THE DIAPASON FEBRUARY, 2009
Church of the Good Shepherd Lookout Mountain, Tennessee Chancel Organ Cover feature on pages 26–27
Feb 09 Cover 2-YES.indd 1 1/12/09 1:23:14 PM
THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundredth Year: No. 2, Whole No. 1191 FEBRUARY, 2009 Henri Mulet as well. Besides the mere general fact Established in 1909 ISSN 0012-2378 Byzantine speculations of the erection of the church, one of the An International Monthly Devoted to the Organ, When I opened the December is- three chapels is dedicated to St. Peter. It the Harpsichord, Carillon, and Church Music sue of The Diapason, I was thrilled to is interesting to note that, in this chapel, see an extended article on Henri Mulet. one of the marble plates of donors bears What a sensation! the name of the Parisian parish St-Roch Recently again in Paris, I took my where Mulet was organist. We found St. CONTENTS Editor & Publisher JEROME BUTERA [email protected] family along the usual organist’s pil- Peter also present in the form of a statue 847/391-1045 grimage through the Parisian churches. placed in a niche in the back wall of the FEATURES In St-Sulpice we investigated the obe- sanctuary, receiving frequent adorations. University of Michigan lisk and enjoyed the posted reading The movement Procession may have also Historic Organ Tour 55 Associate Editor JOYCE ROBINSON material on the wall about the rumors a meaning beyond the common liturgi- by Jeffrey K. Chase 20 [email protected] caused by a recent novel. Entering the cal procedure before or after a mass. At 847/391-1044 Basilique Sacré-Coeur afterwards, a its consecration, the church was titled From the Dickinson Collection: Reminiscences by Clarence Dickinson, little Dan-Brownish feeling came up. a basilica. Besides being a architectural Part 2: 1898–1909 Contributing Editors LARRY PALMER To this unique edifi ce in Roman-Byz- term, basilica can also stand for pilgrim- Compiled by Lorenz Maycher 22 Harpsichord antine style, Henri Mulet had dedicated age church. Still today, pilgrim proces- his ten-movement collection Byzantine sions are quite common in Catholic ar- Sketches. Would it be possible to fi nd eas of Europe. In the center side apse NEWS & DEPARTMENTS JAMES MCCRAY Choral Music traces of connections of the movements opposite St. Peter, the paintings on the Editor’s Notebook 3 with the basilica and its interior? Here side walls depict essential moments of Letters to the Editor 3 BRIAN SWAGER are some speculations. Christ’s life, whereas the altarpiece in Here & There 3, 4, 5, 6, 8, 10 Carillon In 1870 war broke out between France the center refers to the Nativity: Holy Nunc Dimittis 8 and Germany, and Parisian citizens vowed Mary with the child. Hence perhaps the HERBERT L. HUESTIS to build a church consecrated to the Heart movement Noël. In Paradisum could re- Looking Back 10 OrganNet Forum Osiris Organ Archive of Christ in penitence for committed sins. fer then to the depicted Ascension scene In the wind . . . by John Bishop 12 www.wu-wien.ac.at/earlym-l/organs/local.html In their opinion, the misery of their coun- in the same chapel. These two move- On Teaching by Gavin Black 14 e-mail: [email protected] try had more spiritual than political rea- ments could represent the fi rst and last sons. The cornerstone was laid in 1875 moments of Christ on earth. at the highest hill of Paris, in the quarter Chant funèbre may refer to the men REVIEWS Prepress Operations DAN SOLTIS Montmartre. This mountain of martyrs killed in action during World War I; Music for Voices and Organ 15 is the site where Paris’s fi rst archbishop maybe some of them have been laid out Book Reviews 16 St. Denis is said to have been martyred in a chapel before consecration. Asking THE DIAPASON (ISSN 0012-2378) is published monthly New Recordings 16 by Scranton Gillette Communications, Inc., 3030 W. Salt around A.D. 250. In earlier times being church wardens about the location of the New Organ Music 18 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. a Druidic holy place, the hill has gained Chapelle des Morts I was surprised by Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 further importance through the founda- the answer. They told me that there is no New Handbell Music 19 MSG RLY. E-mail:
FEBRUARY, 2009 3
Feb 09 pp. 2-19.indd 3 1/12/09 1:24:29 PM 19, music of John Rutter. For informa- All Saints Church, Worcester, Mas- The series began January 14 at Cen- tion:
The Philadelphia Orchestra and Peter Richard Conte at the Wanamaker Organ (photo credit: Ev Sahrbeck)
Peter Richard Conte and Philadel- No. 1, and the Bach/Stokowski Toccata phia’s Wanamaker Organ joined forces and Fugue in D Minor rounded out the with the Philadelphia Orchestra for a program. The concert drew the attention gala September 27 concert marking Ma- of reviewers in many major East Coast cy’s 150th anniversary. The concert was newspapers. A professional recording also the fall concert kick-off of the AGO’s was made, and the Philadelphia Or- International Year of the Organ and fea- chestra is evaluating it for release. The tured the Joseph Jongen Symphonie debut of the Jongen at Wanamaker’s had Concertante, performed for the fi rst to wait 80 years because of 1920s de- Robert Bates Craig Cramer Aaron David Miller time on the organ for which had been lays in fi nishing the organ and Rodman written in 1925. Rossen Milanov was the Wanamaker’s unexpected death in 1928. conductor; Lord of the Rings composer Reviews, further information and color Howard Shore’s Fanfare received its photos may be found at the Friends of 425.745.1316 [email protected] www.organists.net world premiere, and Dupré’s Cortège et the Wanamaker Organ website:
4 THE DIAPASON
Feb 09 pp. 2-19.indd 4 1/12/09 1:24:53 PM ert, Rheinberger, Thayer, Coke-Jephcott, ley, Beethoven, Vierne, Gerre Hancock, Callahan, and Faulkes. For information: and Christopher Luke. For information:
Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Organist/Lecturer/ Organist/Harpsichordist/Conductor Organist/Lecturer/ Cauchefer-Choplin Organist/Harpsichordist/ Recording Artist Organ Faculty and Chair Recording Artist Interpreter/Improviser/ Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Lecturer/Recording Artist Music Director and Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Titular Organist First Congregational Church East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Jean-Baptiste de la Salle Toledo, Ohio School of Music Director, International Organ Festival St. Maria della Speranza Deputy Titular Organist Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy St. Sulpice, Paris, France
Maurice Clerc Leon Couch Laura Ellis Catherine Ennis Faythe Freese Interpreter/Improviser/ Organist/Lecturer Organist Organist/Lecturer/Recording Artist Organist/Lecturer Recording Artist College Organist Associate Professor of Director of Music Associate Professor of Organ Titular Organist Assistant Professor of Organ Organ and Carillon St. Lawrence Jewry School of Music St. Benigne’s Cathedral and Music Theory University of Florida Trinity Laban Organ Professor University of Alabama Faculty Converse College Gainesville, Florida Irish Piper & Organ Duo Tuscaloosa, Alabama National Conservatory Spartanburg, South Carolina The Reduced Handel Company Dijon, France London, England
Johan Hermans Michael Kaminski Angela Kraft Cross William Kuhlman Tong-Soon Kwak Organist/Lecturer/ Organist Organist/Pianist/Composer/ Organist Organist Recording Artist Director of Music Ministries Recording Artist Professor of Music Emeritus Professor of Organ Conservatory of Music Saint Francis Xavier Church Organist Luther College College of Music Cathedral Organist Brooklyn College Faculty The Congregational Church Decorah, Iowa Yonsei University St. Quintinus Cathedral St. Francis College Faculty San Mateo, California Artistic Director Artistic Director Brooklyn, New York Torch International Organ Academy International Organ Festival Seoul, Korea Hasselt, Belgium www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
FEBRUARY, 2009 5
Feb 09 pp. 2-19.indd 5 1/12/09 1:25:13 PM Karen Tanaka, and Reiko Arima. For in- the Korea National University of Arts, formation:
William Neil
Marek Kudlicki Season. All three are separately available from MSR Classics (www.msrcd.com), Polish concert organist and conduc- Amazon (www.amazon.com), the Organ Leon Nelson tor Marek Kudlicki will make his 40th Historical Society (www.organsociety. North American tour in March. His six org), and NPC (www.nationalpres.org/ Nelson held a similar post at First organ recitals will take place in Iowa, moehrle_bookstore.php). Presbyterian Church in Deerfi eld, Il- Connecticut, New York and Florida. He linois, for 23 years prior to coming to Eric Plutz will also give a lecture on Polish historic Leon Nelson retired from full-time Arlington Heights. There he maintained organs (with photographs and record- church music July 1, 2008. For the last a large music program and developed a Eric Plutz is featured on a new re- ings of numerous instruments) at the 14 years, he was director of music at First concert series, as well as an annual organ cording, Carnival, on the Pro Organo University of Northern Iowa in Cedar Presbyterian Church, Arlington Heights, competition that attracted young organ- label (CD 7227, $17.98). Recorded on Falls. In 2008, besides serving for three Illinois. There he directed the 70-voice ists from all over the United States. the Aeolian-Skinner/Mander organ at months as director of music at St. Paul’s Chancel Choir, organized a concert se- Beginning as Sunday School pianist at Princeton University Chapel, the pro- Catholic Church in Jacksonville, Florida ries, and developed a Men’s Chorus and age 9, and then church organist at age gram includes transcriptions of works (planning a new organ and developing a Chamber Singers ensemble. He initi- 12, in his home church, Baudette Cov- by Glinka, Wagner, Dvorák, Massenet, a concert series), and two U.S. concert ated the “Wednesdays at Noon” recital enant, in Baudette, Minnesota, Nelson Khachaturian, Mascagni, Smetana, and tours in May and November, Kudlicki series, hosting guest organists from the has been playing in church practically Saint-Saëns. For information: gave recitals in Poland, Norway, Sweden, area, now in its fourth season. The two every Sunday for 57 years! He contin-
CALL FOR ENTRIES: Repertoire requirements and entry details are available upon request.
Please address all inquiries to: [email protected]. Lynn Trapp, Samuel Adler, and William Schrickel Applications with your unedited CD recording Lux Perpetua by Samuel Adler was Schrickel, conductor) as part of a concert performed by organist Lynn Trapp series program at St. Olaf on November must be received by March 10th, 2009. (director of worship/music, organist, St. 23. Mr. Adler led a workshop for com- Olaf Church, Minneapolis) and the Met- posers at both St. Olaf Church and the ropolitan Symphony Orchestra (William University of Minnesota.
6 THE DIAPASON
Feb 09 pp. 2-19.indd 6 1/12/09 1:25:33 PM There’s always something exciting happening at www.allenorgan.com www.allenorgan.com/organoftheweek/go (for example)
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150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 Phone: 610-966-2202 Fax: 610-965-3098 E-mail: [email protected] Web site: www.allenorgan.com rently composing a commissioned Missa Trenney holds a Master of Music de- ing prevalent in this country during the Brevis for St. Luke in the Fields, New gree in organ performance and a Master Nunc Dimittis 1950s, opting for the more classical ap- York City. In 2009 several of his recent of Music degree in choral conducting proach. Obtaining a contract for a large choral works will be published by Encore from the Eastman School of Music. His rebuild in the Episcopal church, then a Publications and GIA Publications. Bachelor of Music degree is from the Betty Jean Taylor Bartholomew cathedral, in Quincy, Illinois, he secured Cleveland Institute of Music. His pri- died October 11, 2008, at the age of 84 the consultation help of Robert Noehren Robert Sirota’s new hymn The New mary organ teachers were Anne Wilson, in Eugene, Oregon. Born in Eugene on and designed a 51-rank organ in 1955. Jerusalem was premiered at a service Todd Wilson, and David Higgs. December 10, 1923, she had a career as It had, before being destroyed with the of rededication at the Cathedral of St. Trenney currently serves as director a piano and organ recitalist and church church in a recent lightning strike, 23 John the Divine on November 30. The of music ministries and organist at First musician in fi ve states before returning ranks of mixtures and seven reeds, in- cathedral celebrated the reopening of Presbyterian Church in Birmingham, to Oregon in 1990, where she was mu- cluding a horizontal trumpet. the entire length of the cathedral after Michigan, where he directs fi ve choirs sic director-organist at the Episcopal Before his retirement in 1999, Cool fi re damaged much of the north transept and “Many Voices . . . One Song,” an Church of the Resurrection. She es- had built 150 organs, including several in 2001. A setting of text from the Book extensive music outreach program. He tablished the Leadership Program for digital instruments in conjunction with of Revelation of St. John the Divine, also teaches organ at Oakland University Church Musicians in the Diocese of Or- Classic Organ Works of Ontario, Cana- The New Jerusalem is a hymn for organ, in Rochester, Michigan, where he serves egon, and presented workshops at AGO da, after he could no longer do intricate brass, and congregation. The text was as an adjunct faculty member. Trenney conventions and for the American Cho- voicing work due to the onset of Parkin- adapted by Dr. Sirota’s wife, The Rever- has commercially released recordings ral Directors Association, the Association son’s disease. The company continues to end Canon Victoria R. Sirota, Cathedral available on the Raven and Pro Organo of Anglican Musicians, and at diocesan operate in St. Joseph, based on the tonal Pastor and Vicar of the Congregation of labels. For information: conferences. Ms. Bartholomew was dean concepts of a balanced organ, with the St. Saviour at the Cathedral.
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8 THE DIAPASON
Feb 09 pp. 2-19.indd 8 1/12/09 1:26:04 PM The love of music in its finest expression
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10 THE DIAPASON
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Gold Level Corporate Sponsor AGO International Year of the Organ A Member of the Roland Group 1300 NE 25th Avenue • Hillsboro, Oregon 97124 503.648.4181 • 503.681.0444 fax Email: [email protected] www.rodgersinstruments.com event.” (I’m taking all my defi nitions of English words from the American Her- In the wind . . . itage Dictionary published by Hough- by John Bishop ton Miffl in Company in 2000.) By ex- tension, annual is synonymous with yearly. So when I fi rst heard someone refer to the “fi ve-year-anniversary” of something, I thought it sounded funny. Considering the root meanings of those words, isn’t that something like saying “fi ve-year-year?” I think it’s correct to say fi fth anniversary. It’s clear, concise, and it’s not redundant. But I guess I’ll lose that battle. Even commentators on National Public Radio routinely get this wrong—according to them we’ve just had the sixty-seven-year-anniver- sary of the attack at Pearl Harbor. (If you agree with me about this, help me start a revolution.) Any specialized fi eld has its own lan- guage. My brother is a scientist and uni- versity professor working in genetic re- search. During his last visit, he was busy with a student’s dissertation—I glanced John Bishop at a couple pages and knew instantly that if those were the secrets of the universe What’s in a name? they’d be safe with me. I couldn’t under- or, stand a single sentence. Say what you mean. The organ is one of those specialized fi elds rife with jargon. My spell-check- JULIET: er lights up like the proverbial Christ- O Romeo, Romeo! Wherefore art thou, mas tree when I type a stoplist. (In fact, Romeo? it doesn’t even approve of the word Deny thy father, and refuse thy name; Or, if thou wilt not, be but sworn my love, stoplist.) My brilliant brother would be And I’ll no longer be a Capulet. just as lost trying to understand what I wrote as I was with his student’s paper. ROMEO [Aside]: As I’ve gotten to know the pipe-organ Shall I hear more, or shall I speak at this? jargon—thirty-fi ve years in the vine- yards will at least get you started—I’ve JULIET: realized how specifi c and how misused ’Tis but thy name that is my enemy; it can be. For example, a drawknob Thou art thyself, though not a Montague. ′ What’s Montague? It is not hand, not foot, marked Prestant 4 means something Nor arm, nor face, nor any other part very specifi c, and if I fi nd one on an Belonging to a man. O, be some other name! organ installed in a chamber with no What’s in a name? that which we call a rose façade, I consider it a misnomer. By any other name would smell as sweet; The name Prestant comes from the So Romeo would, were he not Romeo call’d, Latin prestare, which translates roughly Retain that dear perfection which he owes as “to stand in front.” So by defi nition Klais organ, Hallgrímskirku, Reykjavik Without that title. Romeo, doff thy name, a Prestant comprises the pipes of the And for that name which is no part of thee ′ ′ Take all myself.1 façade. If you take the name literally fi nd Principal 16 and Octave 8 , and in With that, we know that the tallest pipes (and I suggest we should), a Prestant the Positiv, Principal 4′ and Octave 2′. In in the side towers are the Pedal Prestant This might be one of the most recog- does not stand behind anything. If the all three divisions, you could replace the 32′, the three towers of the upper case nizable moments in all of Shakespeare’s layout of the windchest has other stops name Principal with Prestant if the pipes house the pipes of the Great (Haupt- plays. What childhood is without some in front of that four-foot Principal, call were in the façade. werk) Prestant 16′, and the façade of the recognition of Romeo’s wherefores? And it something else—there are plenty If the Positiv division is located on the Rückpositiv is the Prestant 8′. how many times has the sweet-smelling of choices. But wait! If the division in balcony rail behind the organist’s back, After I wrote the previous paragraph rose been misquoted? question has a Principal 8′ you can’t use you could call it Rückpositiv (German) or I went to the website of Klais Orgelbau I spend a lot of time writing. Each Principal 4′ because Principal implies Rugwerk (Dutch) as rück or its variations in Bonn and found the specifi cation of month I spend most of a day writing the principal pitch of the division, and a means “back.” A German hiker carries a the organ (http://www.orgelbau-klais. this column. Before I start, I’ve settled division can only have one Principal. If Rücksack. (The German language has com/m.php?tx=86). I’m proud to say on a subject and have rattled it around there’s a Principal 8′ you call your four- some exquisite precision in its nouns—for that I got it just right, except that Klais between my ears for several days. footer Octave because that’s what it is. example, a Handschuh (“hand shoe”) is a publishes that the name of the division In my work with the Organ Clearing Sometimes a rose by any other name glove.) The hole in this theory would be played by the lowest manual is Positiv House, I spend considerable time writ- isn’t quite a rose. Or more accurately, the organ with a Positiv division on the (correct, although Rückpositiv would ing to describe the scope, details, and a rose is a rose is a rose, but to equate balcony rail and a detached and reversed have been more explanatory), and terms of proposed projects. The com- with this organ-babble, horticulturists console. In that instance the organist those out-in-front Principals are called mittee of a church might ask me to would need different words for the rose would be facing the altar and therefore Praestant, also correct—simply a varia- write up a description—I wonder how in front and the rose in back, even if Positiv, with the bulk of the organ behind tion on Prestant. many committee members realize that both were red. him. In that case I suppose we’d coin the In a three-manual American Classic the exercise might take a couple days Werkprinzip is a precise organ term name Vorpositiv. organ such as those built in the mid- of desk time. that describes an organ that explains The photo above is a postcard from twentieth century by Aeolian-Skinner Because I spend so much time work- itself. In such an organ you can tell by our daughter, whose travel plans includ- or M. P. Möller, we expect to fi nd two ing with words, I’m sensitive to (of- looking at the façade what the various di- ed a layover in Reykjavik, Iceland—such enclosed divisions, Swell and Choir. Can ten annoyed by) their misuse—espe- visions are, where they are located, and a good girl to go into a church and buy we have Swell shutters in front of the cially when that misuse fi nds its way what their principal pitch is. In the Pedal a postcard! It shows the Klais organ in Choir division? I think we should call into what might be called the offi cial you might have Principal 32′ and Octave the Hallgrímskirku in Reykjavik, a great them Choir shutters. Or if it’s bulky to lexicon. Here’s an example. The word 16′, in the Hauptwerk (literally “main example of a Werkprinzip organ. As- have two different kinds of shutters in anniversary is defi ned as “an annual work” or principal division) you would sume that the door beneath the organ is the organ, let’s simplify it and call them about eight feet tall and use it for scale. all expression shutters. I’m reminded of a succinct comment made to me by friend and mentor George Bozeman in 1976. I was preparing to play a recital on MANDER ORGANS the Bozeman-Gibson organ in Castleton, Vermont, and George was coaching me: “If they named the division after hearing New Mechanical you play, they’d have called it Crush, not Swell.” His simple comment still informs Action Organs my playing. Individual organs are conceived and designed based on national and historic styles. We easily recognize the differ- ence between a nineteenth-century Exquisite French organ and a seventeenth-cen- Continuo Organs tury Dutch organ. A stoplist that be- ′ ′ ′ St. Peter’s Square gins Prestant 16 , Octaaf 8 , Roerfl uit 8 implies something different from one London E 2 7AF • England with Montre 16′, Diapason 8′, Flûte [t] 011 44 20 7739 4747 à Cheminée 8′. Both describe Princi- [f] 011 44 20 7729 4718 pals at sixteen and eight and an eight- [email protected] foot Chimney Flute, but one is Classic Dutch, the other romantic French. In www.mander-organs.com this context it would be technically cor- Imaginative Reconstructions rect to have Montre 16′ and Roerfl uit 8′ in the same organ, but in my opinion it
12 THE DIAPASON
Feb 09 pp. 2-19.indd 12 1/12/09 1:26:57 PM would be a messy cross-reference that teristic of the Hautbois with the original- cialized instrument in a modern church What is the matter with Mary Jane? I’ve promised her sweets and a ride in the could imply stops that don’t belong in ly American invention of French Horn or may not be serving well the needs of a train, the same organ. English Horn (both invented by Ameri- congregation. After all, there is more to And I’ve begged her to stop for a bit and In French, haut means “high” and bois can organbuilder Ernest Skinner). They life than Sweelinck and Scheidemann, explain— means “ wood.” Haut also implies excel- mean to have both Swell and Positiv divi- and while the modern churchgoer may lence. Haute cuisine is food cooked to a sions in the same instrument, though the be happy to hear one or the other once in What is the matter with Mary Jane? high standard, haute école (literally high names imply differing origins. a while, too much and too often will start What is the matter with Mary Jane? school) refers to expert horsemanship. This allows the organist the fl exibil- to wear. Reminds me of A. A. Milne’s She’s perfectly well and she hasn’t a pain, And by the way, the English word haughty ity to play baroque or romantic music (1882–1956) touching reference to the And it’s lovely rice pudding for dinner again! (“Scornfully and condescendingly proud”) with authentic registrations, assuming haughtiness of assuming that someone What is the matter with Mary Jane? comes sarcastically from the French haut. of course that the skill of the organ’s likes something: Hautbois is literally the “high wood” of voicer provided a roster of stops that Have I gone off the deep end, equating the orchestra—in English we say Oboe. blend well with each other even if they What is the matter with Mary Jane? Scheidemann with rice pudding? I hope We wouldn’t be surprised to see Hautbois are representing different historical and She’s crying with all her might and main, you get my drift! and English Horn on the same stoplist, geographical styles. The rich harmonic And she won’t eat her dinner—rice pud- These refl ections on terminology may ding again— but Hautbois and Cor Anglais would be development of the baroque Roerfl uit What is the matter with Mary Jane? seem fussy, but pipe-organ jargon is a more linguistically precise. would not blend well with the creamy highly developed and precise language. If As I write, I’m checking myself by fl ip- Skinner Diapason, but both stops can be What is the matter with Mary Jane? organbuilders use it thoughtfully as they ping through various stoplists, and as I’m modifi ed in character to approach each I’ve promised her dolls and a daisy-chain, create new instruments (or rebuild old in a literal frame of mind I fi nd many in- other in style. And a book about animals—all in vain— ones), they provide insight for the musi- consistencies—instances of multiple lan- The purist will say that this diminishes What is the matter with Mary Jane? cians about how the organ is laid out in- guages used in the same instrument— the quality and effect of the organ. If an ternally. If the musicians use and under- and I realize that it is often intentional. instrument tries to cover too many styles What is the matter with Mary Jane? stand the terminology well, they play their She’s perfectly well, and she hasn’t a pain; After all, many organbuilders work hard it may fail at all of them, following the ad- But, look at her, now she’s beginning again!— instruments with a deeper understanding to instill eclecticism in their instruments. age Jack of all trades and master of none. What is the matter with Mary Jane? of what’s going on inside—of how the They mean to imply the French charac- Conversely, installing a singularly spe- sounds are made and how they blend.
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FEBRUARY, 2009 13
Feb 09 pp. 2-19.indd 13 1/12/09 1:27:29 PM But accurate use of the jargon is not conditions of the particular performance So, what is good practicing? What the most important thing. I refer back or a new feeling or idea—and make the works under what circumstances? Part to this column in the October 2008 issue On Teaching execution of those interpretive gestures of the answer, as it applies to organ and of The Diapason in which I urged my by Gavin Black tentative and unconvincing. harpsichord, comes from J. S. Bach. He fellow organists to listen. Listen to how Learning a piece extraordinarily said about organ playing that: the stops blend. Build your registrations well—by practicing it well and practicing “All one has to do is hit the right notes because they sound good. You can and it enough—greatly increases (perhaps at the right time, and the instrument should be informed by knowledge of paradoxically) the chance that the per- plays itself.” various historical styles of organs and formance of that piece can have the feel- When I fi rst read this comment, I as- organ music, but if you always and only ing of an improvisation to it. One hall- sumed that Bach was being fl ippant, ei- play by established rules of registra- mark of good improvisation, in music, ther in a way that was meant to be dismis- tion, you’ll likely be dipping back into public speaking, conversation, or any- sive to whomever he was speaking with, the rice pudding. A composer may have thing, is that the next thing that happens or in a way that was meant to be funny specifi ed a list of stops, or research may comes without hesitation. This is what and modest. However, I have since real- tell you that a Cornet is the combina- practicing makes possible in playing an ized that he probably meant something 2 tion of stops of fi ve pitches (8′, 4′, 2 ⁄3′, already-composed piece. Furthermore, specifi c. In most musical situations, the 3 2′, 1 ⁄5′). But does it tell you that all fi ve practicing, even if it is primarily aimed performer has to create aspects of the should be fl utes, or can you substitute at making the practical side of the mas- content of the musical sound directly. a principal at 2′ for a brighter sound? tery of a piece as secure as it can be, also This is obviously the case with singing, If the fi ve stops together produce a involves repeated exposure to the whole since the performer creates and controls dark and heavy sound, try the various picture of what is going on musically in everything about the sound, both sonority combinations. Leave out the four-foot. the piece. The performer who has the and intonation. With non-fretted string Try substituting something else for the ability to play a given piece accurately instruments, the performer has complete eight-foot fl ute. No one will clap you in without having really practiced it (that responsibility for intonation, and with irons. It has to sound good. is, someone who is a really good sight- bowed string instruments, responsibility reader) always runs the risk of giving an for shaping the sound of the note over its § offhand and superfi cial performance of entire duration. With blown instruments, Practicing I that piece. (I hasten to add that this cer- the player likewise has the job of creating With all this huffi ness about precise When I was a graduate student at tainly does not always happen, but it can and sustaining the sonority, and has some language, a glaring error in the Decem- Westminster Choir College in the early happen and sometimes does.) responsibility for intonation. ber 2008 issue of this column (page 12) eighties, there was a piece of graffi ti writ- Analysis and study of the musical con- Organ and harpsichord come much sticks in my craw. I wrote about riding ten over the door leading to the base- tent of a piece can happen before, during, closer to fi tting the following description: the subway in New York listening to ment corridors where the organ practice and after the process of rigorously prac- if anyone or anything pushes the key a woman with an electronic keyboard rooms were found. It said: Take Re- ticing the notes. The particular kind of down, the note will sound. (This is also grinding out some of the great classics sponsibility: Really Practice! I was al- contrapuntal analysis that I wrote about true of the piano except in the very im- of church music, and I referred to the ways impressed by that. For one thing, it in several recent columns is intended to portant area of volume, and it is surpris- Broadway Express as the “1” train. In was the only graffi ti that I had ever seen, take place for the most part before the ingly untrue of the clavichord, but that’s fact, the Express trains are the “2” and or have ever seen, that had practicing practicing of the complete note-picture a subject for another day.) Of course on “3.” The three lines run on the same music as its subject. But also it seemed to of the piece with appropriate fi ngerings some organs and most harpsichords, the tracks up and down Broadway, but the point to a real truth about practicing and and pedalings. However, since it is car- player can infl uence subtleties of the “2” and “3” stop only at express stops about the act of being a musician. Un- ried out largely through playing, it is also beginnings and ends of notes—attacks (42nd, 72nd, 96th, 168th), while the less you do what it takes both to develop a form of practicing, and part of its pur- and releases—by subtle variations in “1” fi lls in the blanks. If you want to go your overall skills to the fullest and to pose is to make the subsequent practic- technique. This can be very important from the Church of St. Mary the Virgin learn—really learn— the pieces that you ing both easier and more effective. artistically, but it does not defi ne as big (marvelous Aeolian-Skinner organ) on are working on, you haven’t really taken Analysis along other lines—melodic a proportion of what the player has to do 46th Street to the Cathedral of St. John responsibility for your contribution to analysis of non-contrapuntal (melody- or to think about technically as similar the Divine (a great ride for the orgo- the world of music, or for your contribu- and-accompaniment) passages, har- subtleties do with some of the types of tourist), you can take the “2” or “3” tion as a musician to the world. monic analysis, etc.—can be done prior instruments mentioned above. I believe from 42nd (Times Square) to 96th and Failure to practice enough or in the to the start of nitty-gritty note practicing, that Bach was pointing to this distinc- transfer to the “2” or “3” for two stops right way can have a number of conse- and also ought to make that practicing tion: other musicians have to create their to Cathedral Parkway (110th Street). quences. The most basic one is that a easier and more effective. This happens, sound and tuning, we keyboard players The transfer is easy—you get off one given piece will be learned only partially of course, because if the mind already just have to push the keys down and the train, walk about fi fty feet across a or with inadequate security, and will fall knows to some extent what is coming instrument does the rest! platform on to the express train. Then apart in performance. The lesser case next—and if that is also, according to This means, fi rst of all, that the physi- you walk two blocks north on Broad- of this is that a piece will be insecure some musical logic, what ought to come cal act of playing—the thing that we are way, turn right onto 112th and walk a enough that it can only be kept from re- next—then the fi ngers will tend to fi nd practicing when we practice—can be quiet block past housing for Columbia ally falling apart by a kind of tense focus it more directly, with less hesitation or thought of in simple mechanical terms, University, facing the façade of the ca- on getting the right notes. This will in fumbling. Then, during practicing, the more so with keyboard instruments than thedral the whole way. I hope my mis- turn make the performance sound tense sound and feel of the notes will reinforce with most others. This leads to another speak didn’t lead anyone astray. Q and will rule out, or at least limit, any whatever was learned by analysis, if that fruitful paradox. The more we approach freedom or spontaneity. Inadequate analysis was sound, or perhaps suggest the act of practicing as if it were a simple Notes practice can both force the performer ways in which to modify it. mechanical task, the more artistic con- 1. William Shakespeare (1564–1616), Ro- to fall back entirely on consciously cho- Real practicing also ought to be (most trol we will end up having over the end meo and Juliet, excerpt from Act II, Scene II. sen interpretive gestures—rather than of the time) fun and (always) absorbing. results of that task. allowing those gestures to be modifi ed It should also be the case, as much of the Also, and most fruitfully of all, the on the spur of the moment to refl ect the time as possible, that a player fi nds ef- physical act of playing organ or harpsi- fi cient, effective practicing to be deeply chord can be slowed down to any extent satisfying because it so clearly leads to whatsoever without changing its essen- real accomplishment. A teacher can tial physical nature. This, again, is not greatly help a student to feel this way by true of most means of producing music. A new versatility making the relationship between prac- A singer or wind player can only slow ticing and real learning very clear, and by down a little bit without changing the teaching practice techniques that work. relationship between the musical note- in the world of Indeed, practicing that does not seem picture and the act of breathing. This to be working—where there is a goal is a crucial change. A player of a bowed church music but that goal is not getting any closer, or string instrument cannot slow down too where there isn’t a clear goal and over much without changing the relationship time nothing much seems to be hap- between the note-picture and the bow- pening—is so discouraging and demor- ing. This is almost as crucial. An organist alizing that experiencing too much of it or harpsichordist can slow down any pas- will often lead to a student’s giving up, sage any amount and still be executing a Uppsala Domkyrka discovering that he or she isn’t really genuine slow-motion version of the fi nal that interested in the instrument after desired result, however fast that result Uppsala, Sweden all. This is a shame, because without the might be intended to be. experience of practicing well, a student In general, any physical gesture that actually doesn’t know what the instru- someone can execute at a given speed, Dedication - 8 February 2009 ment is, what the repertoire is, what the can be learned to be played faster: much experience of playing music can be. faster, if the process of learning is ap- www.ruffatti.com ATOS ExperienceAmerican Theatre Organ Society Preserving a unique art form. Builders of Àne pipe organs to the world Concerts, education, silent film, preservation, fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] Via Facciolati, 166 • Padova, Italy 35127 39-049-750-666 • [email protected] P.O. Box 5327, Fullerton, CA 92838
14 THE DIAPASON
Feb 09 pp. 2-19.indd 14 1/12/09 1:27:50 PM proached the right way. This is quite reli- and I will devote more than one future fact this is a good sign, since it means that able, and not something that varies much column to the subject. Even a “bad” fi n- you have increased the tempo enough to Music for Voices from one person to another. It is also not gering or pedaling can become pretty re- make a difference—but not for it to fall specifi c to music or to artistic endeavor, liable by being practiced well. This is not apart. If it does, then it was premature and organ but it happens to apply very well to the always a good thing, but it is in a sense to speed up, or you sped up too much. by James McCray particular physical demands of organ a necessary thing, because we do not al- In this case it is necessary to slow back and harpsichord playing. There is cer- ways come up with the best fi ngering or down just a bit. tainly some limit beyond which one sim- pedaling the fi rst time or, for that matter, Once you have played the passage Communion: Miracles and more ply can’t move any faster. There is only ever. Any fi ngering or pedaling, no mat- at the new (very slightly faster) tempo a small amount of keyboard music that ter how well thought out, may need to enough times in a row for it to have be- Miracle: An event or action that appar- goes beyond that limit for most people. be changed as a piece becomes more fa- come once again utterly comfortable ently contradicts known scientifi c laws and The limits that we experience on how miliar. This can, if it is extensive or tricky, and reliable, then it is time to speed it is hence thought to be due to supernatural causes, especially to an act of God. fast we can play in general, or on wheth- require backing up and re-practicing. up, again by a very small amount. By pa- —Webster’s New World Dictionary er or not we can play a given piece up to In any case, once you—the stu- tiently following this procedure enough tempo have to do with our lack of imme- dent—have worked out a fi ngering and times in a row, it is possible to move a The Bible is fi lled with stories of mira- diate, transparent awareness of what is pedaling for a passage, the next step is passage from any tempo to any other cles, and those acts are signifi cant events coming next in the piece, not with physi- to select an appropriately manageable tempo. This is true whether the music is in the life of Jesus. For example, in the cal inability to play fast enough. amount of music to practice. It is usually simple or complicated. It is true even if Gospel of Mark, 209 of the 661 verses in Furthermore, there is in fact some a good idea to work on fairly small units: the initial practice tempo is so slow that its 16 chapters are concerned with mi- speed, some tempo, at which anyone can a page, a few lines, a section, or, looking it would be diffi cult for a listener to fol- raculous events. But in the four Gospels, play any given keyboard piece. That is, at it a different way, the left-hand part, low it as music at all. there are only 35 miracles attributed anyone who can basically read music and the right-hand part, the feet, or even one If the unit of music that you are prac- to Jesus, and the book of John only ac- who knows the order of the keys on the foot at a time. ticing is not the whole texture—that is, knowledges seven. After Jesus’s death, keyboard can sit down at the keyboard The next step is to play that unit of if you are practicing separate hands or the central fi gure was Peter, whose repu- and sight-read any piece perfectly the music slowly enough. The concept of feet—then at some point it becomes ap- tation also was established by doing mir- fi rst time with no previous keyboard- “slowly enough” is the key to the whole propriate to put the hands or feet back acles, although he warned against “tales playing experience if he or she adopts a matter of practicing organ and harpsi- together, or to put the whole thing to- artfully spun.” slow enough tempo. This includes every- chord. Ideally, every time that you play gether. The rule of thumb is this: the The renowned physicist, Frank Tipler, thing from the fi rst exercise at the begin- anything—but certainly during a session sooner in the process you put things has made the bold prediction that in ning of a keyboard primer to the most of real practicing—that playing should together, the slower you have to keep the distant future computers will prove complicated works by Liszt, Reger, or be done at a tempo at which a) you get your practice tempo. Different ways of the existence of God and probably will Durufl é. Of course, in these latter cases, all of the right notes, and b) getting all of practicing a piece or passage—for ex- be able to work out our bodily resurrec- the tempo might have to be really mon- the right notes feels easy: no hesitation, ample, keeping all of the parts together tion. Now there’s food for thought! Will strously slow: one thirty-second note per no panic, no scrambling. Achieving point and starting with a very slow practice these items classify as miracles? And minute, or maybe even slower. This is b) is a matter only of honesty with one’s tempo or, on the other hand, practicing what about Communion? Do countless an extreme case, almost a reductio ad self: if, on a given time playing through hands separately and being able to start miracles occur in the taking of bread absurdum, but it is quite true, and the a passage, you hear yourself make all of each hand at a somewhat faster practice and wine throughout Christian churches principle, applied more moderately, is the right notes, then it is very easy not tempo—usually end up being equally each week? very important. to notice whether you were getting those effective. One might be better than an- Communion is a type of miracle in All of the principles discussed in the right notes serenely or by the skin of your other only because the player happens the Webster defi nition. For Christians, last few paragraphs come together to teeth! It is important to notice this and to to fi nd it more interesting. The crucial the transformation of the consecrated suggest the most effi cient and reliable be honest about it. thing is to remember and abide by the bread (or wafer) and wine is an act of protocol for practicing organ and harp- Once the unit that you are practicing defi nition of a correct practice tempo: faith and stands as a climax in many sichord pieces. I will sketch out this ap- feels serene and easy and is reliably ac- slow enough. weekly worship services. However, a proach in a basic way here, and elaborate curate at this fi rst tempo, then it is time I will continue this discussion next survey of many Christians might reveal upon it next month. to try it a little bit faster. The concept of month. Q that a large number are not truly con- Prior to practicing a piece or a passage, “a little bit faster” is the second most im- vinced that these elements become the it is necessary to have worked out the portant thing about practicing. The new Gavin Black is the director of the Prince- body and/or blood of Christ, but that the fi ngering and pedaling. For the moment practice tempo should be just enough ton Early Keyboard Center in Princeton, New unifying symbol they represent is so sig- we will take this for granted. Fingering faster that you can tell that it is faster, but Jersey. He has recently fi nished taping Bach’s nifi cant that they would never want to and pedaling choices can legitimately be not enough faster that the passage falls Art of the Fugue in a version for two harp- give up taking Communion. made for all sorts of reasons, from the apart. It is OK for it to require a bit more sichords, with George Hazelrigg. He can be In today’s society, Webster’s defi nition historical to the aesthetic to the personal, concentration to get it right at fi rst—in reached at
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FEBRUARY, 2009 15
Feb 09 pp. 2-19.indd 15 1/12/09 1:28:10 PM continue to try explaining all such events four-part choir used throughout. There Come, Taste and See, Chris de Silva. Publishers, $16.00, that in the time of Jesus were readily are mild dissonances, momentary divisi, SATB, keyboard, guitar, congrega-
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16 THE DIAPASON
Feb 09 pp. 2-19.indd 16 1/12/09 1:28:30 PM on ST. ANNE; Seth Bingham, I Need Thee featured on the recording—Corona- The organ contains almost 30 ranks of tone (which also includes Tibias at 16′- 2 3 Every Hour; H. Walford Davies/John E. tion, Slane, O Store Gud, Dennis, reeds, ranging from the Pedal division’s 8′-4′-2 ⁄3′-2′-1 ⁄5′, with a deep and throb- West, Solemn Melody; Frederick Swann, Hyfrydol, Let Us Break Bread, 64′ Trombone (beginning at GGGGG#) bing tremulant to boot). A wide variety Meditation on Amazing Grace; David Wondrous Love, St. Anne, Need, to the Orchestral Division’s smooth and of fl ute color is also available, including Schack, Ye Watchers and Ye Holy Ones; New Britain, Lasst Uns Erfreuen, brilliant Tuba Mirabilis, which heralds a beautiful double-harmonic Symphonic J. S. Bach, My Heart Is Filled with Long- Passion Chorale, Cwm Rhondda, the opening fanfare of John Longhurst’s Flute, which is heard at the conclusion of ing; Richard Elliott, Prelude on Teach Rhosymedre, and Nun Danket Alle majestic setting of Jehovah, Lord of “Amazing Grace” and for a brief phrase Me to Walk in the Light; Paul Manz, Gott—are not only familiar to Latter- Heaven and Earth. The organ contains in Dale Wood’s arrangement of “How God of Grace and God of Glory; Clay day Saints but are also familiar to many fi ve other manual high-pressure reed Great Thou Art.” Christiansen, arr., Love at Home; Ralph other religious denominations. stops voiced on 15 inches of wind pres- The staccato pedal line found in Rob- Vaughan Williams, Prelude on Rhosyme- The Tabernacle organists also in- sure and higher to two complete Swell ert Manookin’s arrangement of the hymn dre; J.S. Bach/Virgil Fox, Now Thank We cluded arrangements of hymn tunes reed choruses based on 16′-8′-4′ pitches, tune Dennis (“Blest Be the Tie That All Our God. that are not included in the hymnal of which, along with the Great reed chorus, Binds”) is the perfect setting in which to The Church of Jesus Christ of Latter- the Church of Jesus Christ of Latter- are used convincingly in many different display the Conference Center organ’s day Saints announced in April 1996 that day Saints but that will be familiar to places throughout the recording. The Pizzicato Bass stop. This stop plays the it would construct a new building on the many others (Slane, Let Us Break opening of Clay Christiansen’s arrange- Pedal division’s 16′ Open Wood stop at 8′ block just north of Temple Square to pro- Bread, Wondrous Love, and New ment of Now Let Us Rejoice demonstrates pitch through a pizzicato relay that silenc- vide a larger meeting venue for its semi- Britain). The recording also features the effi cacy of these choruses as well as es the pipe soon after the initial attack, annual General Conferences, in addition a broad scope of composers, including the Solo division’s incisive, hooded Mil- creating a pizzicato-like articulation. to other church conferences, pageants, arrangements from each of the three lennial Trumpet. The opening phrases of A wealth of principal tone is also to be and productions. The centerpiece of this Tabernacle organists; Robert Cundick, the H. Walford Davies arrangement ef- found on the Conference Center organ, new building—named the “Conference Tabernacle organist emeritus; and fectively portray a full English Swell. the most striking example of which is the Center”—was an auditorium designed church members Robert Manookin, The Conference Center organ also 8′ Stentor Diapason on the Solo divi- to seat 21,333 people. The Church also James Kasen, and Douglas Bush. Other contains a wealth of softer chorus and solo sion, voiced on 25 inches of wind. Clay announced early in the construction composers and arrangers whose works reed voices capable of more subtle and Christiansen features this stop as the process that the auditorium would have appear on the recording include Robert delicate colors, including a rarely found solo voice in Bach’s setting of My Heart a pipe organ, a herculean undertaking Hebble, Dale Wood, Charles Callahan, Flügel Horn and a quaint Orchestral Is Filled with Longing, BWV 727, ac- for a space that was designed to be 8.5 Frederick Swann, Seth Bingham, David Oboe that drones underneath a mellow companied by strings at 32′, 16′, 8′, and million cubic feet. Schoenstein & Co. of Schack, Paul Manz, Ralph Vaughan Wil- Cromorne for the opening of Frederick 4′, a registrational choice that favors the San Francisco, California, was selected liams, and J. S. Bach. Due to the large Swann’s Meditation on “Amazing Grace.” symphonic transcription school. On this to build a large, fi ve-manual pipe organ, number of compositions on this record- An abrupt, yet arresting phrase modula- organ, in the Conference Center’s im- which, when fi nally completed, com- ing, most of which are small-scale hymn tion into D-fl at major casts the listener mense space, Christiansen’s chosen reg- prised 103 voices, 130 ranks, and 7,708 settings appropriate for service playing, into the world of the theatre organ with istration achieves a moving and desirable pipes, seven 32′ stops, and two stops that one of the obvious aims of the recording two Voix humaines (one is actually from effect. This reviewer also enjoyed John extend into the 64′ range! is to showcase the unique features of the a Wurlitzer theatre organ), numerous Longhurst’s sensitive rendition of Robert The Church also noted that the build- Conference Center organ itself. celestes, and a multitude of foundational Cundick’s arrangement of the Latter-day ing of the Conference Center was in no way to detract from the historic Taber- nacle and its noted Aeolian-Skinner or- ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
gan. The Tabernacle has and will con- DOBSON CASAVANT FRERES tinue to remain the principal venue for musical performances on Temple Square and for the Mormon Tabernacle Choir’s weekly broadcast Music and the Spoken Word. Tonal fi nishing of the Conference Center organ was an extensive and com- prehensive 32-month process, and was completed in June 2003, just in time for an inaugural concert, during the joint BOODY TAYLOR Regions VIII and IX convention of the American Guild of Organists, in which Todd Wilson, the Mormon Tabernacle Choir, and the Orchestra at Temple Square performed. Tabernacle organists John Longhurst, Clay Christiansen, and Richard Elliott have chosen a wide variety of hymn ar-
rangements that feature their fi nely DYER R. honed playing and a variety of composi- tional styles. The fact that the recording repertoire is solely hymn-based reminds the listener that the primary purpose of the Conference Center organ is to accompany music in various religious settings and not serve as a solo recital GARLAND FISK instrument, although it did serve as the venue for the daily noon organ recitals during the Tabernacle’s seismic upgrad- ing from January 2005–March 2007. This recording will fi nd its primary FRITTS listening audiences with members of the Church of Jesus Christ of Latter- day Saints who wish to hear hymn ar- rangements of beloved hymns on the Conference Center organ. The inclu- sion of six arrangements that are based upon hymn tunes used by the Church of Jesus Christ of Latter-day Saints and Your Church Needs a New Pipe Organ. not widely used among other religious GOULDING & WOOD denominations (“Now Let Us Rejoice,” “A Poor Wayfaring Man of Grief,” “We What’s the First Step? Thank Thee, O God, for a Prophet,” “Sweet Is the Work,” “Teach Me to Walk in the Light,” and “Love at Home”) rein- Call or e-mail us! From information for your architect through fund-raising, APOBA forces this claim. However, this record- has helpful publications concerning every aspect of an organbuilding project. ing is not intended solely for members of the Church of Jesus Christ of Lat- ter-day Saints. Many of the hymn tunes And, they’re FREE for the asking! QUIMBY QUIMBY REDMAN SCHANTZ SCHOENSTEIN &
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FEBRUARY, 2009 17
Feb 09 pp. 2-19.indd 17 1/12/09 1:28:49 PM Saint hymn A Poor Wayfaring Man of standing of the styles show these compo- of how effective a very small instrument out wearying the ear; no. 4 has a four- Grief, a particularly poignant hymn for sitions to ultimate advantage. can be when intelligently and well played. note subject like one of Frescobaldi’s church members since it was sung right No digital voices! (Gott sei dank.) solmization works; the chromatic no. 8 is before Joseph Smith’s martyrdom at the French Eclat in the Roanoke Valley, The most recently composed work, printed in the meantone notation of the Carthage Jail June 27, 1844. Richard El- Thomas Baugh, organist; 2004 Fisk Vaughan Williams’s “Rhosymedre” is original edition with E-fl at and B-fl at be- liott’s driving and rhythmic rendition of organ, 32 stops, Christ Episcopal the most diffi cult to bring off on such a ing used instead of D-sharp and A-sharp the Handelian Paul Manz arrangement Church, Roanoke, Virginia. Raven small, unenclosed instrument, but even as well as in an orthographic transcription of God of Grace and God of Glory is ex- Recording OAR 850, that works reasonably well. Congratula- into “modern” notation; no. 9 includes pertly performed.
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18 THE DIAPASON
Feb 09 pp. 2-19.indd 18 1/12/09 1:29:09 PM tertime, God Rest You Merry, Gentle- always a danger with this beloved Ger- The piece opens with several mea- men; for Epiphany, People, Look East!, man tune. Infant Holy, Infant Lowly New Handbell Music sures of original introductory material, From a Distant Home (De Tierra Lejana rocks asymmetrically but gently in 5/8. which is used again later. Sondra Tuck- Venimos), As with Gladness Men of Old, Hark! The Herald Angels Sing just rocks. er, a veteran arranger of handbell mu- Puer Nobis, and A la ru. In 6/8, with a variety of fi gurations, syn- Were You There? African-American sic, has ingeniously woven the melody The shortest settings are one page, copations, and a grand fl ourish of chords Spiritual, original setting by Joel of the Southern Harmony hymn Res- the longest, fi ve. All but two (Silent and pedal at the end. It’s a stunning post- Raney, arranged for 3–5 octaves of toration between the two clefs. There Night and A la ru) are for manuals only. lude and conclusion to the set. handbells, with optional 2 octaves are no surprises, and the piece rises and Half of the settings follow a theme The good news is that all of these set- of handchimes and B-fl at clarinet. falls with rich dynamics that are part of and variations format, a most practical tings are within the reach of any compe- Agape (A division of Hope Pub- the joy of this arrangement. There are scheme for organists needing preludes tent organist. They all require the use lishing Company), Code No. 2468, some special effects used throughout, of varying lengths. The appearance of of pedals, but these parts are not overly $4.25, Level 2+ (M-). which also add to the effectiveness of ‘newer’ tunes such as From a Distant taxing, and when the pedal line is most This refl ective and hauntingly beau- the arrangement. Home and the Hispanic folksong, A la active, the manual parts are simple (and tiful setting is not only appropriate for ru, alongside the more traditional car- vice versa). Harmon is well versed in Lent or Holy Week, but any time of the Easy to Ring Praise and Worship V, ols makes this collection both inclusive traditional counterpoint and Baroque year. This meditation was originally ar- compiled and arranged by Peggy and attractive to musicians and congre- styles, but he has a modern harmonic ranged for solo piano by Joel Raney and Bettcher, for 3–5 octaves of hand- gations. This volume will be useful to sensibility. It’s a happy marriage, and the adapted later by Arnold Sherman. The bells or handchimes. Agape (A divi- beginning organists and more experi- resulting pieces are fresh and appealing. handchime melody is doubled by the sion of Hope Publishing Company), enced organists who fi nd their practice Highly recommended. clarinet and provides a very special ef- Code No. 2474, $8.95, Level 1–2 time limited in the busy month of De- fect that should inspire both the play- (E–M-). cember. Recommended. The Bethlehem Collection, Six Pre- ers and listeners. Easily accessible and The fi fth volume in this series brings ludes and Postludes for Christmas, highly recommended. another set of new titles in simpler set- We Gather Together, Four Thanks- David M. Cherwien. MorningStar tings that should appeal to any handbell giving Hymn Settings for Organ, Neil Music Publishers, MSM-10-165, Festive Rondo, Cynthia Dobrinski, and handchime choir. Eighth notes are Harmon. MorningStar Music Pub- $16.50; for 3–6 octaves of handbells. Agape used sparingly, making the pieces quick- lishers, MSM-10-605, $12.50.
FEBRUARY, 2009 19
Feb 09 pp. 2-19.indd 19 1/12/09 1:29:29 PM University of Michigan Historic Organ Tour 55 Jeffrey K. Chase
rofessor Marilyn Mason’s Historic POrgan Tour 55 last July featured vis- its to Budapest, Vienna, Salzburg and Prague, all enchanting cultural capitals or signifi cant cities of the former Haps- burg Empire. Participants, greeted by our excellent, handsome and witty guide Almar Otjes, assembled July 11 in Bu- dapest, the city of caves, spas and cof- feehouses, for the beginning of a musi- cal and historical adventure replete with congenial camaraderie, noteworthy or- gans, historic sites, and interesting food and wine. Budapest is also the home of the Aquincum Organ, the oldest known extant pipe organ in the world, dating from circa 228 A.D. and unearthed only in 1931. Its name derives from the an- cient Romans’ designation of its prov- ince (now known as Hungary) containing a plethora of thermal baths. This small organ is considered to be the prototype Jerry Jelsema, Mary Morse, Marilyn Mason, Dana Hull, Ronald DeBlaey, Marian for all European organs. After this sin- Archibald, Gale Kramer and Katharine Babcock happily ascending the steps to St. gular early appearance, the organ wasn’t Florian Abbey on a rainy day (photo by Béla Fehér) Interior of the impressive Bartók to reappear again in Hungarian lands National Concert Hall in Budapest (photo for a millennium and a half—until the largest organs in Europe. A special fea- the Buda side of the Danube, which was by Béla Fehér) fi nal defeat of the Ottoman Turks in ture is a sostenuto for all divisions. (See Béla Bartók’s last residence in Hungary. 1686—because, under the domination “A Concert Organ for the Béla Bartók It is now a museum honoring Bartók’s of the Turks, churches were converted to Hall in Budapest,” by Burkhard Goethe, memory and displaying many of his col- mosques, where organs were forbidden. The Diapason, October 2008.) lections and personal possessions. Synagogues are rarely known for their Leaving Budapest on the way to Vi- Organs in Budapest organs because, unlike churches, syna- enna, we visited the attractive Baroque Eager to begin our itinerary, we pro- gogues rarely house an organ. But the very Tihany Abbey and its two-manual organ ceeded directly from the airport to the beautiful Great Synagogue in Budapest in a nearly 250-year-old case. This mon- organ at St. Antal, a church built in 1947, (also known as the Dohány Street Syna- astery’s deed of foundation is the oldest with a rather plain interior except for its gogue), with the largest seating capacity Hungarian document preserved in its ceiling of interestingly painted decora- of any synagogue in Europe (1,492 seats original form. Although mainly written tion. We were impressed by the good for men and 1,472 seats for women), con- in Latin, it does contain some Hungar- acoustics and clarity of organ sound. This tains a 1996 Jehmlich of Dresden organ ian words and expressions and is con- organ, restored in the 1990s, lacks sub- (Op. 1121) with two separate consoles. sidered to be the oldest written linguis- tlety of sound and is, therefore, especial- Both Franz Liszt (a Catholic) and Camille tic record of the Hungarian language. ly good for loud and bombastic music. Saint-Saëns (a Jew) performed on the Joined there by Prof. István Ruppert, The largest church building in Buda- original organ in this synagogue. we journeyed not far from Lake Balaton pest (and the second largest in Hungary) to a nearby winery owned by Prof. Rup- is St. Stephen’s Basilica, built between Esztergom Basilica pert’s cousin, where we participated in 1857 and 1905. It is named to honor Esztergom is one of the oldest towns in a wine tasting and lunch. Satiated with Stephen (c. 975–1038), the fi rst King Hungary and was its capital from the 10th good food and drink, we continued on of Hungary, whose mummifi ed fi st is century until the mid-13th century. The to visit the three-manual organ at Zirc housed in its reliquary. Prior to playing red marble Basilica of the Blessed Virgin and then the 1989 Aquincum, Ltd., this four-manual Angster/Rieger/Varadi Mary Taken into Heaven and St. Adal- three-manual organ at the Holy Ghost and Son organ, we were introduced to its bert, built from 1822 to 1869, is the main Church in Györ, built during the Com- resident organist István Koloss (among church of the Archdiocese of Esztergom- munist occupation. whose teachers was Marcel Dupré), who Budapest, the largest church building in demonstrated the organ. (It was also Hungary, the third largest in Europe, and Vienna there that we were introduced to the the seat of the Roman Catholic Church in The twin-spired Votive Church in Vi- A model of the 1996 restoration of the young organist Norbert Balog, who as- Hungary. It is also the tallest building in enna was built near the site of a failed 228 A.D. Aquincum water organ on sisted us on our visits to the other organs Hungary, and its altarpiece depicting the assassination attempt on the life of display in the Bartók National Concert in Hungary on the itinerary.) Of special Assumption of the Blessed Virgin Mary, young Emperor Franz Joseph in 1853. Hall in Budapest (photo by Béla Fehér) interest are this organ’s horizontal cop- by Michelangelo Grigoletti, is the largest This church was constructed over 23 per trumpet pipes. painting in the world painted on a single years (from 1856 to 1879) and, in com- which houses two organs—a 1991 me- Other organs visited in Budapest were piece of canvas. memoration and gratitude for the fact chanical key and stop action four-manual those in the churches of St. Anthony of This basilica’s organ is an 1856 Moos- that Franz Joseph survived that attempt Rieger organ, which is one of the largest Padua and of St. Anthony at Bosnyak er, currently undergoing renovation and without even a scratch, his brother Arch- instruments of its kind in Austria, and a Square; the four-manual Rieger organ enlargement. It has fi ve manuals and duke Ferdinand Maximilian (who later 1960 Michael Kauffmann four-manual, (1902) in St. Peter’s Franciscan Church; (only) 85 of the planned 146 stops, and became Emperor Maximilian of Mexico) 125-stop electric action organ with more the neo-classic Empire-style Great Lu- contains the largest organ pipes in Hun- dedicated this church, whose name “Vo- than 9,000 pipes and which was fi nanced theran Church on Deák Square (the old- gary (about 35 feet long). If completed tive” means an offering given in thanks by public donations (could this have est Lutheran church in Budapest), which as planned, it will be the largest organ for deliverance from a hardship or dif- been done today?!). houses the fi rst mechanical organ in Bu- in Hungary and the third largest organ fi cult circumstances, as thanks for the The Vienna Konzerthaus was opened dapest; and St. Matthias Church, with its in Europe. At the time of its construc- survival of his brother. in 1913 with a fi ve-manual Rieger organ four-manual Rieger-Kloss organ. tion in 1856, this organ was the largest in The organ in the Votive Church is an of 116 stops and electro-pneumatic ac- Of particular interest was the new fi ve- Hungary with 49 stops, 3,530 pipes and 1878 Walcker with three manuals, 61 tion, which was restored in 1982. The manual mechanical/electric action organ three manuals. The present instrument stops, and 3,762 pipes, mechanical action lavishly decorated St. Charles Church in the Bartók National Concert Hall. preserves several stops from the organ and cone valve chests. Damage during (Karlskirche), begun in 1715 and com- This fi ne organ, inaugurated in 2006, has Liszt had played. World War II necessitated restoration, pleted in 1737, was commissioned by 92 stops, 470 wooden pipes, 5,028 tin During some free time many attend- and by 1952 Molzer had, with the excep- the Emperor Charles VI to thank God pipes, 1,214 reed pipes, and is one of the ees visited the house on Csalán Road, on tion of the wind supply, restored it to its for answering his prayer to end the 1713 original condition. Today it is regarded Black Plague. It is a splendid Baroque as one of the most distinguished historic edifi ce designed to glorify the power and Le Chemin de la Croix – Marcel Dupré landmarks of the art of European organ rights of the Habsburg Empire and con- building. Our attendees had the good tains an 1847 Seyberth organ that was Marilyn Mason, Organist fortune of presenting a noontime con- restored by Hradetzky in 1989. Malcolm Tulip, Narrator and Professor of Theatre cert on this organ. St. Michael’s Church contains a three- Poetry of Paul Claudel That afternoon we took a side trip to manual, 40-stop gilded pipe organ (1714) Eisenstadt to visit the Esterhazy Palace, by Johann David Sieber; the largest Ba- where Haydn had worked and which to- roque organ in Vienna, it was played by February 8, Baylor University, Waco, Texas day houses the acoustically near perfect the 17-year-old Haydn in 1749. It was in (Midwinter Organ Conference February 8–10) Haydn Saal; and, just up the street, we this church that Mozart’s Requiem was February 15, Rosary Cathedral, Toledo, Ohio visited Haydn’s house, which is now a mu- fi rst performed as a memorial to its com- seum containing Haydn memorabilia. poser on 10 December 1791. In 1986–87 March 9, Hill Auditorium, Ann Arbor, Michigan (8 pm) The next day contained a very full itin- Jürgen Ahrend undertook a large-scale erary, with visits to organs in fi ve church- restoration of this instrument. Contact: [email protected] 734/764-2500 es and one concert hall. The fi rst stop The Gustav-Adolph Kirche, named to was Vienna’s St. Stephen’s Cathedral, honor a Swedish general who, in 1643,
20 THE DIAPASON
Feb 09 pp. 20-21.indd 20 1/12/09 1:31:13 PM ual, 28-stop organ (1671–73) in a for- mer Hussite church that is now called Church of Our Lady Before Tyn. Mundt, originally from Cologne, was one of the many foreigners who made Prague his home and who helped to shape the vi- brant cultural life of this distinctive Bo- hemian metropolis in the north part of the Habsburg Empire. It is reported that when Mundt signed the contract for the construction of the Tyn Church organ, he claimed that this instrument would have no equal in the kingdom. The con- Bartók’s desk, on which is displayed sensus is that this, the oldest pipe organ his typewriter and cylinder player, in in Prague and one of the most represen- the Bartók house in Budapest (photo by tative 17th-century organs in Europe, Béla Fehér) was the organ jewel on the tour. St. Ignatius, built from 1665–87, is a typical Baroque Jesuit church. Its stuc- cowork and statues of Jesuit and Czech saints are intended to awe people with the power of the Jesuit order. The historic organ in SS. Simon and Interior of the Great Synagogue in Budapest showing the double balconies (photo Judas, formerly a church and now a con- by Béla Fehér) cert hall, was the last organ visited and the other Prague exception to organ me- of the most monumental organs in the were informed that our recital was to diocrity. It is reported that both Haydn Central European region and, until 1886, begin in about 10 minutes, so, with no and Mozart played this instrument. Not was the largest organ in the Austro-Hun- time to acclimate to the organ, we were relative to organs but noteworthy was garian Empire. At Bruckner’s instigation, “on stage” before the public. The recital a Bentley with a boot on its tire parked in 1873 Matthäus Mauracher, Sr., rebuilt went off well. That’s show business! outside the building. That was indeed the organ to four manuals and 78 stops. St. Vitus Cathedral, a huge gothic a sight to behold! One would think that Today, after two subsequent renovations, church, was begun in the Middle Ages, anyone who could afford a Bentley could it has 7,386 pipes. An unusual feature of but for various reasons completed only afford to pay a ticket. this instrument is that the reeds are not in 1929. Continuously full of tourists and Like a meal with great food, with under expression. the din of their footsteps and conversa- second and third helpings, the visits to The last abbey visited is the yellow tion, it is the home of a rather undis- the organ buffet in Budapest, Vienna, Benedictine Baroque fortress Abbey tinguished Josef Meltzer three-manual Salzburg and Prague, and the generos- Melk, constructed in the early 1700s. organ built in 1929–31. From there we ity of the respective resident organists, Of the great organ built by the Viennese visited organs in St. Stephen’s Church provided plenty of time to sample and builder Gottfried Sonnholz in 1731, only and in St. Nicholas Church, where we savor the varieties and fl avors of the the case remains. In 1929 this organ was played another recital, but this time with various organs. Q subject to “modernization.” In 1970 a the advantage of rehearsal time. new instrument by Gregor Hradetzky of Our Lady of the Snow, founded by Jeffrey K. Chase is a practicing attorney in Krems with three manuals, 45 stops, and Charles IV in 1347, was intended to be Ann Arbor, Michigan, with a concentration in 3,553 pipes on slider chests was installed the grandest church in Prague, but only the area of estate planning. He is a member of in the old case. The organ in the vestry the chancel was ever completed. This the bar of the United States Supreme Court. was built in 1986 by the Reil Brothers of church played an important role in the Prior to becoming an attorney, he earned a Mary Morse, of Ann Arbor, Michigan, bachelor’s degree in music literature and a the Netherlands and placed in the exist- history of the Hussites, who were the fol- master’s degree in musicology. He has been a singing, and Steven Hoffman, of ing baroque vestry cupboards. lowers of Jan Hus, a pre-Luther Protes- Cheyenne, Wyoming, accompanying on published feature writer and music critic for A visit to old Salzburg is like a time tant reformer. The Michigan Daily and The Detroit Free the organ in the Tyn Church in Prague warp into history. Nestled picturesquely In contrast, it was a real treat to play (photo by Béla Fehér) Press and has also written for High Fidelity, in the Austrian Alps, Salzburg was a prin- the Johann Mundt (1632–90) two-man- THE DIAPASON and The American Organist. cipality under the rule of its Archbishop marched with his army to Vienna in the until joining Austria in 1816. The Kajen- war of religions (the Thirty Years War), tanerkirche, constructed between 1685 was built about 1835 and, seating 1,500 and 1697 and incorporating an abbey people with its double balconies (as has and a hospital, was built for the Cajetan The OHS Catalog the Great Synagogue in Budapest), was Order, whose purpose was to recall the the largest non-Catholic church in Aus- clergy to an edifying life and the laity SHEET MUSIC ◆ BOOKS ◆ RECORDINGS tria. When it was built, Protestant church- to the practice of virtue, and to combat es were not permitted to have an entrance the teachings of Martin Luther. This from the street, so the main entrance was church contains a one-manual Christoph off the yard (now it is on the street side). Egedacher organ from 1672 that was re- It contains a Carl Hesse two-manual, 32- stored by Rieger in 1982. stop tracker organ from 1848. Salzburg’s Franciscan Church, the See the latest UPDATES The Schottenkirche (The Scots “people’s church,” experienced its last Church) was originally built for the major renovation by the noted Salzburg Irish Benedictines. (In the 12th century, architect Hans von Burghausen at the to The OHS Catalog! when Ireland was known as “New Scot- beginning of the 15th century. It is noted land,” Irish monks were invited to come for its magnifi cent hall choir, which ef- to Vienna from Regensburg.) Since that fectively refl ects the fusion of light and Get on our mailing list at time the building has suffered many ca- darkness, one of this church’s special fea- sualties, and the structure extant today is tures. The tower houses one of the old- not the original church on this site, but est preserved bells made by the master www.OrganHistoricalSociety.net a Baroque-style edifi ce built from 1638– bell-founder Jörg Gloppischer in 1468. 1648. The altarpiece in the Lady Chapel The organ is a three-manual Metzler and we will send you updates contains Vienna’s oldest votive painting from 1989. of the Virgin. The great Baroque or- From there we walked the short dis- ganist Johann Fux worked here about tance to the Salzburg Cathedral, where featuring NEW and favorite 1690. In this church on June 15, 1809, we played the three-manual west gal- a memorial service, at which Mozart’s lery 1988 Metzler organ, and also the organ sheet music, books, Requiem was performed, was held for two-manual Pirchner pillar organ from Joseph Haydn, who had recently died in 1991. That afternoon we took a side trip recordings and more. Vienna. The Schottenkirche choir organ to the Shrine of Our Lady of Maria Plain, is a two-manual, 20-rank Mathis instru- a place of pilgrimage for more than 300 ment from 1994. The main organ is now years that is situated on a hilltop with a a three-manual, 49-rank Mathis instru- spectacular view overlooking Salzburg. Over 5,000 titles in stock! ment from 1995. Originally the home of a 1682 Egedacher instrument in its choir gallery, today it Salzburg houses a 1955 two-manual organ built Order online at The next day was our abbey day as by Georg Westenfelder of Luxembourg we drove from Vienna to the charming based on the presumed disposition of the town of Salzburg, birth city of Mozart. Egedacher organ. The existence of the www.ohscatalog.org Our fi rst stop was at the twin-towered original Egedacher pipes of the Copel 8′ Augustinian Abbey of St. Florian, the helped with the reconstruction. The hall- largest abbey in Upper Austria, where marks of the current organ are its mar- the young Bruckner had been organist, velous sound and its sensitive action. where he had written many of his com- Organ Historical Society positions, and where, at his request, he Organs in Prague P. O. Box 26811 • Richmond, VA 23261 is buried under the organ he loved so Surprisingly, with two exceptions, the Open Monday-Friday 9:30am - 5:00pm ET dearly. There are three organs in the ab- organs we experienced in Prague were Telephone (804)353-9226 bey. The great organ, an instrument built disappointingly undistinguished. When E-mail: [email protected] by the famous Slovenian organ builder we arrived at St. Aegidius Church at Franz Xavier Kristmann in 1771, was one about 4:20 on a Sunday afternoon, we
FEBRUARY, 2009 21
Feb 09 pp. 20-21.indd 21 1/12/09 1:31:34 PM From the Dickinson Collection: Reminiscences by Clarence Dickinson, Part 2: 1898–1909 Compiled by Lorenz Maycher
Introduction Clarence Dickinson (1873–1969) had one of the longest and most infl uential careers in the history of American church music. The fi rst installment in this series of Dickinson’s own writings, Reminis- cences, appeared in the July issue of The Diapason and covered his early child- hood and musical awakenings in Lafay- ette, Indiana, his formal study, and his fi rst recitals and church appointments in Evanston and Chicago, where musical friends urged him to study abroad. Reminiscences, Part Two, begins with Dickinson’s arrival in Berlin in 1898 and traces his musical studies in Europe with Reimann, Guilmant, Moszkowski, and Vierne, his meeting and falling in love Clarence Dickinson Clarence Dickinson in Berlin, 1898 with Helen Adell Snyder, and his return to Chicago, where he became an over- night success as organist-choirmaster at St. James Church and founding conduc- tor of the area’s most prominent choral societies. All material used in this series is taken from the Dickinson Collection, Dr. Dickinson’s own personal library, which is housed at William Carey Uni- Helen Adell Snyder Dickinson versity in Hattiesburg, Mississippi. We are very grateful to Patricia Furr and Dr. the crash of full orchestra. Poor Rebling, Gene Winters of William Carey Univer- leaping into the air, rubbing his eyes and sity for granting access to this special col- Clarence Dickinson in Berlin, 1898 grabbing his baton frantically, tried to lection, and for permission to use these fi nd out where they were, to the great items in this series intended to preserve Strauss, taking the fi rst rehearsals of his delight of the audience. the life and legacy of Clarence and Hel- new tone poems, as he did for the fi rst Of course, many of these concerts en A. Dickinson. performance of Ein Heldenleben. I heard were wonderful treats. Busoni, the great —Lorenz Maycher the Berlin premiere, and the critics pianist of the day, gave a series of four Laurel, Mississippi made fun of Strauss for making himself historic concerts with the Philharmonic, the “Helden” by using the themes of his playing fourteen concertos (*) on four Dr. Heinrich Reimann, the organist of own works. I remember Singer defend- successive Saturday nights. The house the Kaiser Wilhelm Gedächtnis-Kirche ing him by asking, “Whose themes could was full of the greatest musicians in Ber- in Berlin, took only one pupil a year. I he use?” Singer said Strauss worked the Clarence Dickinson in 1899 lin. At the end of the last concert, Busoni was fortunate enough to arrive in 1898 entire composition out in his head be- came out and played an encore—his just as the last year’s pupil, Karl Straube, fore he put a note on paper, and then had the apartment of Andrew White, the own arrangement of the Bach D Major had left to become organist of Bach’s old made only slight changes in the arrange- American Ambassador to Germany, for Prelude and Fugue—in tremendous church in Leipzig. I had gone to Rei- ment of voices in the brass parts. an evening rehearsal. Afterwards, we style, turning to look at the audience, mann because of his reputation as the Singer put me through Rischbieter’s were given a most sumptuous supper of and ended on a C-natural, after a month greatest organist in Germany, but did Harmony book, which puts each given all kinds of rich foods. But I was in such of perfect playing when you could criti- not know of him as musicologist, com- theme to be harmonized in each of the a condition that I could not touch a bit cize nothing. I heard Widor do the same poser, and scholar. Reimann was up-to- four parts, the alto and tenor being much of the food that I needed so much. For- thing while in the loft with him one time. date with all the French technique of the harder to harmonize effectively than I tunately, the next day I received a large Among his visitors that day was a very day, but had an exalted interpretation had heretofore done. Singer sat at the check from my father, with a letter say- beautiful young lady standing at his right. of the masterpieces of all organ reper- side of the piano smoking his pipe, criti- ing, “I’m quite sure you have plenty of As he fi nished a big number in F Major, toire. He wrote the program notes for cizing me very severely. He seemed to money for the winter, but I want to make ending with a run in the pedal, he turned the Philharmonic, and was librarian of be an old grouch to me, but it was won- sure.” This kind fatherly letter was the to her saying, “My dear countess,” and the Royal Music Library, which contains derful training and invaluable assistance last I had from him, as he died very sud- landed on an E-natural that rang out such a large collection of manuscripts of when I later came to improvising fugal denly soon after. from the pedal Bombarde. I have used the great early composers. He collected bits with Vierne in Paris. And, when I re- Berlin, at this time (1898–1899), was this as a warning to my students—do not many folk songs for a series of historical turned to Chicago to teach theory in fi rst the great music center of the world, relax until the last note is played. recitals by Amelie Joachim, one of the the Columbia Conservatory, and then and for a mark and a half (37 cents), we After my winter with Reimann in Ber- great singers of the day, many of which my own Cosmopolitan School, I used the heard the leading conductors of the day: lin, in the summer of 1899, I took a trip Mrs. Dickinson and I later edited for Rischbieter themes in the same manner Felix Weingartner, Arthur Nikisch, Karl with a friend, Arthur Burton, who was church use. Reimann gave an organ re- in my class, using the soprano, alto, and Muck, Richard Strauss, and Siegfried later to become a well-known baritone cital while I was in Berlin, which Kaiser tenor clefs, which helped when it came Ochs. I felt they taught me the control and vocal teacher in Chicago. He had Wilhelm and his old court attended. It to score reading. of a proper accelerando and ritard in the been studying with William Shakespeare, was the only organ recital I have known In Berlin, I lived on Wilhelm St., and building of a climax. When I came home, the great conductor and vocal coach in where it took a cordon of police to keep was awakened practically every morning my former teacher said, “Well, what London. At this time there arrived a very the overfl ow crowd out. at six as the Kaiser rode by at the head of is that?—just a little faster, and a little lovely old lady from Hamilton, Ontario, In the middle of the winter, Reimann his troops, out for their daily drill. I did slower.” Siegfried Ochs, with his chorus who was going to meet a young lady, said to me, “I have broken my rule and not have the fi nancial struggle so many of 1,000 and the Berlin Philharmonic, Helen Adell Snyder, in Heidelberg and have taken one more student, a young musicians have. Only once did I not have brought out every detail perfectly, but travel with her. As Arthur and this older girl from America whom I heard playing enough to eat for a period. I roomed in also the great majesty of such numbers as lady had become very good friends, and a very good piano transcription of one of the home of Fräulein Schumann, a dis- the “Sanctus” and “Cum Sancto Spiritu” discovered they were to be in Switzer- Bach’s chorale preludes. I was so struck tant relative of the composer. The room- given as Bach undoubtedly heard them land at the same time, they decided to with it that I told her she should study ers were all men: a Dane, a Norwegian, in his conception. I do get very impatient leave a note at Cooke’s Travel Agency some organ,” which she did. I never met two Germans, and two Americans. The with these critics who say you cannot in Lucerne so that they might see each her while abroad, so when I returned to other American was a student at the uni- have this music properly done with more other. Arthur and I found such a note in America I kept looking for news of this versity who had run out of money and than thirty singers, which is but a pencil Lucerne. We called on them at their ho- brilliant organist whom I had never met. could not get back to St. Louis, where sketch, like the preliminary drawing for tel and had lunch together, but they were At an A.G.O. dinner I sat next to a charm- he said a position was awaiting him. He a great Rembrandt, with its glorious light just leaving for Geneva. Unfortunately, ing young lady and we discovered we had said he would receive money as soon as and color. Arthur and I had just sent out our laun- been studying in Berlin at the same time. he arrived, but could not get any sent to In Berlin, not only did we have great dry and had to wait for “the wash,” or I told her of my experience with Dr. Rei- him in Berlin in advance. If I loaned it to orchestral concerts and operas, but we we would have joined them on the same mann and that he had taken on a young him, he would send it back immediately. had the debuts of many young players. train. We caught the fi rst train possible lady student whom I had never met, and So I drew my balance in the bank that Rebling, the assistant conductor of the and had three very delightful days with she replied, “I was that young lady.” It was to take care of me for the next few Philharmonic, was sadly overworked. We them. I said to Arthur, “You can have was Olga Samaroff, the brilliant pianist, months, keeping just enough for the next not infrequently feel that a conductor has your old lady. I’m going to take the girl,” who of course became too busy with her few weeks. The money never came, and gone to sleep, but poor Rebling actually and at the end of the third day Adell and tours as a concert pianist to continue with I was afraid to write home for more, for did go to sleep at the switch. During a I were engaged. We each had two more organ study, but felt that it had helped fear they would think I had squandered very long cadenza in a piano concerto, he years of study—she to get her Doctorate her piano playing greatly. it “in riotous living,” as so many of the laid down his baton and leaned heavily at Heidelberg (from which she gradu- I also studied theory and composition students were doing. So I got down to on the stand, dropping lower and lower. ated summa cum laude in 1901, the that year with Otto Singer, most widely one roll and a cup of coffee at the au- As the cadenza’s end drew near, the or- fi rst woman to do so in the Philosophy known as the arranger of Wagner opera tomat. At that time, I was taking part in chestra began raising their instruments, Department), and I to study in Paris. accompaniments for the piano as pub- a play to be given for the benefi t of the with the concertmaster fi nally raising When I met Adell, I knew that here lished by Schott. Singer was a friend of American Club, and we were invited to his bow to bring them in on time with was inspiration in a young and beautiful
22 THE DIAPASON
Feb 09 pp. 22-25.indd 22 1/12/09 1:32:36 PM inside this door in two minutes I am go- ing to send straight to Hell.” You should have seen them run! He had an unfair advantage over me. All I could threaten my boys with was the loss of a two-week encampment during the summer. This was the real pay for their year’s work. Part of the job of running the boy choir in Chicago was putting on a light opera to raise funds for summer camp at one of the Wisconsin lakes. One year we chose the far end of Lake Mendota, north of Madison. It was near an insane asylum, and some of the harmless patients often walked through the camp and saw the boys. One of them always came swinging an alarm clock. When we asked her why she carried the clock, she replied, “Oh, they say time fl ies, but he’s not going to get away from me!” Another one was a very coquettish old maid who sort-of fl irted with the boys, and they had fun drawing her on, nicknaming her “311,” Handwritten note from Guilmant to but never telling her what it meant: Dickinson regarding his organ lesson “311” was the hymn “Ancient of Days.” time, May 20, 1900 Another hymn they delighted in, which our rector, Dr. Stone, often selected as a processional, had a line that always oc- curred just as the boys came in sight of the congregation. I could not stop them from always turning their heads towards the congregation, and roaring out, “My God, what do I see and hear.” There was another they delighted in: St. James was in the aristocratic north side of Chi- cago, and our principal rival was Grace An undated Chicago newspaper clipping Church, on the south side. The boys always emphasized in singing this line, Letter from Louis Vierne: “Dear Sir, “On the north side are the palaces.” Can you come tomorrow Tuesday at 2 At this same time, I was offered the instead of tonight? I have a committee conductorship of the Aurora, Illinois, meeting which is holding me this Musical Club without ever having held afternoon. I will prepare for you the letters for London and Sheffi eld. Very a baton or directed a chorus or orches- cordially yours.” tra. I went to Frederick Stock, the con- ductor of the Chicago Orchestra, who gave me a few suggestions. Of course, I always braced up my orchestra with a goodly number of players from the Chi- cago Symphony, which is really what put us over. This gave me very good experi- ence, as we presented a different ora- torio at every concert, never repeating anything in fi ve years, giving the Chicago premiere of Davies’ Everyman and other such novelties, and ending with Wagner’s Tannhäuser in concert form. Aurora was a railroad center, down below the hills, so the train station was just fi lled with smoke. For one of the rehearsals I took the boy soprano soloist from St. James. “You don’t need to worry about my man- Postcard announcing Clarence Dickinson’s return to Chicago ners, Dr. Dickinson. My mother told me what to do and say.” When we alighted woman who also possessed great knowl- boy choir. I wrote my fi rst organ piece, from the train in the midst of a great edge. However, that was not the reason “Berceuse,” during the year I studied cloud of smoke, so that you could not see I had the courage to ask her to wait for a with Vierne, and dedicated it to Helen a thing, he said, “Aurora is a lovely city, poor organist who would probably never Adell Snyder. Professor Peter Lutkin, of isn’t it!” make more than $2,000 a year; it was Northwestern, sent it to H. W. Gray for To show you how busy I became: my just intense love at fi rst sight. I believe recommendation for publication. It was weekly schedule soon meant catching a Letter from Louis Vierne: “Dear Sir, the real thing comes that way, though, refused. I then sent it to Schirmer and 5:30 train for the hour ride to Aurora, and You are now able to write and to teach of course, it can come slowly, I suppose, Ditson, who likewise returned it. (After getting dinner on the train. The train was counterpoint and fugue which you have as has been described in many stories, returning from Europe, I later played it a deluxe express—fi rst stop Aurora—and done yourself in a very successful without the individual being aware of it in a recital on the Ocean Grove Auditori- the thru passengers were allowed to and interesting manner. Very cordially for a long time. um organ, and had the fun of having the come into the diner, while those in the yours.” In the fall of 1899 I moved on to Par- same three publishers come up and say day coaches were kept locked up. For- is, intending to study with Widor, who they would like to publish it!) tunately, I found a key that would fi t the could play in tremendous style, but, if he When my generous supply of money door, and so, when the headwaiter was were not particularly interested, could had run out in Paris, I felt I should begin at the other end of the dining room, I’d be very dull. Meanwhile, I discovered to try and give out something, instead unlock the door and come in. He and the Guilmant, who was at the height of his of always comfortably receiving, so re- waiters were always startled to see me career. One of the fi rst concerts I heard turned home in 1901 with 125 pieces in come in, but always served me, thinking in Paris was the dedication of a new or- my memory. So began the next portion me to be a member of the board. So, I gan shared by four organists: the organ- of my life, fi rst as director of the choir always had my dinner and arrived at the ist of the church; Gigout, one of the most at McVickers Theatre, where Frank hall in time to rehearse the orchestra for brilliant players of the day; Widor, third; Crane, a popular minister in Chicago, an hour, and the chorus for an hour and and Guilmant, last, showing his great- was preaching on Sunday mornings, and a half. Catching a ten o’clock train back ness in every way. I studied with him for the following year as director of music to Chicago, I then crossed to another sta- the next two years, and never regretted at First Methodist Church in Evanston. tion and caught the sleeper to Dubuque, it. That fi rst year I also studied composi- After only six months there, I became Iowa, where I taught for four hours the tion with Moritz Moszkowski. organist-choirmaster at St. James Epis- next day, then had rehearsals for the Bach The second year, I went to Vierne copal Church in Chicago, with a boy Society of Dubuque, following the same (who had just been appointed organist of choir of sixty. I enjoyed this choir very routine of rehearsing the orchestra fi rst Notre Dame, and possessed a lovely or- much for six years, although the strain of and the chorus last. I then caught the gan in his home) for composition, impro- replacing eight or ten boys a year, along sleeper back to Chicago, where I taught visation, and plainsong accompaniment. with the many rehearsals and discipline, at the Cosmopolitan School, of which I How he ever got the notes of his compo- was rather wearing. I rehearsed the boys was the director, until the middle of the sitions on paper I do not understand, as alone twice a week at 4:30. They were out afternoon, and then rehearsed the boys the head of a quarter note was as large as of school by 3:00, so I usually had to in- at St. James. I took the evening off! On the end of a little fi nger because of the terrupt a game of baseball at an exciting Thursday, I was back at school for classes little sight left in him. I had a pedal pia- moment, and it was diffi cult to get them in the morning, rehearsal for the Musi- no in my room in the Latin Quarter, and in on time. After such an experience one cal Art Society at 2:30, a rehearsal of the the use of an organ in the Cavaillé-Coll day, I walked past Notre Dame Catholic English Opera company at 4:00, and, at organ factory and that of the American Church and found the priest having the 6:30, the chorus of the Sunday Evening Letter of recommendation for Dickinson Episcopal Cathedral, where I was organ- same trouble. He fi nally lost his temper Club rehearsal. Friday morning was by Guilmant, May 24, 1901 ist and an Englishman was director of the and called out, “Any little boy who is not given up to organ lessons at the church,
FEBRUARY, 2009 23
Feb 09 pp. 22-25.indd 23 1/12/09 1:32:55 PM and, in the afternoon I attended the con- was a mother and daughter. The old lady certs of the Chicago Orchestra. Friday immediately said, “I am sure you want evening was given over to rehearsing Jenny. She can sing higher and lower, the men and boys of St. James for the and softer and louder than anyone you Sunday service. Saturday morning was have ever heard. Jenny, show the gentle- the service at Temple Kehilath Anshe man your high C,” whereupon Jenny let Mayriv. In the afternoon, I practiced for out the loudest, wildest shriek you ever various services. Sunday morning and af- heard, like the sound of a wounded hy- ternoon was spent at St. James Episcopal ena. I could hear doors open and feet Church. Once a month, in the afternoon, come running, and the manager opened there was a large important festival ser- the door to ask if he could be of any assis- vice with a short organ recital following. tance. Of course, I told Jenny that noth- Then came the Sunday Evening Club, a ing more was necessary. That settled it, service held at Orchestra Hall, for which but, as a matter of form, I told her I was we had distinguished preachers from all compelled to hear the others who had over the country, a large chorus, and a come, and I would let her know. We did fi ne quartet of soloists. I played a half- secure a beautiful chorus in the end. hour program of organ music, and then, In 1904, after being engaged for fi ve putting another organist on the bench, years, Helen Adell Snyder and I were conducted the chorus. Mondays I taught married. Following our studies abroad, at the Cosmopolitan School until four she had become Dean of Women at the o’clock, when I went to rehearse the boys State College of Pennsylvania, and I had at St. James. In the evening, I caught the returned to Chicago $3,000 in debt—a train to Aurora, and the week began all good deal of money in those days. The over again! fi rst year I saved nothing; the second Many interesting things happened year I saved $1,500, and the third year, along the way: One time, on the way to $1,500. I went to the wealthy young lady Dubuque, a deep cut between two hills who had loaned me the money and said Program for the Aurora Musical Club’s was fi lled with snow. Our engine tried “Here’s the balance. However, I have performance of Davies’ Everyman, to ram it, getting stuck so tight it could been engaged for fi ve years and would under the direction of Clarence not go back or forth. We were held there very much like to get married and go to Dickinson—the fi rst production of the all night and most of the next day, with Europe on our honeymoon. Instead of work in America, May 16, 1905 nothing to eat but a few chocolate bars. paying you back now, I am sure I can do This spot had belonged to one man, but it next year.” She very kindly consented, Cover of an early publicity brochure two little towns had grown up around it, and Mrs. Dickinson and I sailed on the so he named them after his daughters. Romanic, although we preferred calling We men on board decided we would it the “Romantic.” send telegrams explaining our absence My older sister met us at Boston to say by saying, “Snow storm delay: spent the goodbye and said, “This is very nice. Our night between Elizabeth and Anne.” friend Miss Blanchard is sailing on the Another amusing incident took place same boat with ten young ladies, who I during the forming of the chorus for the am sure will want to meet you.” Natural- Sunday Evening Club in Orchestra Hall, ly, we were not so sure and we engaged which was made up of the best soloists four steamer chairs—the two on the who sang morning and afternoon services North side had our names on them; the in their churches. The men for the cho- two on the South side, where we always rus proved easy, as practically all my men sat—nothing. So we dodged them until at St. James came. I had to advertise for the last day. women, and when I arrived for the audi- We landed in Gibraltar, where there tions at my Cosmopolitan School of Mu- were men selling Maltese lace. Mrs. sic in the Auditorium building, I found Dickinson was buying some for her the place full, much to the distress of my mother. The man started the price at teachers. The fi rst I took into my offi ce $10.00 and Mrs. Dickinson, having lived
Program for the fi rst concert by the Musical Art Society of Chicago, December 3, 1906, Clarence Dickinson, musical director
Western British America newspaper erroneously identifi es Dickinson as a Canadian, and reports on his organ recitals in Spain during his wedding tour of Europe
in Europe, countered with $5.00. Each gave in until they were only $1.00 apart, whereupon the man turned to me and said, “Father will pay the $1.00. What’s a dollar to Father?” We took a boat to Tangier, and after a few days’ stay, another boat around Bach Society of Dubuque program, to Cádiz, a very beautiful way to enter Clarence Dickinson, director, May 5, Spain, as it projects out into the ocean 1908 and the houses are painted pink, blue, and white—nice gay colors. At luncheon I asked for a glass of milk—not realizing and drew a picture of a cow, whereupon that the only milk available would be he immediately cried, “Si, Si, Señor,” goat’s milk, which one notices as soon as dashed off, and came back with two tick- it enters the room. The waiter, of course, ets for the bull fi ght. could not understand this request for I played several recitals on the organs milk, as this was my fi rst day to use my in Spain. The most surprising request Spanish, and he brought me several I received was in Cordova, where the different articles until I took the menu Gothic chapel is set down in the midst
24 THE DIAPASON
Feb 09 pp. 22-25.indd 24 1/12/09 1:33:17 PM Clarence Dickinson, center left, with the choir of men and boys at St. James Episcopal Church, Chicago
its fi rst hearing of works by Palestrina and salary was less than what I was making Gabrieli, and the “Sanctus” and “Cum in Chicago, I was also asked to conduct Sancto Spiritu” from the great B-Minor the Mendelssohn Glee Club, succeeding Mass in concert with the Chicago Orches- Frank Damrosch, and was also organist tra. This was still in the day of the quartet, at Temple Beth-El, located at Fifth Av- and this kind of music was new to them. enue and 76th Street (now merged with They were very conscientious singers, and Temple Emanu-El). Even then I came would study those runs at home. Three of to New York at a fi nancial sacrifi ce, but the best altos in Chicago were sisters, one for greater opportunity. Q of whom was Mrs. Clayton Summy, and they would get together in her home and * Busoni piano concerto series rehearse these diffi cult numbers. At their October 29, 1898: Bach D minor, Mozart A third rehearsal, they entered the room, major, Beethoven G major, Hummel B minor An undated letter from Frederick Stock congratulating Clarence Dickinson on the and were greeted by Mrs. Summy’s par- November 5: Beethoven E-fl at, Weber success of the Musical Art Society Konzertstück, op. 79, Schubert Fantaisie in C rot singing “Cum Sancto Spiritu,” the only major, op. 15, Chopin E minor parrot I ever knew that sang Bach. November 12: Mendelssohn G minor, I recall that for one performance of Schumann A minor, Henselt F minor Messiah there, I had the bass and tenor November 19: Rubinstein no. 5 in E-fl at, of the First Presbyterian Church of New op. 94, Brahms D minor, Liszt A major York, who had come out to sing at an- other event. It was very successful, and To be continued the visiting singers returned to New York Lorenz Maycher is organist-choirmaster and reported that it was the best perfor- at First-Trinity Presbyterian Church in Lau- mance they had ever heard. Word of this rel, Mississippi. His interviews with William must have got around, for in 1909 I was Teague, Thomas Richner, Nora Williams, Al- invited to the Brick Presbyterian Church bert Russell, and Robert Town have appeared to succeed Archer Gibson. Because the in THE DIAPASON.
The Cosmopolitan School announces Clarence Dickinson’s move to New York City, 1909 Eloquence and Artistry in Organ Building
Flyer announcing the Chicago English Opera Society’s performance of Mignon under the direction of Clarence Dickinson
of the old mosque, with its 900 pillars of different colored marbles, creating a very mystical atmosphere. After I had tried the organ a bit, the priest organist said to me, “There is one American tune I have always wanted to hear. Will you play it for me?” I said, “Surely, if I know it.” He re- plied, “It is Yankee Doodle Dandy.” So, Letter dated September 3, 1909, from Mrs. Dickinson, who was not allowed to Frank Damrosch to Clarence Dickinson, come up into the organ loft where there his successor as director of the were priests and monks (so strict are the Mendelssohn Glee Club rules!), was rather aghast when she heard the strains of “Yankee Doodle” echo Chicago. Mrs. Dickinson said one day, through and around the 900 columns! It “Is this really your heart’s desire?” “This was in Spain that we fi rst began to col- is the thing I want most.” She immedi- lect folk songs. One of the earliest was ately turned to the telephone and called “In Joseph’s Lovely Garden.” singers one by one, starting with personal The greatest choral group I ever had friends who were among the top singers was the Musical Art Society of Chicago, of the city, until fi fty had agreed, most which I organized in 1906. This society hesitatingly, to come to a meeting. This was made up of 50 leading singers of the meant singing for pleasure, no money in city, and we performed the great choral it for anyone. St. Bede Catholic Church, Williamsburg, VA music of the church, which had never The devotion of the singers was mar- Neil Kraft, Music Director been heard in Chicago. While I was in velous. Individual members would go to Paris, I was much fascinated by the beau- New York to sing with the Philharmonic Member, Associated Pipe Organ tiful singing of the 15th and 16th century Orchestra, and then, if compelled to miss John-Paul music by the famous choir of Saint-Ger- a rehearsal, hurry back for private rehears- Builders of America main-des-Prés, and longed for an oppor- als in order to prepare for the coming Buzard 112 West Hill Street tunity to present these works, as well as concert. Any one of them could sing over Pipe Organ Builders Champaign, Illinois 61820 modern music of the day. All this would a big orchestra, and when you put them require a chorus made up of very good together, it was stunning. We could per- 800.397.3103 • www.Buzardorgans.com musicians. Thus was born the idea of a form unknown music, old and very mod- society composed of the best soloists in ern, in any language, and we gave Chicago
FEBRUARY, 2009 25
Feb 09 pp. 22-25.indd 25 1/12/09 1:33:39 PM Cover feature
Parkey OrganBuilders, Chancel Organ to be contained in two Duluth, Georgia separate cases. Space did not allow for Church of the Good Shepherd, the inclusion of a swell box, so in an ef- Lookout Mountain, Tennessee fort to retain independent stops as much as possible, stop selection, scaling, and From the builder voicing were crucial in balancing volume Our fi rst contact with Church of the and overall ensemble chorus. In the con- Good Shepherd was with John Wigal, sideration of our production schedule, choirmaster/organist, in early 2006. one of the benefi ts of the Chancel Organ After receiving his call and having a was that it allowed a seamless transition pleasant conversation, a trip to Lookout of instruments for Church of the Good Mountain was scheduled to review their Shepherd. Since the Chancel Organ was current situation. Lookout Mountain is to be entirely new, it (our Opus 9) was a wonderful mountain plateau area just actually built fi rst. Once completed, we outside of downtown Chattanooga, Ten- then proceeded with the removal of the nessee. Today the mountain is host to a old Gallery Organ and preparations for number of quiet neighborhoods and the the new Gallery Organ. The church used famous tourist destinations of Rock City Opus 9 for the interim until the Gallery and Ruby Falls. Church of the Good Organ was installed in early 2008. The Shepherd is an active Episcopal parish Chancel Organ was fi rst used in summer serving Lookout Mountain and serves as of 2007, and made its offi cial debut to the periodic host to the Chamber Orchestra community with the Chamber Orchestra of Tennessee. of Tennessee in October 2007. The organ committee and Mr. Wigal The Gallery Organ (Opus 8) was com- realized the shortfalls of the original pipe pleted in our shop in late 2007, and instal- organ installed in 1961, and spent con- lation started in December 2007. Tonal siderable time in reviewing the options Chancel Organ, Opus 9 (photo credit: Chris Crevasse) fi nishing began in January 2008, and the for renovations or replacement. We were fi nal reed stops were installed and voiced honored by their interest in our fi rm, but in March. The entire organ was fi rst concerned with the task of providing a heard on Easter Sunday of 2008. suitable organ. The church nave was ren- The new organs feature three complete ovated extensively in the mid-1990s, with manual principal choruses between them. great attention to acoustics. The end re- The Great division is the largest and rich- sults provided a signifi cant improvement est of the foundations. The Chancel Or- over the acoustics of the original nave, gan features a more Germanic secondary but the room was still limited by the chorus, with the third chorus located in A-frame design of the building. the Choir division. The Choir principals As discussions progressed, the com- are English in nature with more warmth mittee investigated various fi rms for the and less articulation. Each division of- organ project, talking with both local fers a colorful yet distinct 8′ fl ute. True fi rms and larger organ builders. Lookout to form with our tonal design, we look Mountain is a short two-hour drive from to our fl utes to provide color and differ- the Atlanta, Georgia area, making us one ent timbre within each stop. There is no of the “local” builders of consideration. duplication of design within the 8′ or 4′ Our fi rm established shop in Atlanta in fl ute stops. The reed stops also provide 1995, and has produced a number of their own color and add fi re and com- projects and instruments over the last manding authority to the organ’s ensem- 14 years, ranging from renovations to ble. The reeds range from a strong Ger- complete new instruments. In 2003, we manic Trompete in the Great to a French moved to our present location in the Trompette chorus in the Swell at 8′ and Norcross/Duluth area of the Metro At- 4′ pitches. The 16′ and 8′ pitches are lanta area. Our 15,000 square foot facil- completed with a Basson and Hautbois. ity houses our operations with a modern Gallery Organ, Opus 8 (photo credit: Chris Crevasse) A large 8′ Cromorne provides additional woodworking facility, pipe voicing facility, options for literature and solo work. and clean, separate erecting space. Our The fi nal crown of the organ is the shop utilizes both CAD and CNC tech- 8′ Fanfare Trumpet. Mr. Wigal and the nology for modern organbuilding. committee were very clear on the design The majority of organs that we build of this stop. The Fanfare Trumpet was provide the core foundation of music to provide a strong solo line in both the for church services and congregational treble and tenor range but was not to be singing. As the tonal director, I have offensive or overpowering. Therefore, studied extensively the designs of or- the Fanfare Trumpet is voiced on seven gans from Europe and America to draw inches of pressure, with resonators hood- on sounds that accommodate the ap- ed to provide optimal projection from the propriate denominational worship style case. Mixture work is carefully terraced and background. Our organs feature an across the divisions, starting with the eclectic base for the fi nal ensemble, but Pedal division and proceeding through each division is constructed with careful the Swell division, Great division, and regard to complement the other divi- Chancel division. Wind pressures range 3 sions of the instrument. Our philosophy from 3″ to 3 ⁄4″, which allowed us to is that the sum of the parts will be the voice with prompt speech but to avoid a whole organ, and our performance will driven sound. All of our scaling and voic- be judged on the whole organ and not ing work is handled completely in-house the parts. Thus our Great divisions are in our company to ensure the success of often based on American standards with each organ. Since no two instruments or a solid chorus for the backbone of the in- rooms are ever exactly alike, scaling and strument. Swell divisions are often heav- voicing strengths must always be tailored ily infl uenced by the French school of Gallery Organ, Opus 8, console (photo credit: Chris Crevasse) to each organ. Mr. Wigal served as the organ design, but with a level of treble consultant for the project and provided ascendancy to improve options for choral excellent input and feedback for the de- accompaniment. The Choir and Positive tained was cleaned, repaired, rescaled the gallery rail in addition to being deep velopment of the specifi cation. divisions draw from and meld the schools and revoiced in conjunction with the with a constrictive ceiling, thus requiring Mechanically, the organ utilizes elec- of English and German organbuilding new specifi cation. The discussions of creative pipe scaling. The new Gallery tro-pneumatic slider chests with electric for choral and literature work. Pedal di- the Gallery Organ included use of an Organ (our Opus 8) is installed in the stop actions and electro-pneumatic unit visions are to be independent when at Antiphonal division for additional sup- same position as the organ it replaced. chests. Winding is regulated through all possible, and should be both felt and port of congregation singing. In our dis- The organ speaks on the long axis of the single-rise reservoirs. The casework and heard in the space. cussions, the committee conveyed their nave, and the Great and Pedal divisions consoles are constructed of red oak with After much consideration and listen- interest and desire that an Antiphonal are elevated high in the space. The Choir maple accents. The console interiors ing, the committee at Church of the division might yield additional benefi ts and Swell divisions are located on fl oor are provided in regular and burled wal- Good Shepherd felt confi dent that we with a separate console as a stand-alone level of the gallery in chambers behind nut. Keyboards are done in bleached could handle the task of providing an or- instrument, thus giving options for the and below the Great and Pedal divisions. bone with ebony sharps. Drawknobs are gan for their parish. Visiting our instru- second organ for the space. Soon it was The second of the organs at Church turned ebony with laser-engraved maple ments and shop, they expressed their decided that the organ project would be of the Good Shepherd—deemed the insets. Tilting tablets are of solid maple. confi dence by selecting us to build the become two separate organs dovetailed Chancel Organ—probably commanded A multi-level capture and relay system new organs for them. Though the pres- together to function either separately or the greatest amount of consideration for was provided by Solid State Organ Sys- ent organ had many shortfalls, some ma- as one. scaling and voicing. The existing reredos tems. The rear case houses the bass of terials did prove to be of quality for con- The present chambers for the Gallery set the parameters for space limitations the 16′ and 8′ Pedal Principal and bass sideration in the new organs. Thus, some Organ are located in the optimal position for the Chancel Organ case in addition to of the Great 8′ Principal. The Chancel limited material was retained in the new of the room; however, they presented infl uencing the case design. Because no Organ cases house the bass of the 16′ instruments. The limited pipework re- some challenges with tonal egress over chamber space existed, we designed the Quintaton and 8′ Principal.
26 THE DIAPASON
Feb 09 pp. 26-28.indd 26 1/12/09 1:34:24 PM able stops for accompanying the choir(s); CHOIR (Enclosed) 8′ English Diapason 61 pipes increase the variety of available colors. 8′ Gedeckt 61 pipes The committee felt it was important to 4′ Spitz Principal 61 pipes create an antiphonal organ at the front of 4′ Koppel Flute 61 pipes 2 the nave that could function in a variety 2⁄3′ Nazard 61 pipes of ways. We desired an antiphonal organ 2′ Block Flute 61 pipes 3 ′ that would allow for basic accompany- 1⁄5 Tierce 61 pipes 8′ Cromorne 61 pipes ing of the choirs or small services from ′ the front of the nave, serve as a continuo 8 Fanfare Trumpet Chancel Tremulant instrument for choral or instrumental Choir 16 concerts, boost the tonal presence of the Choir Unison Off organ in the front of the nave for large Choir 4 services, as well as be a foil to the main Stops: 9 instrument for literature. Ranks: 8 The committee spoke with fi ve build- ers during its discussions and listened to PEDAL examples from three of these. In an ef- 32′ Contra Bass (ext 16 Princ, 1–12 digital) fort to show good stewardship, the com- 32′ Contra Bourdon (ext Bdn, 1–9 digital, mittee desired to retain something of the 10–12 are in pipes) 16′ Principal 32 pipes old organ in any new project. During our 16′ Contra Viola Swell discussions and listening sessions with 16′ Bourdon Swell Phil Parkey, it became clear to us that 16′ Quintaton Chancel Phil and his fi rm were willing and able 8′ Octave 12 pipes to accomplish our listed goals. It also be- 8′ Viola Swell came clear that Phil was listening to our 8′ Bourdon Swell 8′ Gedeckt Chancel requests and fi ltering them with his own ′ Fanfare Trumpet assembled in erecting room high standards, expertise and experience 4 Choral Bass 32 pipes 4′ Flute Swell to create the best result for our parish. 2 2⁄3′ Mixture III 96 pipes During the planning stages, the process 16′ Posaune 32 pipes became very much a guided collabora- 16′ Basson Swell tion between the committee, Phil Par- 8′ Trompete 12 pipes key, and me, with the end result being 4′ Hautbois Swell an organ that will meet the needs of this 4′ Clarion Swell parish for many years to come. 8′ Fanfare Trumpet Chancel The organ has been an enormous suc- Chimes 21 notes Stops: 18 cess and has generated excitement both Ranks: 6 in the parish and the community for the music program at Good Shepherd. In CHANCEL (Unenclosed) October 2007 the Chamber Orchestra of Playable as a single division from the Tennessee performed a concert with the Gallery console new Chancel Organ featuring two organ 8′ Principal concerti of Handel (op. 4, nos. 4 and 6), 8′ Gamba the Adagio by Albinoni, and the Bach 8′ Gedeckt 4′ Principal Concerto for Two Violins, with the organ ′ serving as the continuo instrument. In 4 Rohrfl ote 2′ Blockfl ote October 2008 the main organ was heard II Sesquialtera TC in a wide-ranging dedicatory recital by 1′ Mixture III Professor Trudy Faber of Wittenberg 8′ Fanfare Trumpet 61 pipes University, Springfi eld, Ohio. (Located in Chancel case) The Chancel Organ has led various Stops: 9 smaller worship services and has served Ranks: 1 to support instrumental and choral con- Gallery console and façade, Opus 8 (photo credit: Chris Crevasse) certs. The main organ has served ad- Couplers Swell to Great 16 mirably to accompany both soloists and Swell to Great 8 combined choral ensembles and to pro- Swell to Great 4 Josh Duncan – offi ce manager, wiring, vide the foundation for good congrega- Choir to Great 16 installation tional song. Each stop has its own tim- Choir to Great 8 Otilia Gamboa – chest construction, pneu- bre, distinct from the others of its family Choir to Great 4 matic assemblies, wiring, installation and the combinations are well balanced Chancel to Great 8 Wayne Mitcham – case and chest con- and complementary within and between struction, installation divisions. We welcome visitors to the Swell to Choir 16 Swell to Choir 8 Josh Okeson – console, case, chest con- Lookout Mountain community to stop Swell to Choir 4 struction, installation, console wiring and hear this fi ne instrument. Great to Choir 8 Philip Read – console, case, and chest —John E. Wigal Chancel to Choir 8 construction, installation Director of music/organist Tom Helms – tonal fi nishing Chancel to Swell 8 From the organist Church of the Good Shepherd Great to Pedal 8 The Church of the Good Shepherd Lookout Mountain, Tennessee Great to Pedal 4 Gallery Organ, Opus 8 Swell to Pedal 8 is so very pleased with the outcome of 3 manuals, 38 ranks Swell to Pedal 4 our new organ and its contribution to Drawknob console Choir to Pedal 8 our worship here atop Lookout Moun- Choir to Pedal 4 tain. In 1961 when the current nave of GREAT (Unenclosed) Chancel to Pedal 8 Good Shepherd was built, the building 16′ Contra Viola Swell 8′ Principal 61 pipes Great/Choir Transfer committee made a fi rm commitment to ′ a new organ at that time, and chose the 8 Rohrfl ote 61 pipes 4′ Octave 61 pipes fi rm of Hillgreen, Lane and Co. The in- 2 2⁄3′ Quint 61 pipes Chancel Organ, Opus 9 stallation of that organ was done by D. 2′ Super Octave 61 pipes 2 manuals, 12 ranks 1 Byron Arneson of Minneapolis, Min- 1⁄3′ Mixture III–IV 232 pipes Tilting tablet console nesota. Unfortunately, the organ was 8′ Trompette 61 pipes Gallery Organ Opus 8 taken at gallery plagued with mechanical problems and 8′ Fanfare Trumpet Chancel MANUAL I level (photo credit: Chris Crevasse) tonal insuffi ciencies throughout its life. Chimes 21 notes 8′ Principal 61 pipes Tremulant 8′ Gamba Manual II In the 1990s, renovations to the nave ′ saw the removal of sound-absorbing car- Great 16 8 Gedeckt Manual II Great Unison Off 4′ Octave 61 pipes The staff of our company is essential pet and curtains as well as the removal Great 4 4′ Flute 12 pipes to the success of each instrument. It is of a portion of sound-absorbing material Stops: 9 III Mixture 183 pipes through them that the organ commit- of the rear wall. Although each decade Ranks: 10 Manual II to I tees and I can see fruition and success had brought with it attempts to create a of every organ we build. We sincerely better instrument out of the Hillgreen, SWELL (Enclosed) MANUAL II appreciate the confi dence of the com- Lane organ, none of these attempts were 16′ Bourdon 61 pipes 8′ Gamba 55 pipes 8′ Claribel Flute 61 pipes (1–6 common with Gedeckt) mittee and staff of Church of the Good able to do much beyond making the in- ′ ′ Shepherd for the opportunity to provide strument more mechanically reliable. By 8 Viola 61 pipes 8 Gedeckt 61 pipes 8′ Viola Celeste 56 pipes 4′ Rohrfl ote 61 pipes two new organs for worship and music. my arrival in 2002, it was apparent that 4′ Principal 61 pipes 2′ Blockfl ote 61 pipes Additional information for these organs something must be done. 4′ Harmonic Flute 61 pipes II Sesquialtera TC 98 pipes 2 may be found at Early in 2005, a parishioner expressed 2⁄3′ Nazard 61 pipes
FEBRUARY, 2009 27
Feb 09 pp. 26-28.indd 27 1/12/09 1:34:46 PM New Organs
′ Fabry, Inc., Antioch, Illinois 16 Contra Oboe* (new duplex, Swell) 8′ English Horn+ 73 pipes Memorial Chapel, The Culver 8′ Cor d’Amour* (from 16′) Academies, Culver, Indiana 8′ Clarinet 73 pipes The nucleus of this organ is Möller 8′ Military Trumpet 73 pipes Opus 8168, a 54-rank organ installed (harmonic from middle c) in the chapel in 1951. Various build- 8′ Bombarde# (Pedal) ers made some tonal modifi cations in 8′ Harp# (TC) (Deagan/Möller) 49 bars MIDI on Choir* the 1970s, but the organ returned to ′ the care of Fabry, Inc. in 1978. Various Choir to Choir 16 Choir Unison Off ranks have been replaced since, often Choir to Choir 4′ in an effort to resolve problems created Tremolo by the work done in the 1970s. The en- tire electrical system was replaced with SOLO (Floating—all duplexes from a Peterson ICS-4000, providing all relay Bottom of new Choir chest showing EP other divisions) connections, MIDI interface, adjustable action 8′ Doppelfl öte* (Gt, enclosed w/ Ch) 8′ Viola* (Choir) crescendo pedals, adjustable “accent ′ ′ pedal” settings, ventils, and 256 levels 2Super Octave 61 pipes 8Viola Celeste* (Choir) 2′ Piccolo# 61 pipes 16′ Cor d’Amour* (Choir) of memory. The Möller individual pneu- (Zauberfl öte, harmonic from low C) 8′ Cor d’Amour* (Choir) matic shade actions were replaced with Fourniture IV 244 pipes 8′ English Horn* (Choir) Peterson 16-stage units (three for each Cymbel III 183 pipes 8′ Oboe* (Swell) expression enclosure). The Vox Humana 8′ Military Trumpet (from Choir) 8′ Bombarde* (from Pedal, 61 notes) enclosure was replaced with a new en- Chimes# (Sw, immune to couplers) 8′ Military Trumpet* (Choir) closure with shades and a Peterson shade New ranks on Choir chest (from left): MIDI on Great* Harp* (Choir) action, operable from the console. Cor d’Amour, English Horn, Viola, and Great to Great 16′ Tremolo* (engages appropriate tremolos All tremolos were replaced with A. R. Viola Celeste Great Unison Off for all stops drawn on Solo) Great to Great 4′ Schopp electric tremolos, including ad- Tremolo* PEDAL ditional tremolos for the Great division recycled from a similarly large-scaled 32′ De Profundis* (Resultant from Bourdon and for the 7-inch pressure chest for the Möller Melodia. The organ now possess- SWELL (Manual III) and Flûte Conique) new reeds in the Choir. es 58 ranks—3,625 pipes. 16′ Flûte Conique 85 pipes 16′ Contra Basse (open wood) 44 pipes The console was totally rebuilt by Da- All cloth-wrapped wiring was replaced 8′ Geigen Diapason 73 pipes 16′ Diapason (ext Gt 8′, open metal) 12 pipes vid Gustav Fabry, retaining the English with PVC-coated wiring conforming to 8′ Rohrfl öte# 73 pipes 16′ Bourdon (wood) 44 pipes ivory keyboards and some structural present-day codes. Connections between 8′ Flûte Conique (from 16′) 16′ Quintaton (from Great) 8′ Viole de Gambe 73 pipes 16′ Flûte Conique (from Swell) members. All new stop jambs were built the console and the satellite cages in the 2 8′ Viole Céleste 73 pipes 10 ⁄3′ Quint 44 pipes in walnut, with accents in bloodwood and chambers are done by Ethernet cables. 8′ Salicional 73 pipes 8′ Octave (from Contra Basse) partitions between divisions in distressed Pouches and primaries were releathered 8′ Voix Céleste (TC) 61 pipes 8′ Principal 32 pipes maple. Nearly all external console wood- in all but the Swell B chest (which had 4′ Principal 73 pipes 8′ Bourdon (from 16′) work was replaced, and the organ was been replaced entirely after severe water 4′ Flûte Triangulaire 73 pipes 8′ Quintaton (from Great) fi tted with a rebuilt pedalboard, featur- damage in 1980). The Choir division was 2′ Fifteenth 61 pipes 8′ Flûte Conique (Swell) 2 ing maple naturals and ebony-topped reconfi gured with an expanded enclo- Plein Jeu IV# 244 pipes 6⁄5′ Grosse Tierce* (from Bourdon) ′ 1 ′ 2 ′ walnut for the sharps. Expression shoes sure (and additional shades) to accom- 16 Contra Oboe 85 pipes 5⁄3 Octave Quint (from 10 ⁄3 ) ′ 4 ′ (of walnut), divisional cancel bars (of dis- modate the new additions comfortably. 8Trompette 73 pipes 4⁄7 Grosse Septième* (from Flûte Conique) 8′ Oboe (from 16′) 4′ Choral Bass 32 pipes tressed maple), switch plates for Chimes, The overall direction of the project was 8′ Vox Humana 61 pipes 4′ Nachthorn# 32 pipes Zimbelsterns, Vox Humana shades, and by David J. Fabry, assisted by Mike Pish- Vox Humana Forte* (overrides Vox Mixture III 96 pipes Pedal Divide, along with some external ioneri, Grant Ellis, Steve Ellis, and Phil Humana shades setting) 32′ Voix de l’Abîme* (Resultant from Oboe parts of the console, were laser engraved. Spressart, all from the Fabry company. 4′ Clarion 73 pipes and Cor d’Amour) All console pneumatics were replaced by The specifi cation and details (including Chimes# (not subject to couplers) 21 tubes 16′ Bombarde (full length, open metal) 73 pipes Syndyne drawknob and Peterson rocker specifi c location of all controls on the MIDI on Swell* 16′ Cor d’Amour* (new duplex, Choir) Swell to Swell 16′ 16′ Contra Oboe (Swell) tablet actions. console) were designed by John Gouw- ′ ′ David Gustav Fabry also constructed a ens, Academy Organist. Gouwens played Swell Unison Off 8Bombarde (from 16 ) Swell to Swell 4′ 8′ Oboe* (new duplex from Swell) new chest and modifi ed an existing Choir the rededication recital on April 15, Tremolo 4′ Clarion (from 16′) chest to accommodate added stops and 2007. A CD recording of the enhanced Pizzicato Bass* (8′ Octave, pizzicato relay) provide unit actions for one existing rank. instrument is in preparation. CHOIR (Manual I) Chimes# Drawknobs and label plates were made —Phil Spressart 16′ Flûte Conique* (new duplex, Swell) MIDI on Pedal* by Hesco, Inc. of Hagerstown, Maryland. 8′ Viola 73 pipes Zimbelstern# (two, selectable) GREAT (Manual II) 8′ Viola Celeste+ 73 pipes The Cor d’Amour and English Horn are ′ patterned after the later work of E. M. 16 Quintaton 61 pipes 8′ Cor de Nuit 73 pipes Couplers (rocker tablets) 8′ Diapason 61 pipes 8′ Erzähler 73 pipes ′ ′ Skinner. The new reeds and the Viola Ce- ′ ′ Great to Pedal 8 , 4 8Bourdon# 61 pipes 8Erzähler Celeste (TC) 61 pipes Swell to Pedal 8′, 4′ leste in the Choir were made by Eastern 8′ Doppelfl öte+ (enclosed w/Ch) 73 pipes 4′ Prestant 73 pipes ′ ′ Organ Pipes, also of Hagerstown. The ′ ′ Choir to Pedal 8 , 4 8Gemshorn 61 pipes 4Koppelfl öte 73 pipes Solo to Pedal* 8′, 4′ ′ 2 Doppelfl öte was recycled from an 1892 8Viola* (new duplex from Choir) 2 ⁄3′ Nazard 61 pipes ′ ′ ′ ′ ′ Swell to Great 16 , 8 , 4 instrument by William King and Son of 4Octave 61 pipes 2Blockfl öte 61 pipes Choir to Great 16′, 8′, 4′ ′ 3 New York City. Its bottom and top oc- 4Harmonic Flute 61 pipes 1 ⁄5′ Tierce 61 pipes ′ ′ ′ ′ Solo to Great* 16 , 8 , 4 taves (to yield a total of 73 pipes) were (harmonic from f#2) 16 Cor d’Amour+ 73 pipes Solo to Great Melody Coupler* Swell to Choir 16′, 8′, 4′ Solo to Choir* 16′, 8′, 4′ Solo to Choir Melody Coupler* Great to Choir* 8′ Pedal to Choir* 8′ /44/ (%533 /2'!. 0!243 Choir to Swell* 16′, 8′, 4′ Solo to Swell* 16′, 8′, 4′ Great-Choir Transfer* 4RADITION AND 0ROGRESS Pedal Divide* (Pedal stops/couplers; adjust- able break point) Ventils* (changing function of Pedal 1–5 toe &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN studs to divisional blind silencers) CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND All Tremolos Off* ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS + Added ranks, 2007–8 * New duplex, extension, or control UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY # Stops replaced or added by Fabry, Inc. in / earlier projects MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP Photo credit: John Gouwens MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES
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28 THE DIAPASON
Feb 09 pp. 26-28.indd 28 1/12/09 1:35:05 PM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Newberry Consort Singers, with Piffaro; Rockefell- Pickle Piano & Church Organs This calendar runs from the 15th of the month of er Chapel, University of Chicago, Chicago, IL 8 pm NEW YORK issue through the following month. The deadline is Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. 22 FEBRUARY issue). All events are assumed to be organ recitals Heinrich Christensen, with violin; King’s Cha- unless otherwise indicated and are grouped within pel, Boston, MA 5 pm each date north-south and east-west. •=AGO chap- Donald Meineke; Church of the Advent, Bos- Christopher Babcock ter event, • •=RCCO centre event, +=new organ ton, MA 4:30 pm, Evensong follows at 5 pm WILLIAM AYLESWORTH dedication, ++= OHS event. Kent Tritle; Church of St. Ignatius Loyola, St. Andrew’s by the Sea, Information cannot be accepted unless it speci- New York, NY 4 pm D. M. fi es artist name, date, location, and hour in writ- Frederick Teardo; St. Thomas Church Fifth Hyannis Port ing. Multiple listings should be in chronological order; Avenue, New York, NY 5:15 pm EVANSTON, ILLINOIS please do not send duplicate listings. THE DIAPA- Brian Harlow, with cello and piano; St. Peter’s St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for Church, Morristown, NJ 3 pm the accuracy of calendar entries. Singing Boys of Pennsylvania; White Horse Village, Newton Square, PA 3 pm Scott Dettra; Washington National Cathedral, Washington, DC 5 pm UNITED STATES Mozart, Missa brevis in C; Christ Church, Bra- East of the Mississippi denton, FL 11 am Peter Richard Conte; Episcopal Church of 15 FEBRUARY Bethesda-by-the-Sea, Palm Beach, FL 4 pm Mark Steinbach; College of the Holy Cross, Paul Jacobs; Prince of Peace Lutheran, Lar- Worcester, MA 3 pm go, FL 3 pm Spirituals concert; First Church of Christ, Frederick Swann; Forrest Burdette Memorial Wethersfi eld, CT 4 pm United Methodist, Hurricane, WV 3 pm Stephen Fraser; St. Patrick’s Cathedral, New Atlanta Baroque Orchestra; Peachtree Road KAREN BEAUMONT York, NY 4:45 pm United Methodist, Atlanta, GA 3 pm Birger Marmvik; St. Thomas Church Fifth Av- Choral concert; St. Mark’s United Church of ORGAN RECITALIST enue, New York, NY 5:15 pm Christ, New Albany, IN 3 pm www.geocities.com/karen.beaumont/ Peter Richard Conte; Church of the Holy Gerre Hancock, conducting; Christ Church organist.html Family, New York, NY 7 pm Cathedral, Lexington, KY 11 am and 5 pm Peter Brown, with Keystone Brass Quintet; David Jonies; Bethany Lutheran, Crystal [email protected] Holy Trinity Lutheran, Lancaster, PA 4 pm Lake, IL 4 pm Charles Huddleston Heaton; St. Bernard’s ensemble amarcord; Church of the Holy Spirit, Catholic Church, Mt. Lebanon, PA 5 pm Lake Forest, IL 4 pm David Pickering; St. James Church, Hender- Timothy Olsen; Kenilworth Union Church, sonville, NC 5 pm Kenilworth, IL 5 pm Dean W. Billmeyer Newberry Consort Singers, with Piffaro; Millar THOMAS BROWN Jeannine Jordan, with media artist; First Unit- UNIVERSITY ed Methodist, Ocala, FL 3 pm Chapel, Northwestern University, Evanston, IL 3 pm University of Minnesota Carol Williams; Rollins College, Winter Park, Marsha Foxgrover, with calligrapher; St. PRESBYTERIAN CHURCH John’s Lutheran, Lombard, IL 4 pm FL 3 pm CHAPEL HILL, NORTH CAROLINA Bradley Hunter Welch; Central College Pres- •Robert McDonald; Broadmoor United Meth- Minneapolis 55455 • [email protected] byterian, Westerville, OH 4 pm odist, Shreveport, LA 6 pm Michael Unger; St. Catharine of Siena Church, Cincinnati, OH 3 pm 23 FEBRUARY Choral concert, with orchestra; St. Peter in •Jeannine Jordan, with media artist; Cadet Chains Cathedral, Cincinnati, OH 3 pm Chapel, Coast Guard Academy, New London, David Chalmers Georgia State Chorus and Orchestra; Peachtree CT 8 pm DELBERT DISSELHORST Road United Methodist, Atlanta, GA 3 pm Timothy Olsen; Elliott Chapel, Presbyterian Concert Organist William Aylesworth, John Bryant, Christine Homes, Evanston, IL 1:30 pm GLORIÆ DEI CANTORES Professor Emeritus Kraemer, Merlin Lehman, Kirstin Synnest- University of Iowa–Iowa City vedt, & Christopher Urban; First Presbyterian, 24 FEBRUARY Orleans, MA Arlington Heights, IL 4 pm Lee Kohlenberg; St. Luke’s Chapel, Medical VocalEssence; Ordway Center for the Per- University of South Carolina, Charleston, SC forming Arts, St. Paul, MN 4 pm 12:15 pm STEVEN EGLER 25 FEBRUARY OHN ENSTERMAKER 16 FEBRUARY Central Michigan University J F Thomas Murray, lecture-presentation; Church David Simms; North Christian Church, Co- lumbus, IN 12 noon of the Holy Family, New York, NY 10:30 am, 2 pm First Presbyterian Church TRINITY-BY-THE-COVE Alan Morrison, masterclass; Church of the Mt. Pleasant, Michigan 48858 27 FEBRUARY Holy Family, New York, NY 4 pm SOLO Shelly-Egler Michael Smith; Trinity Church, Boston, MA Carol Williams; First Baptist, Fort Lauderdale, RECITALS Flute and Organ Duo NAPLES, FLORIDA FL 8 pm 12:15 pm St. Thomas Choir of Men and Boys; St. Mary’s 17 FEBRUARY Episcopal, Tuxedo Park, NY 7 pm Julia Harlow, Jordan Alexander, Jack Cleg- Jean-Baptiste Robin; Christ United Method- Organist / Pianist horn, & Sam Sfi rri, harpsichord; St. Luke’s ist, Greensboro, NC 7:30 pm CHRISTOPHER Frederick Swann Chapel, Medical University of South Carolina, ; Venice Presbyterian, Ven- ice, FL 8 pm Michael Gailit Charleston, SC 12:15 pm David Lamb; First United Methodist, Sellers- www.gailit.at GARVEN Harold Pysher, with orchestra; Episcopal burg, IN 12 noon offi [email protected] Organist & Music Director Church of Bethesda-by-the-Sea, Palm Beach, Aaron David Miller; First Congregational, Konservatorium Wien University Church of the Good Samaritan FL 7 pm Crystal Lake, IL 7:30 pm University of Music, Vienna Paoli, Pennsylvania Bradley Hunter Welch; First Presbyterian, The Callipygian Players; St. Chrysostom’s Logan, OH 7 pm Church, Chicago, IL 7:30 pm John Scott; Emory University, Atlanta, GA 8 pm 28 FEBRUARY 18 FEBRUARY John M. Gearhart III Felix Hell; Church of the Abiding Presence, Gail Archer; St. Paul’s Chapel, Columbia Uni- Robert Glasgow Gettysburg, PA 4 pm B.A., M.Mus. versity, New York, NY 7:30 pm Ann Elise Smoot; Spivey Hall, Clayton State St. John the Divine (Episcopal) John Laird In Memoriam ; St. Luke Catholic Church, University, Morrow, GA 3 pm McLean, VA 1 pm 2450 River Oaks Blvd. Thomas Weisfl og, with chorus and soloists; Houston, TX 77019 May 30, 1925–Sept. 10, 2008 John Scott, masterclass; Emory University, Rockefeller Memorial Chapel, University of Chi- Atlanta, GA 9 am cago, Chicago, IL 8 pm Michael Batcho; Cathedral of St. John the Evangelist, Milwaukee, WI 12:15 pm 1 MARCH A Professional Card in Tamara Still; All Saints Church, Worcester, 20 FEBRUARY MA 5 pm The Diapason JAMES HAMMANN Douglas Bruce; Trinity Church, Boston, MA Jason Charneski, Kevin Jones, Ezequiel DMA-AAGO 12:15 pm Menéndez, Christa Rakich, & Jason Roberts, For rates and digital specifi cations, Scott Dettra; Church of the Advent, Boston, Mendelssohn Marathon; Center Church, Hart- contact Jerome Butera University of New Orleans MA 7:30 pm ford, CT 4 pm 847/391-1045 ensemble amarcord; Majestic Theater, Gettys- Choral concert, with Yale Philharmonia; Wool- [email protected] Chapel of the Holy Comforter burg, PA 8 pm sey Hall, Yale University, New Haven, CT 4 pm Peter Sykes & Victoria Wagner, Holst‚ The Craig Williams; St. Mary’s Church, Port Jer- Planets; Holy Trinity Lutheran, Akron, OH 8 pm vis, NY 3 pm •Jeannine Jordan, with media artist; St. Timothy Lyons; St. Patrick’s Cathedral, New LORRAINE BRUGH, Ph.D. John’s Lutheran, Lincolnwood, IL 8 pm York, NY 4:45 pm A two-inch David Schelat; Fourth Presbyterian, Chicago, Mamiko Iwasaki; St. Thomas Church Fifth Av- IL 12 noon enue, New York, NY 5:15 pm Associate Professor Professional Card Newberry Consort Singers, with Piffaro; St. Choral Evensong; St. Peter’s Church, Morris- University Organist Clement Church, Chicago, IL 8 pm town, NJ 4:30 pm in The Diapason David Kazimir; Christ Church, New Bruns- Valparaiso University 21 FEBRUARY wick, NJ 6:30 pm, following 6 pm Vespers Paul Jacobs, masterclass; Prince of Peace Choir of St. John’s Church Huntington; Cathe- Valparaiso, IN For information on rates and Lutheran Church, Largo, FL 10:30 am dral of Mary Our Queen, Baltimore, MD 6:30 pm www.valpo.edu specifi cations, contact: The King’s Singers; Cathedral Church of the St. John’s Choirs; Church of St. John the Advent, Birmingham, AL 7:30 pm Evangelist, Severna Park, MD 7 pm Jerome Butera Tom Trenney, silent fi lm accompaniment; Hi- Master Singers of Virginia; St. Luke Catholic 219-464-5084 [email protected] ram College, Hiram, OH 3 pm Church, McLean, VA 4 pm [email protected] Gerre Hancock, roundtable discussions; Daniel Roth; Duke University Chapel, Dur- 847/391-1045 Christ Church Cathedral, Lexington, KY 2 pm ham, NC 5 pm
FEBRUARY, 2009 29
Feb 09 pp. 29-33.indd 29 1/12/09 1:35:49 PM Alan Cook; Episcopal Church of Bethesda-by- Marijim Thoene; Chapel of the Convent An- the-Sea, Palm Beach, FL 3:30 pm, Evensong at cilla Domini, Donaldson, IN 7 pm WILL HEADLEE Harry H. Huber 4 pm D. Mus. Steven Ball, silent fi lm accompaniment; 14 MARCH 1650 James Street Peachtree Road United Methodist, Atlanta, GA Bruce Neswick; St. Paul’s on-the-Green Epis- Kansas Wesleyan University, Emeritus 7:30 pm copal, Norwalk, CT 7 pm Syracuse, NY 13203-2816 University Methodist Church Huw Lewis; Plymouth Congregational, Lan- Marek Kudlicki; First Church of Christ, (315) 471-8451 sing, MI 4 pm Glastonbury, CT 7:30 pm SALINA, KANSAS ensemble amarcord; First Wayne Street Unit- Quire Cleveland; Harkness Chapel, Cleveland, ed Methodist, Fort Wayne, IN 4 pm OH 7:30 pm North Shore Choral Society; Parish Church of MICHELE JOHNS St. Luke, Evanston, IL 3 pm 15 MARCH Brian Jones Choral concert; St. Chrysostom’s Church, Chi- Fred Jodry; All Saints Church, Worcester, MA A.Mus.D cago, IL 7 pm 5 pm Director of Music Emeritus Jane Parker-Smith; South Congregational Organ — Harpsichord 2 MARCH Church, New Britain, CT 4 pm The University of Michigan TRINITY CHURCH Chelsea Chen; Woolsey Hall, Yale University, David Spicer; First Church of Christ, Wethers- fi eld, CT 7 pm School of Music OSTON New Haven, CT 8 pm B Jean-Baptiste Robin; Cincinnati Museum The New Amsterdam Singers; Church of the Center, Cincinnati, OH 7:30 pm Holy Trinity, New York, NY 4 pm Marek Kudlicki; St. Thomas Church Fifth Av- 3 MARCH enue, New York, NY 5:15 pm KIM R. KASLING JAMES KIBBIE Felix Hell; Old St. Paul’s Church, Baltimore, Choral concert, with instruments; St. Peter’s MD 12:15 pm Church, Morristown, NJ 3 pm D.M.A. The University of Michigan Singing Boys of Pennsylvania; Second Pres- St. John’s Univeristy Ann Arbor, MI 48109-2085 4 MARCH byterian, Carlisle, PA 3 pm 734-764-1591 FAX: 734-763-5097 Nancianne Parrella; Church of St. Ignatius Alan Morrison; St. John the Baptist Catholic Collegeville, MN 56321 Loyola, New York, NY 7 pm Church, Canton, OH 3 pm email: [email protected] Choral concert; Church of St. Ignatius Loyola, John Ferguson, hymn festival; First Presbyte- New York, NY 8 pm rian, Birmingham, MI 10 am Fauré, Requiem; First Presbyterian, Arlington 5 MARCH Heights, IL 4 pm David K. Lamb, D.Mus. The Choir of St. Luke in the Fields, with Ba- Evensong and Fauré, Requiem; St. Giles Richard Litterst roque violin; Church of St. Luke in the Fields, Episcopal, Northbrook, IL 3 pm Director of Music/Organist New York, NY 8 pm Wolfgang Rübsam; Rockefeller Memorial First United Methodist Church First Church of Christ, Scientist Carl Parks; Christ Church, Bradenton, FL Chapel, University of Chicago, Chicago, IL 5 pm Columbus, Indiana 12:15 pm 812/372-2851 Rockford, Illinois 17 MARCH 6 MARCH William Whitehead; Peachtree Road United Nathan Laube; Trinity Church, Boston, MA Methodist, Atlanta, GA 8 pm 12:15 pm Jean-Baptiste Robin; Trinity College, Hart- 18 MARCH BETTY LOUISE LUMBY ford, CT 7:30 pm Boyd Jones; Morrison United Methodist, David Lowry David Enlow; St. Petersburg College, St. Pe- Leesburg, FL 12 noon THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO tersburg, FL 7:30 pm John Simpson; Sandy Hook United Method- 1512 BLANDING STREET, COLUMBIA, SC 29201 Brian Bogdanowitz; Immanuel Lutheran, ist, Columbus, IN 12 noon DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO Tavernier, FL 8 pm Pius XI High School Madrigals; Cathedral of St. Mary Vessels & Judith Miller; St. Mary’s John the Evangelist, Milwaukee, WI 12:15 pm ROCK HILL, SC 29733 MONTEVALLO, AL 35115 Church of the Annunciation, New Albany, IN 12 James Russell Brown; Music Institute of Chi- noon cago, Evanston, IL 12:15 pm
7 MARCH 19 MARCH Cantori New York; Church of the Holy Trinity, Robert Edwards; Christ Church, Bradenton, New York, NY 8 pm FL 12:15 pm James R. Metzler Daniel Roth, masterclass; St. Louis Cathe- James David Christie; RiverCenter for the dral, New Orleans, LA 9:30 am Performing Arts, Columbus, GA 7:30 pm PARK CONGREGATIONAL CHURCH GRAND RAPIDS, MICHIGAN 8 MARCH 20 MARCH Handel, Messiah; First Parish Church, Bruns- Michael Kleinschmidt; Trinity Church, Bos- wick, ME 3 pm ton, MA 12:15 pm Choral Evensong; All Saints Church, Worces- Marek Kudlicki; St. Petersburg College, St. ter, MA 5 pm Petersburg, FL 7:30 Randall Atcheson; Presbyterian Church, Mt. Daniel Roth; Church of the Redeemer, Sara- William H. Murray Kisco, NY 4 pm sota, FL 7:30 pm A.S.C.A.P. Choral concert; St. James’ Church Madison Johannes Unger; Holy Trinity Lutheran, Ak- FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. Ave., New York, NY 4 pm ron, OH 8 pm Gerhard Weinberger; St. Thomas Church Choir of St. Thomas Church Fifth Avenue; St. 345 SADDLE LAKE DRIVE Fifth Avenue, New York, NY 5:15 pm Peter in Chains Cathedral, Cincinnati, OH 7:30 pm OSWELL TLANTA EORGIA Fort Smith, Arkansas R -A , G 30076 Newberry Consort; Newberry Library, Chi- (770) 594-0949 Paul Jacobs; St. Mary’s Episcopal, Rich- mond, VA 3 pm cago, IL 8 pm Julane Rodgers, harpsichord, with violin; Cornell Women’s Chorus; Rockefeller Memo- Christ Church, Bradenton, FL 4 pm rial Chapel, University of Chicago, Chicago, IL MARILYN MASON Nicole Marane; Peachtree Road United Meth- 8 pm CHAIRMAN, DEPARTMENT OF ORGAN odist, Atlanta, GA 5 pm UNIVERSITY OF MICHIGAN Choral Evensong; Cathedral Church of the Ad- 21 MARCH ANN ARBOR vent, Birmingham, AL 4 pm Choir of St. Thomas Church Fifth Avenue; Cal- Diane Bish; Weidner Center, Green Bay, WI vary Episcopal, Pittsburgh, PA 7:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it 2 pm Peter Richard Conte; St. Mark’s Lutheran, with awesome technique and a thrilling command of its daring writing.” Daniel Roth; St. Louis Cathedral, New Or- Baltimore, MD 8 pm The American Organist, 1980 leans, LA 6 pm Ken Cowan, masterclass; Covenant Presby- Chelsea Chen; St. Andrew’s Lutheran, Mahto- terian, Charlotte, NC 9 am medi, MN 4 pm •Bach Birthday Bash marathon concert; Trinity United Methodist, New Albany, IN 10 am 9 MARCH Newberry Consort; Oriental Institute, Chicago, A two-inch LARRY PALMER Todd Wilson; St. John’s Baptist, Charlotte, IL 8 pm NC 7:30 pm Professional Card Professor of 22 MARCH 10 MARCH Michael Kaminski; All Saints Church, Worces- in The Diapason Harpsichord and Organ Gillian Weir; Merrill Auditorium, Portland, ME ter, MA 5 pm 7:30 pm, pre-concert talk 6:30 pm CONCORA, with Hartford Symphony, works For information on rates and Meadows School of the Arts Fauré, Requiem; First United Methodist, Co- of Bach; Immanuel Congregational, Hartford, specifi cations, contact: lumbus, IN 7 pm CT 4 pm SOUTHERN METHODIST UNIVERSITY Choir of St. John’s College Cambridge; Christ Jerome Butera 11 MARCH and Holy Trinity Episcopal, Westport, CT 5 pm Dallas, Texas 75275 Gail Archer; Central Synagogue, New York, Bach, Cantata 78, Pergolesi, Stabat Mater; [email protected] NY 7:30 pm Church of St. Vincent Ferrer, New York, NY 847/391-1045 Ed Bruenjes; Asbury United Methodist, Co- 3 pm Musical Heritage Society recordings lumbus, IN 12 noon Renée Anne Louprette, Couperin, Messe Kevin Bailey; Cathedral of St. John the Evan- pour les Couvents; St. Ignatius Loyola, New gelist, Milwaukee, WI 12:15 pm York, NY 4 pm Richard Hoskins, with mezzo-soprano; St. Richard Pilliner; St. Thomas Church Fifth Av- Chrysostom’s Church, Chicago, IL 7 pm enue, New York, NY 5:15 pm Arthur LaMirande Johannes Unger; First United Church of LaMirande must be complimented upon investi- 12 MARCH Christ, Reading, PA 3 pm gating music that few of his fellow organists have Cynthia Roberts-Greene; Christ Church, Bra- Singing Boys of Pennsylvania; Peace Luther- had the foresight to examine and to bring before the denton, FL 12:15 pm an, Scranton, PA 4 pm public.—American Record Guide Wittenberg Choir; St. Lorenz Lutheran, Fran- Nathan Laube; Holy Trinity Lutheran, Lan- kenmuth, MI 7:30 pm caster, PA 4 pm L’organiste traversa son programme entier avec Harald Vogel; St. Paul R.C. Cathedral, Pitts- une authorité, une solidité technique et une fraîcheur 13 MARCH burgh, PA 4 pm de registration qui, loin de faiblir en fi n d’exercice, Raymond Nagem; Trinity Church, Boston, MA Christopher Jacobson; Washington National accompagnèrent les deux rappels d’ailleurs accordé 12:15 pm Cathedral, Washington, DC 5 pm sans la moindre hésitation.—La Presse, Montréal The New Amsterdam Singers; Church of the Howells, Requiem; Cathedral of Mary Our Holy Trinity, New York, NY 8 pm Queen, Baltimore, MD 5:30 pm 461 Fort Washington Avenue, Suite 33 Joshua Dumbleton, with instruments; Edenton Ken Cowan; Covenant Presbyterian, Char- New York, NY 10033 Street United Methodist, Raleigh, NC 7:30 pm lotte, NC 3 pm 212/928-1050 [email protected] David Lamb, with mezzo-soprano; St. John William Whitehead; Church of the Good United Presbyterian, New Albany, IN 12 noon Shepherd, Jacksonville, FL 3 pm
30 THE DIAPASON
Feb 09 pp. 29-33.indd 30 1/12/09 1:36:11 PM Andrew Peters; Christ Church, Pensacola, Iain Quinn, Tournemire, Sept Chorale- FL 3 pm Poèmes; Duke University Chapel, Durham, NC Atlanta Baroque Orchestra; Peachtree Road 5 pm DOUGLAS O’NEILL United Methodist, Atlanta, GA 3 pm Paul Jacobs; Roswell United Methodist, Ros- LEON NELSON Durufl é, Requiem; Westminster Presbyterian, well, GA 4 pm University Organist Cathedral of the Madeleine Dayton, OH 4 pm Durufl é, Requiem; Peachtree Road United North Park University Salt Lake City, Utah Pamela Ruiter-Feenstra; Reyes Organ and Methodist, Atlanta, GA 7 pm [email protected] Choral Hall, University of Notre Dame, South Bach Society of Dayton; Kettering Seventh- Chicago, Illinois Bend, IN day Adventist Church, Dayton, OH 4 pm 801/323-9850 Daniel Roth; Christ Church Cathedral, Nash- Ken Cowan; Cathedral of the Assumption, ville, TN 4 pm Louisville, KY 7:30 pm Newberry Consort; Lutkin Hall, Northwestern Charles Kennedy; Cathedral Church of the Stephen G. Schaeffer University, Evanston, IL 3 pm Advent, Birmingham, AL 4 pm DOUGLAS REED Bach, Cantatas 46 and 38; St. Luke Church, Felix Hell; First Congregational, Peru, IL 2 pm Recitals – Consultations Chicago, IL 4 pm Theresa Bauer; Madison Presbyterian, Madi- son, IN 3 pm UNIVERSITY OF EVANSVILLE Cathedral Church of the Advent 24 MARCH University of Minnesota Choirs; Cathedral of Birmingham, Alabama Daniel Roth; River Road Baptist, Richmond, St. Paul, St. Paul, MN 2:30 pm EVANSVILLE, INDIANA VA 7:30 pm www.AdventBirmingham.org 30 MARCH 25 MARCH David Lornson; Elliott Chapel, Presbyterian John Matthews, Jr.; Grace Lutheran, Colum- Homes, Evanston, IL 1:30 pm bus, IN 12 noon Michael Unger; St. Thomas University Cha- ROBERT L. Stephen Tappe Tedd King; Cathedral of St. John the Evange- pel, St. Paul, MN 8:15 pm Organist and Director of Music list, Milwaukee, WI 12:15 pm SIMPSON Saint John's Cathedral 26 MARCH UNITED STATES Christ Church Cathedral Denver, Colorado David Shuler; Church of St. Luke in the Fields, West of the Mississippi 1117 Texas Avenue New York, NY 8 pm Houston, Texas 77002 www.sjcathedral.org Don Baber; Christ Church, Bradenton, FL 15 FEBRUARY 12:15 pm Ken Cowan; First Christian Church, Jefferson City, MO 4 pm 27 MARCH Andrew Peters; Second Presbyterian, St. Jacob Street; Trinity Church, Boston, MA Louis, MO 4 pm Marcia Van Oyen 12:15 pm Joe Utterback Bach Vespers; Christ the King Lutheran, Hous- First United Methodist Church, Mark Jones, with orchestra, Guilmant, Sym- ton, TX 6 pm COMMISSIONS & CONCERTS phony #1; First Presbyterian, Pompano Beach, Gerre Hancock; St. Mark’s Episcopal, San Plymouth, Michigan FL 8 pm Antonio, TX 4 pm 732 . 747 . 5227 Janette Fishell; Christ Church, Savannah, GA The American Boychoir; Highland Park Pres- mvanoyen.com 12:30 pm byterian, Dallas, TX 7 pm Tom Trenney; First Presbyterian, Las Cruces, 28 MARCH NM 3 pm Frederick Hohman, masterclass; Court Street John Scott; Cathedral Church of St. John, Al- David Wagner United Methodist, Lynchburg, VA 10:30 am buquerque, NM 3 pm DMA Kevin Walters Quicksilver; Harkness Chapel, Case Western George Baker; Trinity Cathedral, Portland, Reserve University, Cleveland, OH 7:30 pm OR 5 pm Madonna University M.A., F.A.G.O. Ken Cowan, masterclass; Cathedral of the Christoph Tietze; St. Mary’s Cathedral, San Livonia, Michigan Assumption, Louisville, KY 10 am Francisco, CA 3:30 pm Rye, New York Alan Morrison; St. Norbert Abbey, DePere, Douglas Cleveland; Grace Cathedral, San [email protected] WI 2 pm Francisco, CA 4 pm Northwest Choral Society; Edison Park Lu- Frederick Swann, with choirs and orchestra; theran, Chicago, IL 7:30 pm Cathedral of Our Lady of the Angels, Los Ange- Marilyn Keiser; Evelyn Chapel, Illinois Wes- les, CA 7 pm leyan University, Bloomington, IL 7 pm KARL WATSON Cherie Wescott 16 FEBRUARY Concerts • Masterclasses • Coaching 29 MARCH The American Boychoir; St. Dunstan’s Episco- pal, Houston, TX 7:30 pm SAINT LUKE’S Bach Birthday Celebration, with choir and or- 405/942-3958 chestra; King’s Chapel, Boston, MA 5 pm Robert Bates; All Souls’ Episcopal, San Di- Peter Stoltzfus Berton; All Saints Church, ego, CA 7:30 pm METUCHEN e-mail: [email protected] Worcester, MA 5 pm Meredith Baker; Cadet Chapel, U.S. Military 17 FEBRUARY Academy, West Point, NY 3 pm The American Boychoir; First United Method- Kevin Kwan; St. Thomas Church Fifth Av- ist, Beaumont, TX 7 pm enue, New York, NY 5:15 pm Davis Wortman CONCORA, works of Mendelssohn; St. John’s 18 FEBRUARY RONALD WYATT Episcopal, West Hartford, CT 4 pm Marijim Thoene; Cathedral of Our Lady of the Richard Pilliner; Christ Church, New Bruns- Angels, Los Angeles, CA 12 noon St. James’ Church Trinity Church wick, NJ 6:30 pm, following 6 pm Vespers Galveston Nathan Laube; Bryn Mawr Presbyterian, Bryn 20 FEBRUARY New York Mawr, PA 4 pm Janette Fishell; Bales Organ Recital Hall, Singing Boys of Pennsylvania; Augustus Lu- University of Kansas, Lawrence, KS 7:30 pm theran, Trappe, PA 4 pm The American Boychoir with Cathedral Youth Frederick Hohman; Court Street United Meth- Chorale and Choristers; Corpus Christi Cathe- Charles Dodsley Walker, FAGO odist, Lynchburg, VA 4 pm dral, Corpus Christi, TX 7:30 pm Tom Trenney; First Presbyterian, Washing- Daniel Sullivan; First United Methodist, Artist-in-Residence Founder/Conductor ton, NC 4 pm Casper, WY 7:30 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral of St. John SYLVIE POIRIER Albuquerque, New Mexico (YHKPVWYVNYHTMVY[OLRPUNVMPUZ[Y\TLU[Z www.stjohnsabq.org PHILIP CROZIER 505-247-1581 ORGAN DUO - #0905 - Gloria!…composers from four centuries create energetic 3355 Queen Mary Road, Apt 424 , musical manifestations of a timeless, singular song of praise. Montreal, H3V 1A5, P. Quebec ) Canada 9 #0906 - A Miami Organ Festival…¿nalists in the 2008 Miami (514) 739-8696 International Organ Competition play the Ruffatti pipe organ < at Church of the Epiphany. Fax: (514) 739-4752 Iain Quinn Maxine Thevenot Director of Cathedral Associate Organist- ( [email protected] Music & Organist Choir Director
9 #0907 - Widor Two, Too…a dramatic, romantic French organ @ symphony with some of its composer’s other thoughts regarding it included. DAVID SPICER First Church of Christ Wethersfi eld, Connecticut Carol Williams #0908 - Handel With Care…one of the most popular and inÀuential composer-performers of the Baroque era continues to inspire in the 21st century. San Diego Civic Organist
-YVT (TLYPJHU 7\ISPJ 4LKPH 7PWLKYLHTZ PZ W\ISPJ YHKPV»Z ^LLRS` (76)(PZHWYV\K Website: www.melcot.com WYVNYHT KLKPJH[LK [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z Z\WWVY[LYVM JLSLIYH[PVU VM [OL ¸RPUN VM PUZ[Y\TLU[Z¹ PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL 7PWLKYLHTZ =PZP[ ^^^WPWLKYLHTZVYN [V SVJH[L H IYVHKJHZ[ Z[H[PVU PU `V\Y HYLH ^^^HWVIHJVT House Organist E-mail: [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford
FEBRUARY, 2009 31
Feb 09 pp. 29-33.indd 31 1/12/09 1:36:38 PM Martin Jean; St. Mark’s Cathedral, Seattle, Lynne Davis; First Congregational, Los Ange- 9 MARCH 24 MARCH WA 7:30 pm les, CA 4 pm •Susan Jane Matthews; St. Therese Catholic David Pickering, lecture-recital, organ music Carol Williams; The Neighborhood Church, Church, Alhambra, CA 8 pm of Daniel Gawthrop; Plymouth Congregational, 21 FEBRUARY Palos Verdes Estates, CA 4 pm Des Moines, IA 7:30 pm Janette Fishell, lecture and masterclass; 10 MARCH Stephen Hamilton, Dupré: Le Chemin de la Bales Organ Recital Hall, University of Kansas, 3 MARCH Marek Kudlicki; First Presbyterian, Sioux Croix; Wiedemann Hall, Wichita State University, Lawrence, KS 9:30 and 11 am •Peter Bates & David York, with narrator; City, IA 7:30 pm Wichita, KS 7:30 pm Ken Cowan, organ workshop; Boston Avenue Covenant Presbyterian, Long Beach, CA 7:30 The American Boychoir; St. Mark’s School of United Methodist, Tulsa, OK 10 am pm Texas, Dallas, TX 11 am 25 MARCH The American Boychoir; First United Method- Frederick Frahm; Cathedral Church of St. 22 FEBRUARY 4 MARCH ist, Hurst, TX 7 pm John, Albuquerque, NM 12:30 pm Ken Cowan; Boston Avenue United Method- Lynne Davis; Wiedemann Hall, Wichita State Felix Hell, children’s concert; Valley Presbyte- ist, Tulsa, OK 6 pm University, Wichita, KS 5:30 pm rian, Green Valley, AZ 9 am 27 MARCH Bradley Hunter Welch; First United Method- The American Boychoir; Sacred Heart Roman Felix Hell; Valley Presbyterian, Green Valley, Frederick Swann; Central United Methodist, ist, Richardson, TX 6:30 pm Catholic Church, Wichita Falls, TX 7 pm AZ 7 pm Stockton, CA 7 pm The American Boychoir with Joyful Praise; Beverly Pettit; Cathedral Church of St. John, John Scott; Benaroya Hall, Seattle, WA 7:30 First Presbyterian, Austin, TX 4 pm Albuquerque, NM 12:30 pm pm 28 MARCH Chanson; St. Michael’s Cathedral, Boise, ID Daniel Roth; University of Redlands Memorial Thierry Escaich, with Pacifi c Chorale; Seger- 4 pm 5 MARCH Chapel, Redlands, CA 8 pm strom Concert Hall, Orange County PAC, Costa Ann Elise Smoot; First Baptist, Abilene, TX Marek Kudlicki; University of Northern Iowa, Mesa, CA 4 pm Cedar Falls, IA 8 pm 4 pm 11 MARCH Hans-Uwe Hielscher; St. Mary’s Cathedral, 29 MARCH 6 MARCH Las Cantantes; Cathedral Church of St. John, San Francisco, CA 3:30 pm Albuquerque, NM 12:30 pm Fauré, Requiem; All Saints’ Episcopal, Las Joan Lippincott; First Congregational, Sioux Vegas, NV 5:30 pm Falls, SD 7:30 pm Felix Hell, children’s concert; Grace St. Paul’s 23 FEBRUARY Episcopal, Tucson, AZ 9:30 am Peter Sykes; Trinity Lutheran, Lynnwood, WA The American Boychoir with Strickland Spe- •Stephen Tharp; Pinnacle Presbyterian, 7 pm cial Choir; Strickland Christian School, Austin, Scottsdale, AZ 7:30 pm Garrett Collins; St. Mary’s Cathedral, San Bach, Cantatas 22, 93, Magnificat; All Saints’, 13 MARCH TX 10 am Francisco, CA 3:30 pm Beverly Hills, CA 8 pm Daniel Roth; St. James Cathedral, Seattle, Hymn festival; Trinity Episcopal, Santa Bar- The American Boychoir with Choristers from WA 8 pm St. Anthony’s; St. Anthony of Padua Roman bara, CA 3:30 pm 7 MARCH Catholic Church, The Woodlands, TX 7:30 pm Anglican Chorale; Community United Method- Joan Lippincott, masterclass; Our Savior’s 15 MARCH ist, Huntington Beach, CA 4 pm Lutheran, Sioux Falls, SD 10 am 25 FEBRUARY Paul Jacobs; First United Methodist, St. Choral Evensong; All Saints, Pasadena, CA Frederick Swann, with orchestra; Memorial The American Boychoir; First United Method- Charles, MO 3 pm 5 pm Chapel, University of Redlands, Redlands, CA ist, Midland, TX 7 pm Piffaro; Christ the King Lutheran, Houston, TX Frederick Swann, choral festival; Central 8 pm Choral concert; All Saints’, Beverly Hills, CA 6 pm United Methodist, Stockton, CA 7 pm 7:30 pm Felix Hell; Faith Presbyterian, Sun City, AZ 3 8 MARCH pm Marek Kudlicki; First United Methodist, Perry, 26 FEBRUARY Frederick Swann; Gold Canyon United Meth- INTERNATIONAL IA 2 pm odist, Gold Canyon, AZ 3 pm The American Boychoir with El Paso Choral Greenville College Choir; Second Presbyte- Society Young Ladies Choir; Trinity-First United Christoph Tietze; St. Mary’s Cathedral, San 15 FEBRUARY rian, St. Louis, MO 4 pm Francisco, CA 3:30 pm Methodist, El Paso, TX 7 pm Judith Hancock; Bates Recital Hall, Austin, David Aprahamian; Westminster Cathedral, J. S. Bach Birthday Bash; Trinity Episcopal, London, UK 4:45 pm TX 4 pm Santa Barbara, CA 3:30 pm 27 FEBRUARY The American Boychoir; First United Method- Arnfi nn Tobiassen; Westminster Abbey, Lon- Myron Patterson; Bates Recital Hall, Univer- Ken Cowan; St. Margaret’s Episcopal, Palm don, UK 5:45 pm ist, Lubbock, TX 5 pm Desert, CA 4 pm sity of Texas, Austin, TX 8 pm Douglas Bruce; All Saints’ Episcopal, Las Ve- Ann Elise Smoot; Rozsa Centre, University of Gillian Weir, works of Messiaen; Walt Disney Joseph Adam; Kilworth Chapel, University of gas, NV 5:30 pm, following Choral Evensong Calgary, Calgary, AB, Canada 3 pm Concert Hall, Los Angeles, CA 7:30 pm Puget Sound, Tacoma, WA 12:05 pm Frederick Swann, with orchestra; Memorial Biola University Chorale; Rancho Bernardo Chapel, University of Redlands, Redlands, CA 17 FEBRUARY Presbyterian, Rancho Bernardo, CA 4 pm 1 MARCH 3 pm Christian Wilson; St. Lawrence Jewry, Lon- Choral Evensong; Christ Church Cathedral, Christoph Tietze; St. Mary’s Cathedral, San don, UK 1 pm Houston, TX 5 pm Francisco, CA 3:30 pm 16 MARCH Dietrich Wagler; Christ the King Lutheran, Jeremy Filsell; Grace Cathedral, San Fran- Daniel Roth; Plymouth Congregational, Min- 18 FEBRUARY Houston, TX 6 pm cisco, CA 4 pm neapolis, MN 7:30 pm Victor Contreras; Basilica de la Soledad, The American Boychoir; St. John’s United Douglas Cleveland; St. James Episcopal, Los Jonathan Young; Lagerquist Hall, Pacifi c Lu- Oaxaca, Mexico 8:30 pm Methodist, Albuquerque, NM 4 pm Angeles, CA 6 pm, following 4:30 pm Evensong theran University, Tacoma, WA 3 pm 19 FEBRUARY 18 MARCH José Suarez, with soprano and baroque trum- martin ott pipe Iain Quinn; Cathedral Church of St. John, Al- pet; Oaxaca Cathedral, Oaxaca, Mexico 8 pm organ buquerque, NM 12:30 pm company 20 FEBRUARY inc. Maxine Thevenot, Poulenc, Organ Concerto; Memorial Church, Stanford University, Stanford, Jonathan Oldengarm; Holy Rosary Cathe- dral, Vancouver, BC, Canada 8 pm M. L. BIGELOW & Co. 1353 Baur Boulevard CA 8 pm St. Louis, MO 63132-1903 Choral concert; Centro Cultural Santo Domin- ORGAN BUILDERS 314-569-0366 Phone 314-504-0366 Cell 20 MARCH go, Oaxaca, Mexico 8 pm (801) 756-5777 Martin Ott 314-569-3879 Fax ofÄ[email protected] Anthony & Beard (Ryan Anthony, trumpet 130 W. 1st S., American Fork, UT 84003 Orgelbaumeister www.ottpipeorgan.com and Gary Beard, organ); First United Methodist, 21 FEBRUARY Jonesboro, AR 7:30 pm Tony Philpot; All Saints Parish Church, High Wycombe, UK 12 noon Jonathan Oldengarm, workshop; Holy Ro- 21 MARCH sary Cathedral, Vancouver, BC, Canada 9 am Parkey Felix Hell, masterclass; Heine Recital Hall, Concordia University, Seward, NE 10 am OrganBuilders 22 FEBRUARY Felix Hell; Heine Recital Hall, Concordia Uni- Benjamin Chewter; Westminster Abbey, Lon- Distinguished Pipe Organs versity, Seward, NE 3 pm, 7 pm don, UK 5:45 pm 3870 Peachtree Ind. 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32 THE DIAPASON
Feb 09 pp. 29-33.indd 32 1/12/09 1:36:53 PM 3 MARCH 20 MARCH op. 42, no. 2, Widor; Präludium in E-moll David Graham; St. Giles-in-the-Fields, Lon- Daniel Cook; Manchester Cathedral, Man- (Zwölf Stücke), Reger; Phantasie und Fuge don, UK 1:10 pm chester, UK 7:30 pm Organ Recitals über den Choral: Ad nos, ad salutarem un- dam, Liszt. 5 MARCH 21 MARCH Hilding Carlsson; St. Margaret Lothbury, Bine Katrine Bryndorf, masterclass; St. Sav- R. MONTY BENNETT, Friendship Mis- BRUCE NESWICK, The Church of the London, UK 1:10 pm iour’s Church, St. Albans, UK 10:30 am, recital sionary Baptist Church, Charlotte, NC, Holy Trinity (Episcopal), New York, NY, Octo- 5:30 pm October 24: Litanies (Trois Pièces, op. 79), ber 14: Troisième Symphonie, op. 28, Vierne; 6 MARCH Graham Davies; All Saints Parish Church, Alain; Amazing Grace, Bennett; Give Me Prelude and Fugue in e, BWV 548, Bach; Dip- Mark Brafi eld; Parish Church of SS. Peter High Wycombe, UK 12 noon Jesus, Garrett; Cortège et Litanie, op. 19, tyque, Messiaen; Variations on Ora Labora, and Paul, Godalming, UK 1 pm Carol Williams; St. Mary’s Church, Andover, no. 2, Dupré; Lotus, Strayhorn, arr. Wyton; Hancock; Prelude and Fugue in A-fl at, op. 36, UK 7:50 pm Rhumba, Elmore. no. 2, Dupré; improvisation on theme submit- 8 MARCH ted by Gerre Hancock. James Johnstone; Old Royal Naval College 22 MARCH PHILIP CROZIER, Haderslev Domkirke, Chapel, Greenwich, UK 3 pm James Grainger; Old Royal Naval College Haderslev, Denmark, July 25: Partite diverse H. RICARDO RAMIREZ, The Cathedral Paul Provost; Westminster Abbey, London, Chapel, Greenwich, UK 3 pm sopra De Lofzang van Maria, op. 54, no. 6, of the Holy Angels, Gary, IN, October 26: UK 5:45 pm Robert Smith; Westminster Abbey, London, Post; Epigrams, Kodály; Praeludium & Fuga, Preludium und Fuga in G, BWV 541, Bach; Martin Setchell; Hamilton Cathedral, Hamil- UK 5:45 pm E-dur, Lübeck; Wie schön leuchtet der Mor- Celebremos la Nochebuena, Alleluia! Cristo ton, New Zealand 2 pm genstern, op. 68, no. 7, Peeters; Suite, Bédard. Resusito, arr. Ramirez; Segundo tono de Mai- 24 MARCH tines, Sor Maria Clara; Toccata (Sonata), de 11 MARCH Constantin Alex; Russian Gnessins’ Acad- LYNNE DAVIS, Central Michigan Univer- Elías; Apparition du Christ glorieux (Eclairs Edward Kemp-Luck emy of Music, Moscow, Russia 7 pm sity, Mount Pleasant, MI, October 5: Magnifi - ; Reading Town Hall, sur L’au-Dela), Messiaen, arr. Ramirez; Les Reading, UK 1 pm cat (Suite du Premier Ton, in Livre d’Orgue), DuMage; Variations on the theme of Alaman- Anges, Jésus Accepte La Souffrance (La Na- 25 MARCH tivité du Seigneur), Messiaen; Prelude, Ada- 12 MARCH Jürgen Essl; Catholic Cathedral, Moscow, da, Scheidt; Prelude and Fugue in D, BWV Robert Sharpe; St. Matthew’s Westminster, Russia 7:30 pm 532, Bach; Fantaisie en La Majeur, Franck; gio et Choral varié sur le thème du “Veni Cre- London, UK 1:05 pm Deuxième Fantaisie, Alain; Méditation (Suite ator,” op. 4, Durufl é. David Goode; Queen Elizabeth Hall, South- 26 MARCH Médiévale: en forme de Messe Basse), Lan- bank Centre, London, UK 7:30 pm Jeremy Josef; Russian Gnessins’ Academy glais; Te Deum, op. 11, Demessieux. NEIL STIPP, First Presbyterian Church, of Music, Moscow, Russia 7 pm Covina, CA, October 19: Now Thank We All 14 MARCH ISABELLE DEMERS, Trinity Episcopal Our God, Manz; A Mighty Fortress Is Our Karl Dorman; St. Laurence Catford, London, 27 MARCH Church, Reno, NV, September 26: Prelude God, Hustad; Under the Lime-Tree Green, UK 11 am Alexander Fiseisky; Russian Gnessins’ and Fugue in e, Bach; Chorale-Fantasia on Sweelinck; Fugue in C, Buxtehude; Prelude and Academy of Music, Moscow, Russia 7 pm Hallelujah! Gott zu loben, Reger. Fugue in D, BWV 532, Bach; Finale (Sonata 15 MARCH No. 6), Mendelssohn; Pastorale, Franck; Maj- Sean Farrell; Old Royal Naval College Cha- 28 MARCH MICHAEL GAILIT, St. Martinus Church, esty of Christ Praying That His Father Should pel, Greenwich, UK 3 pm Dmitry Bondarenko; Russian Gnessins’ Bigge-Olsberg, Germany, October 12: So- Glorify Him (L’Ascension), Messiaen; Varia- James O’Donnell; Westminster Abbey, Lon- Academy of Music, Moscow, Russia 7 pm nata in a, C. P. E. Bach; Prelude and Fugue tions on Llanfyllin, Stipp; Toccata, Weaver. don, UK 5:45 pm in a, Czerny; Sonata No. 1 in f, Mendelssohn; 29 MARCH Fugue in a-fl at, Brahms; Sonata No. 6 in e, STEPHEN THARP, Stiftskirche, Stuttgart, 18 MARCH Tatyana Zenaishvili, organ and harpsichord; Merkel. Germany, July 18: Invocations, op. 35, Math- Gavin Roberts; St. Marylebone Parish State M. Glinka Museum of Music Culture, Mos- ias; Messe de la Pentecôte, Messiaen; Sonata Church, London, UK 7 pm cow, Russia 4 pm DAVID HATT, Cathedral of St. Mary of No. 5 in c, op. 80, Guilmant. Jens Christensen, with violin; Catholic Cathe- the Assumption, San Francisco, CA, October 19 MARCH dral, Moscow, Russia 7:30 pm 5: Monologues, op. 63, Reger. WAYNE J. WYREMBELSKI, University Carol Williams; St. Leonards Church, Sher- William Whitehead; Old Royal Naval College of Michigan, Ann Arbor, MI, October 7: Le fi eld-On-Loddon, Hampshire, UK 7:30 pm Chapel, Greenwich, UK 3 pm WILLIAM NESS, Illinois College, Jack- banquet celeste, Offrande au Saint Sacrement, Daniel Cook; St. Bride’s Fleet Street, London, James McVinnie; Westminster Abbey, Lon- sonville, IL, October 12: Sonata VI, op. 65, Diptyque, Apparition de l’Eglise Eternelle, UK 7:30 pm don, UK 5:45 pm Mendelssohn; Symphonie pour orgue no. 6, Messiaen.
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Feb 09 pp. 29-33.indd 33 1/12/09 1:37:09 PM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33.
PUBLICATIONS/ PUBLICATIONS/ PIANOFORTE PIPE ORGANS RECORDINGS RECORDINGS FOR SALE FOR SALE
Organ-isms: Anecdotes from the World of the Michael G. Cunningham—Four organ Brown and Allen/Boston square grand piano- 1940s vintage 8-rank Wangerin pipe organ King of Instruments. Hilarious stories from 120 suites on religious imagery: Miracu- forte. 73 keys. Very good condition. Best offer. for sale. Organ is currently playing in a private organists worldwide. Price: US$24 postpaid. Or- lous Legends—[email protected]. Nelson, 847/367-5102 or 312/304-5287. residence in the Detroit metro area. Asking ders: www.pipeorgan.co.nz. Sainted Myths, Missal Tableaux, Allegori- $5,000 OBO. Buyer to remove. Please call be- cal Portraits—[email protected]. fore 10 pm EST. 248/356-0896; mcclungave@ comcast.net. The OHS Catalog is online at www.ohscatalog. PIPE ORGANS org. More than 5,000 organ and theatre organ Great organ music from the past is FOR SALE CDs, books, sheet music, DVDs and VHS vid- available again: American, Romantic, Transcrip- Portative organ: Designed for small choral or eos are listed for browsing and easy ordering. tions, even Decadent! Chadwick, Ketèlbey, ′ ′, ′, 1972 two-manual, 14-rank electro-pneumatic baroque ensembles. Four stops: 8 , 4 2 and Use a link for adding your address to the OHS Thayer, Hollins, and many more. Original size, 1-1/3′, with the last two divided into bass and Catalog mailing list. Organ Historical Soci- highest quality. michaelsmusicservice.com; unit organ. Built by Burger of Minneapolis; supply-house parts. Unified to 44 stops. Sub- treble registers and an adjustable point of di- ety, Box 26811, Richmond, VA 23261. E-mail: 704/567-1066. vision (b24/c25 or c25/c#26). Adjustable pitch [email protected]. bass, Gedeckt, and chimes NOT for sale. Make offer. Buyer to remove during July–Au- between A=440 Hz and A=415 Hz. Quarter- gust 2009. St. John’s Lutheran Church, 803 sawn white oak case. Available immediately. CD Recording, “In memoriam Mark Buxton For more information, contact Létourneau Pipe Reflections: 1947–1997, The Organ Depart- (1961–1996).” Recorded at Église Notre-Dame First Street West, Park Rapids, MN 56470, 218/732-9783. Organs at [email protected] or ment, School of Music, The University of Mich- de France in Leicester Square, London, between 888/774-5105. igan, edited by Marilyn Mason & Margarete 1987 and 1996. Works of Callahan, Widor, Thomsen; dedicated to the memory of Albert Grunewald, Salome, Ropartz, and Boëllmann, Stanley, Earl V. Moore, and Palmer Christian. Casavant opus 2086. A spendid 2-manual with along with Buxton’s improvisations. $15 post- 1976 Schantz—19 ranks, 2 manuals and pedal. Includes an informal history-memoir of the drawknob console in good playing condition. paid: Sandy Buxton, 10 Beachview Crescent, To- Pristine condition; playable. Asking $185,000 + organ department with papers by 12 current ronto ON M4E 2L3 Canada. 416/699-5387, FAX The instrument is free-standing with two Swell and former faculty and students; 11 scholarly ′ cost of removal. For details contact Pastor Judy 416/964-2492; e-mail [email protected]. boxes (partially enclosed Great). Four 16 stops Anderson at [email protected]. articles; reminiscences and testimonials by in the pedal, including an Open Metal. Shipping graduates of the department; 12 appendices, boxes included. 603/529-0870. and a CD recording, “Marilyn Mason in Re- Historic Organ Surveys on CD: recorded cital,” recorded at the National Shrine of the during national conventions of the Organ His- 1960s Walcker (German) 14-rank tracker organ. Open toe voicing on 2″ wind pressure. Immaculate Conception in Washington, DC. torical Society. Each set includes photographs, 1964 M.P. Möller pipe organ. 36-rank $50 from The University of Michigan, Prof. stoplists, and histories. As many organists as Reverse console built into case. Footprint is American Classic specifi cation including 6′ wide by 11′6″ deep (including console and Marilyn Mason, School of Music, Ann Arbor, organs and repertoire from the usual to the two célestes, two enclosed divisions and 32′ ′ ″ ′ MI 48109-2085. unknown, Arne to Zundel, often in exceptional pedal stops), 9 10 tall. All encased with 4 Prin- reed. Three-manual console. No casework cipal façade. Manual I—8′ Gedackt, 4′ Octave, performances on beautiful organs. Each set or façades; instrument is in good condition ′ includes many hymns sung by 200–400 mu- II Sesquialtera, II–III Mixture. Manual II—8 Aging of Organ Leather by Harley Piltingsrud but will need releathering. Asking $50,000 Gemshorn, 4′ Rohrfl ote, ′2 Principal, 1-1/3′ sicians. Historic Organs of Louisville (west- ′ ′ ′ tells how to test and select organ leathers for lon- ern Kentucky/eastern Indiana) 32 organs on “as is” or can be rebuilt with some modifi ca- Quinte. Pedal—16 Bourdon, 8 Flute, 4 Cho- gevity of 60 years or more. Treats other aspects 4 CDs, $29.95. Historic Organs of Maine 39 tions. Available immediately. For more infor- ralbass. Playing and in use regularly. Asking of leather production and the history of testing for organs on 4 CDs, $29.95. Historic Organs of mation, contact Létourneau Pipe Organs at $24,500. For recordings and pictures contact longevity. New 48-page edition in 1994, $9.95 + Baltimore 30 organs on 4 CDs, $29.95. His- [email protected] or 888/774-5105. [email protected]. $4.50 shipping for entire order (within USA). Or- toric Organs of Milwaukee 25 organs in Wis- der online at www.ohscatalog.org. consin on 2 CDs, $19.98. Historic Organs of New Orleans 17 organs in the Bayous to Nat- A college in Nashville closed its music pro- If your company was not listed in THE DIA- chez on 2 CDs, $19.98. Historic Organs of San gram in 1988 and is offering a two-manual and PASON 2009 Resource Directory, be sure to be Request a free sample issue of The Diapason Francisco 20 organs on 2 CDs, $19.98. Add pedal Zimmer and Sons practice organ. Excel- part of the 2010 issue! Visit our website
glück newyork orgaNbuilders
170 Park Row, Suite 20A TOTAL PIPE ORGAN RESOURCES New York, NY 10038
2320 West 50th Street * Erie, PA 16505-0325 212.608.5651 (814) 835-2244 * www.organsupply.com www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
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PEEBLES-HERZOG, INC. THE ORGAN COMPANY 50 Hayden Ave. Columbus, Ohio 43222 1220 Timberedge Road Lawrence, Kansas 66049 Ph: 614/279-2211 • 800/769-PIPE (785) 843-2622 www.peeblesherzog.com www.reuterorgan.com
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34 THE DIAPASON
Feb 09 pp. 34-35.indd 34 1/12/09 1:37:47 PM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33.
ELECTRONIC ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Allen organ. 36 stops, two manuals and pedal, Wood pipes. Missing pipes made to match. Aeolian/Robert Morton-style maroon leather Top Quality Releathering. Pouch rails, prima- completely self-contained. Excellent condition. Damaged pipes in any condition repaired. Over is now available from Columbia Organ ries, reservoirs and any other pneumatic action. $3500. 413/268-3172. 25 years experience. Filip Cerny, 814/342-0975. Leathers! Highest quality. 800/423-7003, Removal and installation service available. Full www.columbiaorgan.com. warranty. Skinner, Casavant and Kimball spe- cialty. Spencer Organ Company, Inc. Call, Fax MISCELLANEOUS ANNOUNCEMENTS or visit our website for quotation and information. Austin actions: Come to the source. Fast de- 781/893-7624 Voice/Fax, www.spencerorgan. FOR SALE livery. Guaranteed. 860/522-8293; www.austin- com. Send recital programs to THE DIAPASON, 3030 W. organs.com. 1901 Kimball parts (rebuilt by Schaefer ca. Salt Creek Lane, Suite 201, Arlington Heights, IL 1950s); regulators, expression shades, chests, 60005; e-mail: [email protected]. Releathering all types of pipe organ actions console (no pipes). Available May, 2009. Make Highest quality organ control systems since and mechanisms. Highest quality materials and offer. St. Hedwig Church, 1716 N. Humboldt 1989. Whether just a pipe relay, combination workmanship. Reasonable rates. Columbia Or- Ave., Milwaukee, WI 53202. 414/271-6577. Russian Gnessins’ Academy of Music, Mos- action or complete control system, all parts gan Leathers 800/423-7003. www.columbiaor- cow, presents its fourth International Organ are compatible. Intelligent design, competitive gan.com/col. Symposium March 24–29. Presenters include pricing, custom software to meet all of your re- Atlantic City Pipe Organ Co.—Stinkens 8′ Constantin Alex, Jürgen Essl, Jeremy Josef, Al- quirements. For more information call Westa- Hautbois, 4″ wp, 54 reeds, $1200; Durst/OSI: exander Fiseisky, Dmitry Bondarenko, Tatyana cott Organ Systems, 215/353-0286, or e-mail THE DIAPASON 2009 Resource Directory was 16′ Trumpet, 8′ Trumpet, 4′ Oboe, 16′ Gems- Zenaishvili, Elena Denisova, and Jens Chris- [email protected]. mailed to all subscribers with the January 2009 horn with chests, 4′ Geigen, 4′ Koppel, 8′ tensen. For information: 007-495-2901906 (tel. issue. Additional copies are available at a cost Metal Gedeckt, Twelfth, Harmonic Piccolo. and fax); [email protected]. of $5.00 postpaid. Contact the editor, Jerome 609/641-9422. http://mywebpages.comcast.net/ Austin actions recovered. Over 40 years ex- Butera, at 847/391-1045, [email protected]. acorgan. perience. Units thoroughly tested and fully guar- Tours of the World’s Largest Pipe Organ in At- anteed. Please call or e-mail for quotes. Tech- lantic City’s Boardwalk Hall are now available by nical assistance available. Foley-Baker, Inc., 42 Solid State Logic single memory combination reservation. The two-hour docent tours include N. River Road, Tolland, CT 06084. Phone 1- action, 16 Great, 16 Swell, 12 Pedal, 5 General, the ballroom Kimball organ and the 33,000+ pipe 800/621-2624. FAX 860/870-7571. foleybaker@ Postal regulations require that mail 5 Swell, 5 Great, 4 Pedal, Gt to Pedal, Set, GC Midmer-Losh organ, with its 7-manual console sbcglobal.net. to THE DIAPASON include a suite num- and Tutti, $450. Consoles, pipes and numer- and 5-manual portable console. Tourgoers will ber to assure delivery. Please send ous miscellaneous parts. Let us know what see the 64′ pedal stop, the immense 32′ Diapa- all correspondence to: THE DIAPASON, you are looking for. E-mail orgnbldr@comcat. sons, and areas of the organs not open to the ca- Need help with your re-leathering com (not comcast), phone 215/353-0286 or sual visitor. Tours cost $20, which goes directly project? All pneumatics including 3030 W. Salt Creek Lane, Suite 201, 215/788-3423. to support the restoration of these instruments; Austin. Over 45 years experience Arlington Heights, IL 60005. children under 12 are admitted free. For reserva- (on the job assistance available). tions: [email protected]. For information: 615/274-6400. 1920s Gottfried French Horn, very good restor- able condition. $1,500 OBO; 1929/1930 Skinner www.acchos.org. Harp/Celesta unit, very good restorable condition $1,500 OBO. FOB Eagleville, Tenn. 615/274- ALL REPLIES THE DIAPASON’s classified ads are 6400 or www.milnarorgan.com. THE DIAPASON E-News monthly newslet- TO BOX NUMBERS now available on THE DIAPASON ter is mailed to those subscribers who website—including photographs and have signed up to receive it. Don’t miss convenient e-mail links directly to the Classifi ed Ads must be prepaid and may be that appear out on this chance to receive the latest sellers! Visit www.TheDiapason.com ordered for 1, 2, 3, 4, 5, or 6 months. Contact without an address and in the left-hand column, look for [email protected]; 847/391-1044. news, announcements and classifi ed ads (with photos) before they appear in print! should be sent to: SPOTLIGHTS, then click on Classified Visit www.TheDiapason.com, and at the THE DIAPASON Advertisements. Follow the links to the Don’t forget to check out classifi ed ads— bottom of the left-hand column, click on classifieds that interest you, and click with photos—on our website! Visit www. Subscribe to our newsletter. For assis- 3030 W. Salt Creek Lane, Suite 201 the e-mail button to contact the sell- TheDiapason.com, look for SPOTLIGHTS tance, contact Joyce Robinson, 847/391- Arlington Heights, IL 60005 ers. What could be easier? at upper left, and click on Classifi ed Ad- 1044, [email protected]. vertisements.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS W. Zimmer & Sons, inc. City ______❑ $55.00—2 YEARS Jacques Stinkens ❑ $35.00—1 YEAR pipe organ builders Organpipes - since 1914 State ______Zip ______FOREIGN SUBSCRIPTIONS 429 Marvin Road Fort Mill, SC 29707 ❑ $85.00—3 YEARS Flues - Reeds Phone/Fax: 803-547-2073 Please allow four weeks for delivery of fi rst issue ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" wzimmerandsons.com ❑ E-1 $45.00—1 YEAR Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] on new subscriptions. NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
FEBRUARY, 2009 35
Feb 09 pp. 34-35.indd 35 1/12/09 1:38:14 PM KKararenen McFMcFarlanearlane ArArtististsts 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
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Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
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Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* CHOIRS AVAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director March 16-23, 2009 Spring 2010
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Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney
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