Fricker; duction and Fugue on the Chorale ‘Ad nos, Sonata No. 3 in G, op. 88, Rheinberger. CLASSIFIED ADVERTISING ad salutarem undam’, Liszt. ROGER STANLEY, St. Chrysostom’s ARDYTH LOHUIS, with Robert Murray, Church, Chicago, IL, November 20: Trum- violin, University of Nevada, Las Vegas, NV, pet Tune in C, Johnson; Non troppo vivace, POSITIONS MISCELLANEOUS January 10: Sonata per violino e organo, Cor- Con molto espressione (Six Etudes), Schu- AVAILABLE dans; Adagio, K. 261, Mozart; 5 Pièces pour mann; Sixth Sonata for Organ, Mendelssohn; Flûte ou Violino, Op. 180, Langlais; Aria, Miniature, Langlais; Adagio (Second Sym- Wilkomirski; Violin-Orgelkonzert, Op. 40, phony), Widor; Scherzo, Gigout; Nun danket Experienced organist wanted—Monthly The Organist Entertained! Organists visiting Springer; Variations on Slane, Op. 87, Ben- alle Gott, Bach, Honoré, Held, Karg-Elert. salary range $900–$980. Call 925/757-2135 for der; Variations on Amazing Grace, Held; Jig England may stay at Sarum College, situated auditions at the Christian Science Church, Wal- inside the walled Cathedral Close, Salisbury, and Allegro Spiritoso (A Sonata for Virginia, nut Creek, California. and use two new organs with mechanical op. 94), Healey. JAMES WELCH, St. Mark’s, Palo Alto, actions for private study. Options for lessons, CA, December 31: Fanfare on Mendelssohn, time on the Cathedral Father Willis organ, visits Wyton; Prelude and Fugue in E, BWV 566, Looking for experienced pipe organ tuners, to local sights. Excellent food, welcoming staff. BRETT PATTERSON & MYRON PAT- In dir ist Freude, BWV 615, Bach; Afro- service technicians and builders to start work immediately in the New York area. Immediate Website: www.sarum.ac.uk e-mail: TERSON, Bountiful Community Church, Cuban, Michel; Vom Himmel hoch, BWV [email protected] Tel: +44 1722 424805. Bountiful, UT, December 18: Nun komm, benefits including paid holidays, paid vacation 769, Bach; Josefs Tanz zum Neuen Jahr, and a health care package. 631/254-2744, der Heiden Heiland, BWV 659; Lob sei dem Meyer; Toccata (Sonata in g, op. 40), Becker; allmächtigen Gott, [email protected] PUBLICATIONS/ BWV 602, Bach; Conditor Vinterpastoral, Koch; Allegro (Concerto in a, Alme Siderum (Canticum), Hakim; Joseph RECORDINGS BWV 593), Vivaldi, arr. Bach; Prelude in C, est bien marié, Balbastre; What Child Is This Director of Music Ministry—St. Bernard’s (Greensleeves), Purvis; La Nativité, Langlais; BWV 547, Allegro (Sonata in G, BWV 530), Catholic Church, 114 S. Church Street, Water- Toccata in F, BWV 540, Bach. town, WI 53094. Duties include planning and Nun komm, der Heiden Heiland, BuxWV If your company was not listed in 211, Buxtehude; Liebster Jesu, wir sind hier, coordination of music program and includes direction of four choirs and a handbell group The Diapason 2006 Resource BWV 634, Bach; Carillon de Longpont, ALAN WINGARD, Congregational plus volunteer cantors and vocal and instrumen- Directory, be sure to be part of the Vierne; I Wonder As I Wander, Lau; Fugue Church, Solon, ME, December 2: Fanfare, tal soloists. Three weekend Masses; must have 2007 issue! Visit our website sur le Carillon des Heures de la Cathédrale Mathias; Sinfonia in E, Minuet in G, Minuet a thorough knowledge of Catholic liturgy as well
MAY, 2006 37 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
PUBLICATIONS/ PUBLICATIONS/ HARPSICHORDS/ PIPE ORGANS RECORDINGS RECORDINGS CLAVICHORDS FOR SALE
Are you feeling tempestuous? “On the Aging of Organ Leather by Harley Piltingsrud Harpsichords from the workshop of Knight 10-stop Estey organ, perfect for home or Coast,” a stormy Romantic organ piece by tells how to test and select leathers for Vernon. Authentic replicas of historic instru- chapel use, ca. 1940. This organ is available “as Dudley Buck, is now available for the first time in longevity of 60 years or more in organs. Also, ments carefully made and elegantly decorated. is” for $7,500, or may be professionally restored decades as originally published in 1891. other aspects of leather production and the his- 8201 Keystone, Skokie, IL 60076. Telephone by our firm. Asking $75,000 restored, plus ship- Includes biography and performance tory of testing for longevity. New 48-page edition 847/679-2809. Web site: ping. The windchests must be direct electrified, notes. www.michaelsmusicservice.com; in 1994, $9.95 + $2.50 per entire order for www.vernonharpsichords.mykeyboard.com. and a new relay system installed. Excellent 704/567-1066. shipping in U.S. Published by Organ Historical condition. Contact Anthony Meloni at Society, Box 26811, Richmond, VA 23261. 914/843-4766. Please visit our website at 804/353-9226 by telephone with Visa or PIANOFORTE FOR SALE www.meloniandfarrier.com for other “for sale” MasterCard. FAX 804/353-9266. listings. OHS Catalog 2006 of organ and theatre organ Brown and Allen/Boston square grand CDs, books, sheet music, DVDs, and VHS pianoforte. 73 keys. Very good condition. Best videos. Free. Thousands of items. Mailed gratis Historic Organ Surveys on CD: recorded dur- offer. Nelson, 847/367-5102 or 312/304-5287. 1952 Wicks Organ, 3-manual, 18 ranks, 36 upon request to Organ Historical Society, P.O. ing national conventions of the Organ Historical stops. Playing in Cleveland area. Complete Box 26811, Richmond, VA 23261, or request Society. Each set includes photographs, stop- minus blower; $12,000 or best offer. Call Greg the printed catalog at www.ohscatalog.org. lists, and histories. As many organists as organs Sparks at 216/252-8264. and repertoire from the usual to the unknown, PIPE ORGANS Arne to Zundel, often in exceptional perfor- FOR SALE Our 5-stop chapel/house/practice organ Reflections: 1947-1997, The Organ Depart- mances on beautiful organs. Each set includes (independent Subbass optional), for immediate ment, School of Music, The University of Michi- many hymns sung by 200-400 musicians. His- Moeller “Custom” unit organ, 1953. 2 manu- delivery. www.goberorgans.com (click on gan, edited by Marilyn Mason & Margarete toric Organs of Louisville (western als, 4 ranks (Diapason, Bourdon, Viole, Columbus, Ohio) or call Hal Gober, Thomsen; dedicated to the memory of Albert Kentucky/eastern Indiana) 32 organs on 4 CDs, Trompete). New blower, and releathered 1980. 519/846-9888. $29.95. Historic Organs of Maine 39 organs on $5,000. 708/672-8555. Stanley, Earl V. Moore, and Palmer Christian. 4 CDs, $29.95. Historic Organs of Baltimore 30 Includes an informal history-memoir of the organs on 4 CDs, $29.95. Historic Organs of Wahl 1-stop continuo organs for sale. Fully organ department with papers by 12 current and Milwaukee 25 organs in Wisconsin on 2 CDs, portable, transposable to 4 pitches. Spring 2006 former faculty and students; 11 scholarly $19.98. Historic Organs of New Orleans 17 1860 Wm. A. Johnson 1/8, including 12-note delivery. Prices start at $17,000. Visit articles; reminiscences and testimonials by organs in the Bayous to Natchez on 2 CDs, 16v Subbass. Meticulously restored, $39,500; www.wahlorganbuilders.com or call graduates of the department; 12 appendices, $19.98. Historic Organs of San Francisco 20 Pedal extension optional. Details: Andrew Smith 920/749-9633. and a CD recording, “Marilyn Mason in Recital,” organs on 2 CDs, $19.98. Add $2.50 shipping in Pipe Organs, 522 East Rd., Cornish, NH 03745. 603/542-8316; [email protected]. recorded at the National Shrine of the U S. per entire order from OHS, Box 26811, Immaculate Conception in Washington, DC. $50 Richmond, VA 23261, by telephone with Visa or Fabry Inc. has the following instruments for MasterCard 804/353-9226; FAX 804/353-9266. sale on consignment: Wicks 1964, 2 manuals, 6 from The University of Michigan, Prof. Marilyn 2-manual, 6-rank, electro-pneumatic action ranks, in storage; Moller 1925, 2 manuals, 10 Mason, School of Music, Ann Arbor, MI Schaefer organ, unified to 8 stops, with full ranks, in church; Moller 1949, 3 manuals, 30 48109-2085. Request a free sample issue of The Diapason couplers. Disassembled and in storage. Avail- ranks, in church; Reuter 1950s, 2 manuals, 9 for a student, friend, or colleague. Write to the able immediately. Make offer. St. Peter the Fish- ranks, in church; Moller/Kimball/Kilgen 2 manu- erman Catholic Church, Frank Birr, Music Direc- als, 16 ranks, in church; Kimball 1940s, 2 man- CD Recording, “In memoriam Mark Buxton Editor, The Diapason, 380 E. Northwest Hwy., Suite 200, Des Plaines, IL 60016-2282; or tor, 3210 Tannery Road, Two Rivers, WI 54241- uals, 4 ranks, in storage; Berghaus 1976, 2 (1961-1996).” Recorded at Église Notre-Dame e-mail: [email protected] 1699, 920/793-4531. manuals, 11 ranks, in church. Purchase instru- de France in Leicester Square, London, ments in “as is” condition or Fabry Inc. offers between 1987 and 1996. Works of Callahan, removal, rebuilding, new DC electric systems, Widor, Grunewald, Salome, Ropartz, and Boëll- Attention organbuilders: for information on and installation at new location. For specifica- mann, along with Buxton’s improvisations. $15 Classified Advertising must be prepaid sponsoring a color cover in THE DIAPASON, tions please e-mail, fax, or write our office. postpaid: Sandy Buxton, 10 Beachview and may be ordered for 1, 2, 3, 4, 5, or 6 contact Jerome Butera, Editor, THE DIAPASON, Large used pipe inventory available. Call for Crescent, Toronto ON M4E 2L3 Canada. months. 380 E. Northwest Hwy. Suite 200, Des Plaines, info. Fabry Inc., 974 Autumn Drive, Antioch, IL 416/699-5387, FAX 416/964-2492; e-mail IL 60016-2282; phone 847/391-1045; FAX 60002, fax 847/587-1994, e-mail [email protected] 847/390-0408; e-mail: [email protected]. [email protected]. glück newyork orgaNbuilders
170 Park Row, Suite 20A New York, NY 10038
212.608.5651 www.glucknewyork.com
Send a copy of THE DIAPASON to a friend: Editor, The Diapason, 847/391-1045; e-mail:
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38 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
REED ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Mason and Hamlin reed organ, 10 stops plus Welte 4-manual console—1928. New ivories Columbia Organ Leathers sells the finest Top Quality Releathering. Pouch rails, pri- forte stop and octave coupler, with bench. and ebony, quarter-sawn oak, 101 stop knobs, leathers available for organ use. We sell pre- maries, reservoirs and any other pneumatic Excellent condition. Best offer. Nelson, gorgeous! Mike Jalving, 303/671-6708. punched pouches and pre-assembled pouches, action. Removal and installation service avail- 847/367-5102 or 312/304-5287. and we specialize in custom releathering ser- able. Full warranty. Skinner, Casavant and Atlantic City Pipe Organ—Tellers 5-rank unit vices. Call today for a catalogue. 800/423-7003 Kimball specialty. Spencer Organ Company, chest, regulator, $900 or best offer; C.S. or e-mail: [email protected]. Inc. Call, Fax or visit our website for quotation MISCELLANEOUS Haskell—4-rank slider chest with 16v Bourdon, and information. 781/893-7624 Voice/Fax, www.spencerorgan.com. FOR SALE 16v Lieblich, 10-2/3v Quint, 5-1/3v Quint (pre- pared), $1,200 or best offer. Class A Deagan Tuning with your laptop—Send $5 for a CD- 25-note chimes with Estey action, $1,300; nice ROM that features articles on temperaments, Tune historical temperaments—software and 16 Estey open wood with chests, clarinets, tuning, and reed pipe construction. RELEATHERING: also Pipe Organ Rebuild- v ing, Repair and Maintenance Service in New laptops for sale. Tutorial info on tuning and tem- harp, capped oboes. For more info visit Contact: www.mdi.ca/hhuestis or e-mail: http://mywebpages.comcast.net/acorgan. [email protected]. Herbert L. Huestis, 1574 Gulf England area. Years of experience, fine work- peraments—send for pix of laptops. $150 manship. Reading Organ Works, A. Richard special: Toshiba P120 standard 1.3 GB drive, E-mail: [email protected]. Phone Rd., #1502, Pt. Roberts, WA 98281. Phone 609/641-9422. 604/946-3952. Hunter, P.O. Box 267, 1324 Vermont Route CD-ROM, with shipping—full size keyboard 106, Reading, VT 05062. 802/484-1275. (most like desktop) word processing, tuning. E-mail [email protected]. Programmable tuning software for harpsi- 1985 Austin pedal contact assembly with 25 chords, organs and pianos. These Pentiums run switches, $150. Klann complete three-division Highest quality organ control systems since TuneLab97 very well. Register for $34 at console system wired, $200. Relays, combo 1989. Whether just a pipe relay, combination Austin actions recovered. Over 30 years actions, pipes and other parts available. action or complete control system, all parts are experience. Units thoroughly tested and fully www.tunelab-world.com. Send for pix. Program- compatible. Intelligent design, competitive pric- mable temperaments. Complete with Excel Inquiries: e-mail [email protected], phone guaranteed. Please call or e-mail for quotes. 215/353-0286 or 215/788-3423. ing, custom software to meet all of your require- Technical assistance available. Foley-Baker, spreadsheets of historical tunings. Batteries ments. For more information call Westacott Inc., 42 N. River Road, Tolland, CT 06084. work, but time not guaranteed. Ready to go with Organ Systems, 215/353-0286, or e-mail Phone 1-800/621-2624. FAX 860/870-7571. Win98+Word+Excel. Nylon case, mouse, floppy Sets of organ pipes for sale by Herb Huestis, [email protected]. [email protected]. drive, CD-ROM, network card, and modem all #1502—1574 Gulf Road, Point Roberts, WA included. E-mail: [email protected]; 98281, phone 604/946-3952, e-mail: www.mdi.ca/hhuestis. [email protected]. Shipping extra to U.S. or Need help with your re-leathering Canada—no overseas. $550—8v Regal made project? All pneumatics including Flue pipes in metal and wood–Mixtures by Detlef Kleuker, 1964 from a 2-rank continuo Austin. Over 45 years experience and upperwork are available from stock or organ. Very good condition throughout. Bottom (on the job assistance available). specify custom orders to meet your exact ATTENTION LITURGY JUNKIES! The Dia- 615/274-6400. pason Gift Shop’s latest offering will thrill two octaves open shallots, Bertouneche shal- requirements. Tuning Sleeves with your olfactories! INCENSE-O-MATIC lots from cv upwards. Very nice tone at 60mm or flare–Order complete sets ready to install offers an effortless way to incense your greater. $450—Bottom 12 notes of Oboe/Bas- or bulk quantities in each diameter. These soon, made by Casavant Frères c. 1970. Origi- sleeves are guaranteed to fit and will not congregation (as if you didn’t do that tarnish or corrode. For excellent quality, already with your agonized improvisa- nally from a Fagott 16v (half length). Very suit- able for extending 4v Oboe to 8v pitch where bot- ALL REPLIES great pricing and timely delivery contact: tions on Good Friday!). Ultra-high-tech International Organ Supply, P.O. Box 401, black-box technology connects a censer tom octave is needed. Good tone at 70–80mm. $200—Meidinger blower. 2 static pressure, for TO BOX NUMBERS Riverside, IL 60546. 800/660-6360. FAX with your façade pipes, the pistons, and w continuo-type organ, 1 or 2 stops. Housed in that appear 708/447-0702. the crescendo pedal; quickly press a pis- silencing box, outside dimensions: 14-3/4 x 16- ton and a puff of incense will emit from the w 3/8w x 11-1/2w Very compact! without an address pipes. Use the crescendo pedal to . increase the amount of smoke emitted. should be sent to: Postal regulations require that mail Great for Stations of the Cross, THE DIAPASON 2006 Resource Directory to THE DIAPASON include a suite num- Evensong, and pontifical visits. Comes was mailed to all subscribers with the January THE DIAPASON ber to assure delivery. Please send with starter supply of incense, and free 2006 issue. Additional copies are available at a 380 E. Northwest Hwy., Suite 200 all correspondence to: THE DIAPA- smoke alarm. Endorsed by leading sac- cost of $5.00 postpaid. Contact the risty rats. Order yours today! Box editor, Jerome Butera, at 847/391-1045, Des Plaines, IL 60016-2282 SON, 380 E. Northwest Hwy., Suite Incense-Con, THE DIAPASON; [email protected]. 200, Des Plaines, IL 60016-2282. [email protected].
J. H. & C. S. Odell East Hampton, Connecticut • web: www.odellorgans.com voice: 860-365-0552 email: [email protected] PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
CHARLES W. M CMANIS In Memoriam March 17, 1913–December 3, 2004
MAY, 2006 39 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 2385 Fenwood Road, Cleveland, OH 44118 Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Yoon-mi Lim AGO National Competition Winner Available 2004-2006
Stefan Engels Thierry Escaich* David Goode* Gerre Hancock Judith Hancock Martin Haselböck*
Vincent Dubois Calgary 2002 Recital Gold Medal Winner
David Higgs Marilyn Keiser Susan Landale* Olivier Latry* Joan Lippincott Alan Morrison
László Fassang Calgary 2002 Improvisation Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Simon Preston George Ritchie Gold Medal Winner Grand Prix de Chartres, 2004
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Westminster Cathedral, UK Martin Baker, Director October 13-24, 2006 Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland Thomas Trotter* John Weaver The Choir of Saint Thomas Church, NYC John Scott, Director March 1-8, 2007 WEBWEB SSITE:ITE: The Choir of Winchester Cathedral, UK wwwwww.concertorganists.com..concertorganists.coconcertorganists.com Andrew Lumsden, Director October 17-29, 2007
Gillian Weir* Todd Wilson Christopher Young *=European artists available 2006-2007