THE DIAPASON SEPTEMBER, 2010
The Episcopal Church of the Transfi guration Dallas, Texas Cover feature on pages 30–31
THE DIAPASON Here & There A Scranton Gillette Publication One Hundred First Year: No. 9, Whole No. 1210 SEPTEMBER, 2010 Trinity Lutheran Church, Cleve- September 19, Bruce Power; October Established in 1909 ISSN 0012-2378 land, Ohio, continues its series of noon- 17, Martin Neary, conductor, diocesan An International Monthly Devoted to the Organ, time concerts on Wednesdays, featuring adult choral festival; November 7, Ann the Harpsichord, Carillon, and Church Music its Beckerath organ: September 1 and 8, Frohbieter, followed by Choral Even- Florence Mustric; 9/15 and 9/22, Robert song; 11/13, Joseph Painter, conductor, Myers; 9/29, Patrick Parker. For infor- diocesan youth choral festival; 11/14, mation: 216/751-7574. Choral Evensong. For information: CONTENTS Editor & Publisher JEROME BUTERA [email protected] 713/222-2593; 847/391-1045 Methuen Memorial Music Hall
3030 W. Salt Creek Lane, Suite 201, THE DIAPASON accepts no responsibility or liability Arlington Heights, IL 60005. for the validity of information supplied by contributors, vendors, advertisers or advertising agencies.
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses or for the same course offered subsequently.
Editor’s Notebook
In this issue church music. Mailed with the January Among the offerings in this issue of issue, it features complete contact in- The Diapason is Marijim Thoene’s in- formation for organ-related businesses terview with Joe Hoppe, who has served and associations, including phone, fax, as organist and director of music at St. e-mail, and web addresses. Patrick’s Roman Catholic Church in New If your company is already listed in the Orleans for over 40 years. The most re- 2010 Directory, please take a moment to cent part of his legacy is the new organ, check the information. You can update Opus 53 by Patrick J. Murphy & Associ- your listing by visiting our website and ates, which was dedicated last year. near the bottom of the left column click- Robert August provides an in-depth ing on “Supplier Login.” There you can look at the organ works of Robert revise current information, or—if your 1770 Tannenberg organ, Zion Lutheran Church, Moselem Springs, Pennsylvania Schumann, and questions many of the company is not listed in the current (photo credit: Philip T. D. Cooper) earlier assessments of the Six Fugues on Directory—enter information as a new the Name of BACH. John Bishop refl ects supplier. If you need assistance, con- Friends of the Tannenberg are en- replication of missing pipes with new on the many tools that organbuilders use tact Joyce Robinson at 847/391-1044 or listing support for the restoration of the ones made in the Tannenberg style. Key in their craft, and Gavin Black contin-
SEPTEMBER, 2010 3 Campbellsville University, Camp- Binkley, organist/choirmaster, with brass others. The event is a benefi t for the St. Antico, British vocal ensemble; Novem- bellsville, Kentucky, presents its third an- choir and guest organist Donald Gold- John’s Organ Society, celebrating the ber 28, Advent Lessons & Carols; De- nual noon organ recital series, Tuesdays, en). For information: 717/737-0488; 150th anniversary of E. & G.G. Hook’s cember 12, Cincinnati’s Vocal Arts En- 12:20–12:50 pm, featuring the Farrand
David Rose, Andrew Hagberg, Marcia Desilets, Dominic Richards, Kevin Mathieu
The Worcester (MA) Chapter of two years. Kevin Mathieu is organist the American Guild of Organists and second assistant choir director at St. hosted its annual scholarship recital Joseph’s Church in Charlton, MA. He is Felgemaker 100th anniversary recitalists, front, l to r: Nina S. Gregory, E. Rodney on May 10 at First Baptist Church in also a regular organist and vocal soloist at Trueblood; standing: Mark L. Williams, Carl L. Anderson Worcester. Five scholarship recipients Cathedral of the Pines in Rindge, NH, performed works by Bach, Pachelbel, and has studied with William Ness for First Christian Church (Disciples works by Kellner, Callahan, Archer, Schroeder, Vierne, Buxtehude, and Lan- two years. Andrew Hagberg has two pipe of Christ) in Elizabeth City, North Caro- Handel, Farnam, Bach, Manz, Williams, glois, among others. organs in his home on which he prac- lina, celebrated the 100th birthday of its Agate, Dubois, and Wold. The church David Rose currently serves as organ- tices, and has attended Pipe Organ En- three-manual Felgemaker organ on July was completely fi lled on a very hot sum- ist/choirmaster at Park Congregational counters in Worcester and Manchester, 18. Four organists—Nina S. Gregory, mer Sunday afternoon. The audience Church in Worcester. He received a mas- NH, as well as the fi rst Technical Pipe E. Rodney Trueblood, Mark L. Williams, sang “Happy Birthday” to the organ in ter’s degree in piano from New England Organ Encounter at the Schantz Organ and Carl L. Anderson—performed the middle of the recital. Conservatory and is currently studying Company in Orrville, OH. He is a stu- organ with William Ness. Marcia Kidder dent of Ian Watson. Desilets is director of music at First Bap- Annecca Smith, a student of Wil- tist Church of Holden, MA. She received liam Ness at Pakachoag Music School her bachelor’s degree in violin from New of Greater Worcester, and Junior Organ England Conservatory and studies organ Scholar at All Saints Church in Worces- with William Ness. ter, performed a separate senior recital Dominic Richards substitutes in vari- on May 23 at All Saints. She has also ous churches in the Nashua, NH area, studied with Scott Lamlein. and has studied with William Ness for
CERTIFIED APPRAISALS Collections of organ books, recordings, and music for gift, tax, and estate purposes
Stephen L. Pinel, Appraiser [email protected] / (609) 448-8427
4 THE DIAPASON Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Professor of Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Organ, Indiana University Montevideo, Uruguay Palm Beach, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Catherine Ennis Henry Fairs Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist/Lecturer Organist Dijon, France Spartanburg, South Carolina Frostburg, Maryland Gainesville, Florida London, England Birmingham, England
Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Tuscaloosa, Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea
David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Choral Conductor Organist/Pianist Organist Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana Helsinki, Finland Fort Worth, Texas Bergen, Norway New York, New York Champaign, Illinois
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Mark Quarmby Ann Marie Rigler Organist Organist/Lecturer Harpsichord & Organ Organist Organist/Teacher Organist/Lecturer Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa Sydney, Australia William Jewell College
Stephen Roberts Brennan Szafron Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Beth Zucchino Organist/Harpsichordist Organist/Harpsichordist Organist/Musicologist Organist Organists/Pianists organist/harpsichordist/pianist Danbury, Connecticut Spartanburg, South Carolina Speyer, Germany Charleroi, Belgium Edmonton, AB, Canada Sebastopol, California www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988 The EROI Festival takes place No- achievement in the fi eld of early music. With Heart and Voice began as a local vember 11–14 at the Eastman School of William Mahrt received the Thomas program on WXXI-FM in 1975 and was Here & There Music, with the theme “Pedaling through Binkley Award for outstanding achieve- hosted by the late Richard Gladwell until Time: New Perspectives on Pedal Tech- ment in performance and scholarship he retired in May 2009. Gladwell worked nique.” Presenters include Edoardo Bel- by the director of a university or col- with WXXI in selecting Peter DuBois as Karen Beaumont continues her lotti, Olivier Latry, Christopher Marks, lege collegium musicum. Judith Davi- the new host; in addition to his own per- recital schedule this fall: September Orpha Ochse, Kerala J. Snyder, Joel doff received the Lifetime Early Music sonal collection of recordings, DuBois 26, 5:15 pm, St. Thomas Church, New Speerstra, H. Edward Tibbs, and oth- Outreach Award in recognition of her uses Gladwell’s collection of more than York City; 9/28, 12:30 pm, Church of ers. The schedule includes lectures, con- lifetime achievement in early music out- 6,000 records and 4,000 compact discs to the Transfi guration, New York City; certs, workshops, and a masterclass. For reach. Phillip Serna received the Early produce the show. October 24, 3 pm, St. Mathias Church, information: 585/274-1564; Music Outreach Award, which honors The local two-hour edition of With Waukesha, Wisconsin; November 21, 4
6 THE DIAPASON 2/2/10 2/12/10
3/3/10 6/8/10 Joan Lippincott Concert Will Open The Lawrenceville School’s Historic Organ The Lawrenceville School’s historic Woods Family Organ will sing again at a free concert, October 16, 2010, in the School’s Edith Memorial Chapel, beginning at 7:30 p.m. The celebrated instrument (built by the Andover Organ Company in 1968 and recently restored by Orgues Létourneau Limitée) will be opened by renowned musician Joan Lippincott, Professor Emerita of Organ at Rider University’s Westminster Choir College, and former Principal University Organist at Princeton University. The 115-year old Chapel will provide superb acoustics and atmosphere for this celebration of Lawrenceville’s Bicentennial anniversary.
For additional information, please contact Lawrenceville School Organist Tom Goeman at [email protected].
THE LAWRENCEVILLE SCHOOL
2500 Main Street Lawrenceville, New Jersey 08648 www.lawrenceville.org 609-896-0400 and “An elephant orphanage.” Church Christopher Young. Ms. Lee studied at sional Choral Art. Chorus America estab- organists can relate to the author’s an- Yonsei University (Seoul) with Tong- lished this award to honor an individual ecdotes of choir rehearsals, staff meet- Soon Kwak and with Martin Jean at Yale for a lifetime of signifi cant contributions ings, and yet another wedding. Dr. Jor- University. She was a recent fi nalist in to professional choral music. Former dan invites readers to travel the world the Canadian International Organ Com- recipients include Robert Shaw, Roger with her to meet people, laugh, cry, and petition in Montreal. Wagner, Ned Rorem, Alice Parker, and just enjoy a journey with this organist. The NYACOP fi rst prize consists of the Dale Warland. The award was renamed On the Heels of an Organist is available Lilian Murtagh Memorial Prize, which is in 1991 in memory of Michael Korn, a at
RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595
8 THE DIAPASON ST COLEMAN BY ALLEN PARISH POMPANO BEACH, FLORIDA 87 STOP/FOUR-MANUAL
The members of St Coleman Parish in Pompano Beach, Florida, recently reaffirmed what thousands of parishes have known for decades: the thrilling sound of an Allen organ heightens worship. Their Heritage™ 87 Stop/Four-Manual instrument is St Coleman’s third Allen. The benefits of Quantum™ technology with Acoustic Portrait™ and Allen Stoplist Library™ made their decision to upgrade easy. St Coleman also knows something equally important: Allen organs are built to last and supported like none other. When the parish’s previous Allen instruments required service, factory parts and support were available just as they are for every Allen, whether built in 2009 or 1939. THE SOUND YOU WANT. Across town and around the world, churches THE QUALITY YOU DESERVE. love their Allen organs. Isn’t it time for your church to learn what St Coleman already knows? ONLY FROM ALLEN!
150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 / Ph: 610-966-2202 / Fax: 610-965-3098 / E-mail: [email protected] www.allenorgan.com for twelve years organist for the Danforth Eugene Szonntagh died May 8 in Nunc Dimittis Foundation summer conferences. Sarasota, Florida. He was 85. Born July With her husband, Donald M. Pear- 31, 1924, in Budapest, he immigrated son, she co-founded the Central Hud- with his family to the U.S. in 1956 to Margaret T. “Meg” Flowers died son Valley AGO chapter, for which she escape the communist occupation of April 30, at the age of 71, in Houston. served as dean, and which recognized Hungary. He held degrees in both the She earned a BA from Vassar College her in 2008 for her lifelong contribution arts and sciences and worked as a re- in 1960, and MMus and DMA degrees and dedication to promoting excellence search scientist, for Leeds & Northrup from Shepherd School of Music, Rice in organ performance and choral music. Co. in Philadelphia, and for Honeywell. University, in 1990 and 2004. She served They moved to Florida in 1988, where A holder of 29 U.S. patents, he had pub- as organist, choirmaster, and music di- she served St. John’s Episcopal Church in lished over 100 technical articles in the rector at several Episcopal parishes Naples, Covenant Presbyterian Church fi eld of chemical engineering. Szonntagh in Houston, and at Salem Evangelical in Fort Myers, Sanibel Congregational served as organist at several Philadelphia Lutheran Church, retiring in January Church, and Chapel of the Sea on Cap- churches, and as dean of the Philadelphia 2010. She held memberships in the As- tiva Island, and founded the 65-voice AGO chapter. He composed over 100 sociation of Anglican Musicians and the Shell Point Singers. Following Donald organ and choral works, and performed AGO, and served as dean of the Houston Pearson’s death in 2004, she created an as a recitalist and choral director both in AGO chapter and chair of the Diocesan organ recital fund in his memory, for the United States and in Hungary. Music Commission. Meg Flowers is sur- performances at Vassar College; the fund In 1982 he and his wife moved to vived by her husband, David C. Flowers, has now been renamed the Donald and Florida, where he served at churches three daughters and their husbands, Jen- Kathleen Pearson Organ Recital Fund. in St. Petersburg, and as dean of the St. nifer and Lyman Paden, Rebecca and Petersburg AGO chapter. Later, in Sara- Brian Oxley, and Elizabeth and Michael sota, he served on the board of the Sara- Murray, stepdaughters Kay Flowers and sota-Manatee chapter, and as musician at Karen Stephen and her husband Denny, St. Wilfred’s Episcopal Church. Eugene sister Frances Pearson, brothers Bill and Szonntagh is survived by his wife of 59 Walker Taylor, and fi ve grandchildren. years, Nora, sons Desi and Tom, grand- daughters Erika and Tiffany, and grand- Yvonne Loriod died May 17 in Saint- son Andrew. Denis, France, at the age of 86. The Dobson Opus 90 French pianist was for three decades the wife of Olivier Messiaen, and the signed by the Atlanta offi ce of TVS De- chief interpreter of his piano works, as Here & There sign. Joseph W.A. Myers of Kirkegaard well as a champion of the piano works Associates is the acoustician. In addition of Pierre Boulez, Jean Barraqué, André to photos of the installation on Dobson’s Jolivet, and Arnold Schoenberg. A stu- Michael’s Music Service announc- website, there are links to several video dent at the Paris Conservatoire, Loriod es new publications. Festive March clips by fi lmmaker and UT professor had learned the major piano repertoire (Marche en Rondeau), by Richard M. Dana Plays:
10 THE DIAPASON Unveiling the Future
Symphonica Ecclesia
Imagine the thrill of having a Symphonica in your home... or the Ecclesia in your church. The company known for pushing the envelope has gone to the next levels of excellence in design, sound and craftsmanship. The Symphonica and Ecclesia are the next generation of organs, challenging the imagination and expanding the boundaries, providing all the tools needed to fulÀll the needs of the artist, and then going beyond. Dare to imagine.
For more information please visit www.johannus.com In the wind . . . by John Bishop
John Van Der Laan
Andre Knevel
Schmidt Piano and Organ Service of Kitchener, Ontario, Canada, spon- sored a three-manual Viscount Unico 400 and custom-built Schmidt Classique organ sound system for the Stichting Martin Mans Foundation Canada OneDay Choir Fes- tival. This organization raises funds for College, Ancaster, and Roy Thompson private Christian education and mission- Hall in Toronto. A festive concert for An- ary work. dre Knevel’s 40th anniversary was held at Sailmaker’s bag Performers included Martin Mans and St. Catherine’s Cathedral July 14. At this Arie Van Der Vlist of Holland, as well as occasion, organ duets were played on the for voicing organ pipes. Andre Knevel, John Van Der Laan, and Létourneau tracker organ in the gallery When I’m working on a job site in- James Van den Brick of Canada. Concerts and the Viscount Unico 400 organ in the stalling, tuning, or repairing organs, I took place July 9–17 with the Viscount chancel. For information: carry a canvas sailmaker’s tool bag that Unico at Compass Point Bible Church,
www.mander-organs.com Imaginative Reconstructions
12 THE DIAPASON
the door of the rectory to get the key for ings had fi nally worn out, and I found a the organ loft and was greeted by a teen- local industrial supply company that was age girl who was volunteering to answer able to replace the bearings quickly. It the parish phones on the weekend. She was such a pleasure to use my saw again called a priest’s extension and said, “The with the new bearings that I treated it to organ guy is here.” a new Freud carbide-tipped blade. The priest was a tall, dignifi ed, elderly man, who came down the stairs, invited A refl ection of attitude me into a parlor, and offered me a seat. I The organbuilding fi rm of E. & G.G. carried my tool bag with me and set it on Hook was most active in Boston in the the fl oor next to my chair. He asked two second half of the nineteenth century. or three questions before I realized he There’s a legend handed down through thought I had something to do with a hu- generations of workers there that in or- man organ donation program. I set him der to be hired to work in the factory straight as politely as I could, asking for an applicant had to present his toolbox the keys to the organ loft while wonder- for inspection. In the days before Sears, ing what in the world he thought I was Home Depot, Woodworker’s Warehouse, going to do with those tools! Woodcraft Supply, Duluth Trading Com- pany, McMaster-Carr, and Grainger, a Tool renewal woodworker built himself a box to store When I was fi rst running around the and transport his tools. Remaining exam- countryside tuning organs, the “land ples show infi nite attention to detail, with line” was our only means of communi- special drawers and cubbies designed for cation. You had to get all your service each specifi c tool, fancy dovetail joints, visits arranged in advance, and if a day’s and hidden compartments. The worker plan changed because a sexton forgot that could produce such a masterpiece to turn on the heat, I’d look for a pay could build anything required in an or- phone at a gas station. Now of course gan shop. we all have phones in our pockets. I Recently I noticed that Lowe’s was John’s tools usually have mine with me in an organ, featuring a new line of mechanics’ tool- not because I intend to interrupt my boxes. These were not the little boxes • Tapered reamer And there’s a canvas tool-roller with work taking calls, but because it has a you’d carry around, but monumental • 3 hemostats (two curved, one 35 little pokers, prickers, burnishers, notepad and a voice-memo system that affairs with dozens of steel drawers on straight, for gripping tiny wires) spades, spoons, a bunch of little rods for allow me to keep notes while on the job. ball-bearing slides and heavy-duty cast- • Wire stripper (American Wire raising languids, wire twisters, magnets, If I realize I’m missing a tool, I’m out ers. Some were fi ve and six feet wide Gauge 16 through 26) special keyboard tools, and an A=440 of glue, or I don’t have any fresh bat- and just as tall. Fully loaded they’d • 2 fl ashlights (large and small with tuning fork. teries along, I make a note, and every weigh a ton or more. I’ve seen things spare batteries) I often ship this bag on airplanes, couple weeks I spend an hour with my like these for years in mechanics’ ser- • 2 saws (one reversible back saw, wrapping it in a blanket and stuffi ng it tools, replenishing supplies, sharpening vice bays and I have a more modest ver- one “harp” hack saw with replacement in a duffel bag—checked baggage, of blades, and keeping things in order. sion in my shop, but I’d never seen a blades) course—and I dread losing it. It would toolbox with a built-in refrigerator! Not • 2 cheap chisels (3/4″ and 1″) take weeks to reconstruct this tool kit. Tool envy a bad idea, though. • 35-watt soldering iron and solder In the back of the car I carry three There are many clever people work- You may have seen the traveling sales- (for wiring) other larger toolboxes, with cordless ing in tool design—every time I go into men who peddle tools to mechanics. The • Electric test light drills, bit and driver sets, and heavier a hardware store I notice some neat little companies are Snap-On, Cornwell, and • 6 alligator clip leads hammers, multimeter, etc., etc., etc. innovation: the cordless drill-screwdriver Matco, among others. A heavy mobile • Small hammer (my maul-wielding There’s a big plastic box with 40 dividers with a little headlight that lights when you tool showroom pulls up to a service sta- colleagues call it my “Geppetto” hammer) for wiring supplies, and another full of pull the trigger; the 4-in-1, then 8-in-1, tion and the mechanics all come out to • 2 rulers (one 35′ tape measure, one “organy” odds-’n’-ends like leather nuts then 10-in-1 screwdriver (I carry one of shop. The driver is a franchise owner 72″ folding rule) and Huess nuts, felt and paper keyboard those in my briefcase); the little rubber who travels a regular route of custom- • 2 utility knives (light and heavy) punchings, a few spare chest magnets, octagonal washer that goes on the end of ers. He extends credit to his customers, • 10 fi les (fl at, half-round, round, big- and some old piano ivories. And fi nally, the fl ashlight to keep it from rolling. And allowing them to make cash payments medium-tiny) a cardboard box full of pieces of leather boy, are they tempting. I buy a ten-dollar each week so the wives never learn how • 3 tuning irons and felt of almost any description—any hand tool because it’s cool and stuff it in much money the guys are spending on • Pallet spring pliers large scrap from a workbench project my tool bag. Every now and then there tools. And the Snap-On driver is likely • 2.5-millimeter hex-nut driver (for goes into that box. has to be a culling. I guess it’s good news to be armed. He’s carrying hundreds of Huess nuts) And I’m always missing something. that tools break and wear out. It gives me thousands of dollars worth of tools that • Wind pressure gauge an excuse to buy new ones. every mechanic would love to own. • 2 rolls black vinyl tape Organ transplants When I was a hotshot apprentice • Sharpies, ballpoint pens, pencils Now that you know what my tool bag in Ohio, I bought a fancy set of chisels A tool for every purpose • Sharpened putty knife looks like, here’s a story that makes me by mail order. These were the Marples I take a lot of pleasure in my tools. • Spool of galvanized steel wire (for wonder. I got a Saturday call from one beauties, with maple handles, iron fer- I know, I know—it’s a guy thing, as my quick repairs) of my clients, a large Roman Catholic rules, and Sheffi eld steel blades. I paid wife often mentions (though her weav- • Bottle of Titebond glue church with a big organ in the rear gallery. about a hundred dollars for the set of ing habit depends on an in-house service • Tubes of epoxy The organ wouldn’t start and there were nine—a huge amount of money for me department!). But maintaining a com- • 5 small brushes two Masses that afternoon. I knocked on in 1978. (Those were the years when prehensive and effective tool kit is essen- good new large organs cost $5000 per tial to good organbuilding. We say don’t stop!) I was enough of a beginner that blame the tools, but we cannot work my mentor teased me, saying all I need- without them. It’s a simple pleasure to ed now was some wood. But I still have draw a sharp knife along a straight edge those chisels, and I still have the racks I to cut a neat piece of leather. I enjoy the made to hang them on the wall over my sound and sight of plane shavings curl- bench. They’re the only workshop chis- ing off my workpiece onto my hands and els I’ve ever owned, and while some of wrists, littering the workbench and fl oor them are a little shorter than they used with aromatic twists. It brings to mind to be, they sharpen just as easily as when the cute little Christmas dolls made from they were new. The iron ferrules mean plane shavings in places like Switzer- you can hit the handle pretty hard with a land—Saint Nicolas with a curly beard mallet without damaging the tool. They of cedar shavings. Moving the languid are old friends. of an organ pipe to achieve good musi- By the way, also hanging on the wall cal speech, soldering wires to a row of over my bench in that shop was a display pins that wind up looking like a row of of my mistakes, hung there by my men- jewels, gluing goat-skin gussets to the tor to keep me humble. I think they’re corners of a reservoir are all motions re- still there. peated countless times that I don’t take When I started the Bishop Organ Com- for granted and can’t repeat without my pany in 1987, I bought a Rockwell-Delta tools. When I use someone else’s tools 10″ table saw—it’s known as a “Uni-Saw” they feel funny in my hands. and it must be one of the most popular Sometimes I’m asked how we can table saw models ever made. The blade maintain patience to complete a project can be tilted to make angled cuts, and that might take a year or more. Easy— there’s a crosscut miter gauge that allows every day you take satisfaction in each me to cut angled ends of boards. Over little thing you make. A fi nished organ more than 20 years, I’ve cut miles of comprises thousands of those little proj- wood with it, and only last month I had ects blended into a unifi ed whole. Lis- the fi rst trouble with it. The arbor bear- tening to an instrument brings back the memories of each satisfying cut, each problem solved, and of course each The Organ Clearing House mistake. My tools are my companions PO Box 290786 and my helpers. They’ve been with me Charlestown, MA 02129 to almost every American state and as far abroad as Madagascar. Right now Ph: 617.688.9290 they’re all spread out on my workbench www.organclearinghouse.com for a photo shoot, but they’ll be back at work on Monday morning. Q
14 THE DIAPASON marked phrases. The fi ngers of the right Example 1 hand are simply available to do so.) On Teaching The question of whether this move- by Gavin Black ment is meant to be legato, or the ques- tion of whether a given player wants or prefers to play it legato is unclear, or, more accurately, it is one that different students, teachers, and players will an- swer differently from one another (and from me). I am not interested in prejudg- Example 3 ing questions like this—that is, I want to try as best I can to leave all sorts of inter- pretive possibilities open as we consider how to work on the pieces under discus- sion. Also, there is a close relationship in a piece like this between articulation and room acoustics. In a very resonant room, a thick texture will come across as essen- tially legato even if the fi ngers and feet look like Example 1. This happens to suit ward, but possible with practice.) put small spaces between the notes and my hands. For another player, the best A player with large hands might be chords. If the player literally connects fi ngering might be a little bit different. able to do this (Example 4), notes and chords, then there is a chance In m. 5, for example, some players would that the result will be enough beyond rather do this (Example 2): Example 4 legato to sound unintelligible. This is an important consideration, especially since Example 2 most organ repertoire, certainly includ- ing the pieces of Boëllmann, was written Boëllmann Suite Gothique, Part 2: to be played in very resonant rooms. Of First movement course, we must play in the rooms that This month’s column looks at the fi rst are available to us. movement—Introduction-Choral—of the Suite Gothique. In the main, we Fingering will outline an approach to practicing A fi ngering for the chords of the open- To achieve more full legato, substitu- releasing the lower two notes of the the movement, starting of course with ing, in the right hand, that is designed tion might be used, especially, for ex- opening chord early, but joining the up- working out fi ngerings and pedalings. to be comfortable, accepting that most ample, in the second and sixth measures per two notes to the notes of the second We will also consider some interpretive of the chords will be non-legato, might (Example 3). (I fi nd this fi ngering awk- chord. (I cannot quite do this one. Don’t questions, mainly as they interact with or affect choices that must be made about fi ngering and pedaling. ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
Several technical features of this DOBSON CASAVANT FRERES movement immediately stand out: • Many thick chords in the hands— both hands; • Double pedal for several measures; • Except for the double pedal pas- sages, the pedal part is strikingly low in compass, with the E-fl at in the middle of the pedal keyboard as the highest note; • Very little indication for swell pedal BOODY TAYLOR use; • The hands sometimes more or less double each other in octaves; • Conceptually each hand seems to be more of its own part than is usually true in a contrapuntal piece, where voices often wander from hand to hand—how- ever, that does not mean that the hands
cannot help each other out a bit; DYER R. • Very few chords do not include raised notes; • There are no explicit instructions from the composer about articulation or phrasing, except for commas in three plac- es, and one important slur, with its repeat. IK GARLAND FISK Articulation The thick chords raise one important technical issue right away, namely the matter of fi ngering in relation to articu- lation. It is essentially always easier— FRITTS more natural as to hand position—to play successive chords of three or more notes non-legato. Sometimes it is actu- ally impossible to do otherwise, more so the more notes there are in the chords, The Future of Church Music of course, but also depending on other matters, such as the placement within chords of raised notes. However, in a is in These Fingers typical passage made up of successive GOULDING & WOOD chords, there are almost always some that can be played legato fairly easily, Share a 10 year-old’s sense of wonder as she first touches an organ’s keys! Delight in others that can be played legato with some sort of extra effort, and some that a 12 year-old’s steady concentration, as he learns the pedals. Watch a 14 year old really cannot be played legato at all. This mature before your eyes during his first recital! is of course different, around the mar- gins at least, for different players, with hands of different sizes. Young people are forever changed when they play the pipe organ! Join APOBA in sup- In music that we believe to be basi- porting AGO outreach programs to the next generation of organists! cally non-legato in overall style, none of this presents particular problems. Chord fi ngerings can be chosen based largely QUIMBY REDMAN SCHANTZ SCHOENSTEIN & on the comfort of each chord—in turn HENDRICKSON based mostly on hand position—and the To receive information about pipe organs non-legato transition from one chord to and recognized pipe organ builders the next can be practiced until it is, while non-legato, still smooth and cantabile, AP write or call toll free 1-800-473-5270 if that is what is desired. In a piece or a or on the web @ www.apoba.com passage that we want to play legato, we PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America must grapple with fi nding the best way BO to make connections between chords A P.O. Box 155 • Chicago Ridge, Illinois 60415 when it is not easy to do so. (By contrast,
it is, from a technical point of view, al- OTT PARSONS most trivially easy to play at least most of the upper voice melody in the third NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP movement—Prière—legato, as per the
SEPTEMBER, 2010 15 Example 5 Example 8
Example 9 try it unless it is really comfortable. The For example, in this triple substitution stretch could cause injury.) (Example 7), In the passage at m. 13 (Example 5), the left hand can take some of the notes Example 7 printed on the upper staff. I have put boxes around a few that I think make sense treated this way, although there Example 10 are others that are possible. The decision to do this would make it easier to play the upper notes of the right-hand part legato, at the expense of some legato in the inner voices. This is an artistic judg- ment call, but notice the slurs in m. 18 and later its echo in m. 25. These are the only slurs in the entire movement, and it is necessary to execute the substitu- the foot and the A-fl at with the inside. the learning of the piece—that is, getting are probably an important part of the tions from the lowest to the highest: 2-1, The fi rst note (G) of the second measure to know it musically—while the notes are rhetoric of this phrase. then 3-2, then 5-4. In every case, it is im- could be played with the toe, creating being learned securely. These are analo- Any student must make decisions and portant to carry out substitutions in such what should be a small articulation be- gous to the practicing of separate voices choices about fi ngering matters such as a way that the hand moves inward—be- fore that note. I might also play the fi rst in a contrapuntal piece, but modifi ed to these, perhaps in consultation with a comes smaller—rather than moving out- note of the passage with the toe initially, refl ect the texture and structure of this teacher. There are two important techni- ward and stretching out. This can always to make a clean, crisp beginning easier piece: one in which the melody—the top cal practicing points to make about some be worked out by trial and error, and get- to achieve, before substituting the heel voice—is indeed musically the most im- of these fi ngerings. First, non-legato fi n- ting it right can make the difference be- to prepare for the next note. There are portant thing, and in which the interac- gerings will end up sounding smoother tween a substitution’s being impossible other possible variations. The left foot tion between that melody and the bass and most natural the more they are prac- and its being easy. could well use exactly the same pedaling line is the main source of motion. ticed, at fi rst, with large rather than small as the right. So the fi rst special practice technique breaks between the notes. That is, a ges- Pedaling For the non-double segments of the is simply to play the melody and the ture such as this (where the asterisks are) One advantage of double pedal is that pedal line, different players will choose bass line together, omitting all of the (Example 6), it resolves any doubt as to which foot different pedalings based largely on other voices or chordal notes. This can should play which note. In effect there personal preference. Here are two dif- be done with the bass line in the ped- Example 6 are two pedal lines—in the case of the ferent pedalings for mm. 5–8 (Exam- al—as soon as the pedal is well enough fi rst four measures of this piece, identi- ples 9 and 10); and of course there are learned—or with the bass line in the left cal to one another except for being an other possibilities. hand, read from the pedal line or extract- octave apart—and each line has to be ex- ed from the left hand part of the manu- ecuted by one foot. An approach to pedal Practicing als-only phrases. It can also be done with playing that involves paying attention to The most effi cient procedure for prac- the melody in the left hand—since the the position of each foot with respect to ticing this movement is the same as for left hand often doubles the melody— itself (as outlined in my earlier columns almost any piece: work out fi ngerings and the bass in the pedal. This can be on pedal playing) not just, or mainly, in and pedalings; divide the piece into man- done before the fi ngering of the chords relation to the other foot, tends to make ageable sections (in this piece, it makes has been practiced and made comfort- double pedal passages not seem as dif- sense to work with the phrases suggested able, since the extracted individual lines should be practiced with the A-fl at/ ferent from “regular” pedal as they might by commas and by fermatas, although it are fairly easy to play. But I would also E-fl at/C chord released almost as soon as otherwise. In the case of this passage, as is certainly fi ne to subdivide those units suggest continuing to do it at later stages it is played (but released gently), so that with the manual part, there is a relation- into smaller ones); practice these sec- of work on the piece as a listening exer- the motion to the next (B-fl at/F/D) chord ship between pedaling and articulation. tions with separate hands and feet, very cise and a way of keeping focused on the is as easy as possible. Then it will also be If this were a line from a Buxtehude slowly; put hands together, or hands and architecture of the piece, rather than just easy, later in the practicing process, to piece (which it, unlike the manual part, feet together, only when the separate the complexities of learning it. close that gap and make the articulation could just as well be) then any comfort- components are very well learned; in- In the passages in which the left hand very small and unobtrusive. If you try to able pedaling would be fi ne: perhaps all crease tempo only when a given tempo doubles the right hand an octave lower make the articulation too small from the toe, perhaps some heels when the angle has become almost trivially easy. This (this is a slightly oversimplifi ed descrip- beginning—waiting until the last instant was such as to make that comfortable. If, procedure can never be mentioned tion of the texture), it is diffi cult for and then quickly moving to, almost lung- in keeping with an overall interpretive too often, and it can never be stressed the ears of the performer to follow the ing at, the next chord—then it is likely to approach, we want to play this line lega- enough that, if it is followed thoroughly left-hand part. The higher sounds of the end up sounding awkward and stiff, no to, then a pedaling like this for the right and patiently, it always works. right-hand part predominate. And, al- matter how much you practice it. foot part might work (Example 8). In the case of this movement, I would though the left hand in these passages is Second, it is important to remember The two quarter notes could be played strongly suggest that at every stage of in a meaningful sense somewhat subor- to use the correct order in any fi nger- by rolling the toe area of the foot, that working on the piece, until it is really dinate to the right hand, the overall tex- ing that includes multiple substitutions. is, playing the B-fl at with the outside of ready to go at approximately the compos- ture will benefi t from the left hand’s be- er’s suggested tempo of half note equals ing played in as interesting and nuanced 50, the beat in the student’s head, or a way as the right hand, and from the two coming from the student’s metronome, hands really being in sync. One way to be equal to an eighth note. The quarter work on this is to play the two hands note will be too slow to be followed eas- together—once they have been prac- ily until close to a performance tempo. ticed and are secure!—on different keyboards, with the left hand signifi - Special procedures cantly louder. The right hand should In the case of this movement, there are be almost but not quite actually drowned a few special procedures that can enhance out. Of course this only applies to some
THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET the first Sunday of each month at wrti.org
16 THE DIAPASON passages (mm. 1–8, 16–23, and 33–37, service is held. So, for church choir di- With the text “Prepare ye,” the refrain Those four statements all have different more or less). Then, when next practic- rectors, Advent is shrunk to three Sun- is sung three times, but the descant is texts in this easy, pragmatic anthem. ing on a “normal” sound, try to focus on days of repertoire instead of four. used only on the third repetition and listening to the left-hand part, and let the This anomaly is further complicated the coda. The music is rhythmic with a Thou Shalt Know Him When He right hand take care of itself. because many churches have a tradition dancing, syncopated accompaniment, Comes, Paul W. Lohman. SATB unac- Next month I will return to the Bux- of doing a special, extended work during although the verses are more sedate. companied, MorningStar Music Pub- tehude Praeludium, looking at the fi rst the season. With school vacations, fam- Though designed for children, this could lishers, MSM-50-0059, $1.70 (M). contrapuntal section beginning at m. 13. ily trips, and similar confl icts, directors be an easy anthem for that fi rst Sunday The opening section is a chant-like We will return later to the Boëllmann, usually perform a work such as a Christ- of Advent when rehearsals are limited setting for the men, while the women looking at the Menuet. Q mas cantata prior to December 25, to be due to Thanksgiving. have sustained humming on one note certain the choir loft is reasonably full for 16 measures. The choral parts are on Gavin Black is Director of the Princeton of singers. Come, Lord Jesus, Deborah Gove- two staves and are syllabic without coun- early Keyboard Center. He can be reached by In most denominations, doing a Christ- nor. SATB and treble choir or solo terpoint. The tessitura generally is low e-mail at
0XVLFDOLQVWUXPHQWVRIWKHKLJKHVW TXDOLW\ 7RQDOGHVLJQVHUYLQJWKHQHHGV RIFRQJUHJDWLRQDOVRQJDQG SHUIRUPDQFH 9RLFLQJULFKZLWKVHQVLWLYLW\DQG LQVSLUDWLRQ /LVWHQ 6WDIIDEOHWROLVWHQWR\RXUQHHGV
0DVVDFKXVHWWV$YHQXH,QGLDQDSROLV,1 JRXOGLQJDQGZRRGFRP 0HPEHU$32%$
SEPTEMBER, 2010 17 sorge. SATB and organ, MorningStar mances, musicians from his inner circle ing the shapes in order to give a “swirling siaen performer and scholar. The wealth Music Publishers, MSM-50-0058, have a particularly signifi cant role to play motion.” These insights, along with the of important material here makes it an $1.70 (M-). in bridging that gap. many quotes from Messiaen himself, are indispensable companion to a great body In this version, the organ part is on Jon Gillock gave the fi rst New York invaluable in leading the uninitiated per- of organ literature. three staves and provides a harmonic performance of the complete works to former into this extraordinary music. —David Palmer background for the Basque carol. The date in 1975. He attended Messiaen’s Gillock advances the availability of University of Windsor choral parts are on two staves, with one classes in Paris in 1977, and played fre- published information to readers in Eng- Windsor, Ontario verse unaccompanied and having some quently for him. He was one of six or- lish through his own translations from the divisi. The traditional melody is clearly ganists invited to perform a memorial composer’s writings. For example, Mas- retained and often doubled in the right concert in the Church of the Trinity in terclass 32 (on “Chants d’oiseaux” from hand of the accompaniment. The last Paris in 1995, where Messiaen played for Livre d’orgue) includes a translation of New Recordings verse builds to loud, repeated statements over 60 years. Messiaen’s analysis of the piece as found of “Gloria.” Joining the growing list of “how-to” in Tome 3 of his Traité de rhythme, de books on the performance of the organ couleur et d’ornithologie. At this point, Dulcet Tones: Jack Mitchener Plays Settings of Nun Komm, der Heiden works, Gillock’s exhaustive study be- we await a complete translation of this the Salem Tannenberg Organ. Raven Heiland comes the most important in English. huge treatise, Messiaen’s lecture notes compact disc OAR-950, $14.98; The fi rst portion of the book takes the from 40 years of teaching. In addition,
18 THE DIAPASON C. P. E. Bach’s Sonata in D Major, Wq offertory or postlude with a clean mod- rock, gospel, synthesizers, and quarter take some time to make a careful study 70/5, a fi ne piece that is happily enjoying ern sound, they are of medium diffi culty tones. He performed twice as guest art- of all the accidentals and learn the pat- something of a revival at present. and can be learned in a short time. They ist for the American Guild of Organists terns. Though Hampton had a particular The compact disc concludes with the are a good addition to the literature for national conventions, and the 1980 Min- three-manual organ in mind when he fi rst recorded performance of an eigh- the organ and I rather hope that Man- neapolis national convention commis- wrote the piece, it is constructed so that teenth-century Concerto in G Minor Ching Yu will write much more music sioned and premiered his Concerto for most two-manual organs would also suf- by Graun. Among C. P. E. Bach’s musi- for the organ in his career. Organ and Strings. fi ce. The work calls for pedal, but there cal colleagues in the Court of Frederic The Procession through a Black Hole is so little of it that it could also be played the Great of Prussia were the brothers Prague Pastorale (Pražské Pastorale), for Organ, Cello, and Tape (CD) is a on manuals only. Carl Heinrich and Johann Gottlieb Zden³k Lukáš. Alliance Publications, one-movement work of 65 measures, and Hampton gives the cello the lion’s share Graun. The compositional style of the Inc. AP-536, ISBN 1-57193-239-9, eclipses fi ve minutes and twelve seconds of traditional melodic material. As men- two brothers is suffi ciently similar that $9.95;
SEPTEMBER, 2010 19 A Celebration of Joe Hoppe’s Legacy at St. Patrick’s Church, New Orleans Marijim Thoene
High school graduation, 1956 Notre Dame Seminary, 1967
concerts with the Saint Louis Cathedral M.T.: You have all the qualities I At St. Patrick’s Evening of Celebration, Choir under the direction of Elise Cam- think a man of the cloth should when Joe was honored for his 40 years bon and Father Stahl. have—compassion, a fi ne education, of service to the church and when he re- Joe at Evening of Celebration In August 1968 Msgr. John P. Reyn- integrity, reverence, a sense of hu- ceived the Alumnus of the Year Award olds hired him as the organist for St. Pat- mor. Are you glad that you chose to from the University of New Orleans, presented by his dear friend and de- Introduction rick’s Church, where, as Joe said, “There serve the church as a musician rath- partment chair, Dr. James Hammann Joe Hoppe has been organist and di- was no choir or cantor. I was the music er than as a priest, that you chose to rector of music for over 40 years at St. program!” Over time he recruited sing- follow “a road less traveled ?” Patrick’s Roman Catholic Church in New ers, and had a choir of over 40 voices. In J.H.: Yes. After two years in the active Orleans, Louisiana, located in the busi- September 1990 he was accepted into ministry, I came to the realization that ness district at 734 Camp Street. This the master’s program at the University for personal and spiritual reasons, I had historic church, completed in 1840, is in of New Orleans, where he studied or- to make a change in my life. After much the Gothic style with a vaulted ceiling, gan with H. Gerald Aultman and choral prayer and consideration and consulta- massive hand-carved doors, and tower- conducting with Raymond Sprague. In tion with my spiritual director, together ing stained glass windows. Here the Ro- May 1993 he was awarded a Master of we came to the conclusion that I should man Mass continues to be celebrated in Music degree, which coincided with the request an indefi nite leave of absence Latin, and here Joe Hoppe developed 25th anniversary of his employment at from the archbishop. I made the request, one of the fi nest music programs in the St. Patrick’s. In September 2008 he was and it was granted in February 1968. In Archdiocese of New Orleans. He built honored at a banquet at the New Orleans August of that year, Msgr. John P. Reyn- a fi ne choir of volunteers, conducted Country Club and awarded a Waterford olds, who was well aware of my situation choral masterworks with full orchestra, crystal cross for 40 years of devoted and status, hired me as music director maintained the pipe organ, and in 2009 and dedicated service to St. Patrick’s and organist for St. Patrick’s Church. realized his dream of presenting the Church. Also at this banquet, James church with a new pipe organ, a magnifi - Hammann, chair of the music depart- M.T.: What led you to playing the or- cent instrument built by Patrick J. Mur- ment at the University of New Orleans, gan and directing choirs? phy and Associates, Opus 53. Joe Hoppe presented him with a “Distinguished J.H.: When I was 13, Sister Mary retired from St. Patrick’s in March 2010. Alumnus Certifi cate from the University Celia, SSND (School Sisters of Notre This interview is intended to celebrate of New Orleans Department of Music Dame), was the organist at Our Lady of his remarkable contributions to the for Forty Years of Distinguished Service Good Counsel Church and music teach- musical life of St. Patrick’s Church, the as Organist at St. Patrick’s Church, New er in the grammar school. I was studying community of New Orleans, and the Orleans, Louisiana.” piano with her, and she suggested that I lives of many international visitors, and Here is Joe Hoppe who, when asked should learn to play the organ. My par- to let you see some of the behind-the- by a bride how long it takes to learn to ents gave their consent, and she began scenes work of his remarkable tenure at play the organ, answered, with a twinkle to give me organ lessons on the 11-rank, St. Patrick’s Church St. Patrick’s. His music has touched the in his eye, “Oh, a couple of weeks!” two-manual Tellers-Kent pipe organ, ears and hearts of thousands. dated 1920, in the church. This was in 1968, there was no choir. I was hired Joe was born on February 13, 1938 in Marijim Thoene: My favorite photo of back in the days when Novenas and such only to play the organ, and once in a while New Orleans. He received a Bachelor you is as a young cleric. Knowing of things as evening May Devotions were maybe sing for a morning High Mass. Be- of Arts degree, majoring in philosophy, your remarkable education, I’m not very popular. As soon as I had learned tween 1968 and 1987 I would invite musi- from Notre Dame Seminary in June surprised that you should make that the very basics of the instrument, she cian friends to perform at the church for 1961. In 1964 he completed three and choice. When was this photo taken? had me learn one hymn at a time, and as big feast days such as Christmas Midnight a half years of postgraduate studies in Joe Hoppe: In 1967 I was assigned as I learned each one, she would have me Mass or on Easter Sunday morning, but theology, where he studied the theory an assistant to the pastor (now referred play it during the service. Then she had there was no organized music program. and practice of Gregorian chant with to as Parochial Vicar) at St. Angela Mer- me learn the accompaniment to the Lat- In 1987 I formed a male choir to sing an Father Robert Stahl, S.M., and sang ici Parish, and that is the photo that was in Masses that the school children sang all-Gregorian High Mass on Passion Sun- in the Notre Dame Seminary Schola printed on the weekly bulletin to intro- at the 8:00 am High Mass every morning day of that year. Then in May I formed Cantorum, which participated in joint duce me to the parishioners. of the week, and she would let me play a female choir to sing a High Mass in for these Masses. This was while I was honor of Mary. In September of that year, still in grammar school. When I was in these two groups combined to form what high school, I joined the church’s adult became known as St. Patrick’s Concert choir and sang with them. Choir. This continued until March 7, The Diapason When I was employed at St. Patrick’s 2010, when it was disbanded. 2011 Resource Directory
• The only comprehensive directory of the organ and church music fi elds • Includes listings of associations, suppliers, and the products and services they provide
Reserve advertising space now Deadline: November 1 To reserve advertising space, contact Jerome Butera 847/391-1045; [email protected]
20 THE DIAPASON Joe with founding choir members Rose Mary Tichenor, Jane Wilson, and Rene Toups, 1990 Joe at the organ for the “Farewell to the Möller” concert given in January 2009, the day before the Möller was dismantled for the new organ
student body. Here I received my back- ground in Gregorian chant. Eventually I was able to conduct the student body at High Mass when chant was sung. We sang two or three High Masses a week, and the entire student body was able to sing all of 18 Masses in the Kyriale and the Gregorian chant Propers of the Mass in the Liber Usualis. It was from Father Stahl that I received my founda- tion in chant, and learned much about choral conducting. Dr. Elise Cambon, the organist at St. Louis Cathedral for 60 years, served on the faculty of Loyola Music School. I spent several semesters studying with her. She required hard work and dedica- tion, and any success that I may have en- joyed as an organist must be attributed to her instruction and example. Fr. Reynolds farewell, 2000 M.T.: What have you enjoyed the most in your career as a musician? and all the students sang; on Saturday J.H.: I have always enjoyed playing morning at 7 am individual classes were music, and playing for other people, ei- assigned on rotating schedule. During ther piano or organ. As long as I have Master of Music, University of New Or- the summer months, individual classes been at St. Patrick’s, whenever I played leans, 1993 were assigned to sing the 7 am Mass six days a week. In 1953, when I was 15 years old, the nun who was the church organist—and also my fi rst organ instructor—hired me to play for all the High Masses in June, Bumboub July, and August. I was thrilled when at the end of the summer I was paid $150 Dibqufs- for my services. The time I spent at Notre Dame was before the Vatican II changes went into effect. All the liturgies were in !!!!!!!!!BHP Latin. Even the philosophy courses had Latin textbooks. When I started the choir at St. Pat- rick’s, it was with men who volunteered Announces to sing a Latin Gregorian chant Mass for what in the old days was called Passion Sunday (two Sundays before Easter) !!!!!!!!!!!!!!!!Uif Joe at home practice organ, 1998 1987. In May I had volunteer women sing a two-part Mass. We called this a !!!!!!!Ubzmps!Pshbo M.T.: To hear the Roman Rite sung “Mary Mass” in honor of the Blessed in Latin is becoming a rare experi- Virgin. Then in September of that year I ence, yet you have kept this tradition put the two groups together and St. Pat- !!!!!!!!!!!!Dpnqfujujpo alive at St. Patrick’s Church. When rick’s Concert Choir was formed; some did you learn Latin and how were of these people assisted with the repair you able to maintain a volunteer of the Möller. choir that could sang the Latin Mass All of the original members of the so beautifully? choir had sung Latin when they were in Tbuvsebz-!Bqsjm!32-!3123 J.H.: When the liturgical changes school, so Latin was not a problem. Most went into effect after Vatican II (1962), of these people knew how to pronounce Pqfo!up!joejwjevbmt!cpso!bgufs!Kvof!2-!2:9: the pastor at St. Patrick’s Church was Latin, but had a very limited knowledge granted permission to continue the Tri- of the meaning of what was being sung. dentine Latin Mass because the Stella As the years went along, there were very Maris Center (the Catholic Maritime few members who had not been exposed Organization for Foreign Seamen) was to Latin, and the few who were not fa- Qsj{f Qsj{f directly across Camp Street from St. miliar with it were helped along by the %21-111!boe %6-111 Patrick’s; the reasoning was that the for- older members of the group. b!tpmp!sfdjubm eign seamen would not understand the jo!Bumboub English language being used in the new M.T.: Who were the greatest infl u- liturgy, but would be more at ease and ences on your life as a musician and understand the Latin. why? Bqqmjdbujpo!efbemjof At present there are at least two ad- J.H.: The two teachers who probably ditional churches in New Orleans that infl uenced me the most were Father Pdupcfs!22-!3122 celebrate with the Latin liturgy. Robert J. Stahl, S.M. (Society of Mary) Gps!dpnqmfuf!efubjmt!jodmvejoh and Elise Cambon. Father Stahl was in sfqfsupjsf-!qmfbtf!tff Singing Latin charge of the music program at Notre xxx/ubzmpspshbodpnqfujujpo/dpn When I was in grammar school, begin- Dame Seminary for the six years that ning in the fi fth grade, the whole student I was a student there. He conducted body was taught to sing Latin by rote. We the Notre Dame Seminary Schola Can- sang a Missa Cantata (High Mass) every torum, of which I was a member, and xxx/bhpbumboub/psh morning during the week at 8 am. The every day there was a 15-minute Gre- Children’s Mass was at 8:30 am Sunday, gorian chant rehearsal for the entire
SEPTEMBER, 2010 21 Christmas concert, 1988 Christmas concert, 1989 a service, it was not unusual for me to M.T.: I know the crowning glory of play for thirty minutes before the service your tenure at St. Patrick’s Church is began. This was just as important for me installation of the organ built by Pat- as was playing for the service itself. I rick J. Murphy & Associates in 2009. enjoyed improvising the long organ pre- However, before this, you yourself lude and creating a prayerful and quiet resuscitated the 1962 Möller instru- time for anyone who was in church. ment. Your efforts to rescue it in the The most rewarding aspect of my 1980s are remarkable. Please tell us tenure at St. Patrick’s has been conduct- how you did this. ing large works for choir and orchestra. J.H.: In 1982, the 1962 Möller (#9614) Over the years I conducted Haydn’s became unplayable because of the dete- Mass in Honor of John de Deo (also re- rioration of the pouch leather and res- ferred to as The Little Organ Mass) and ervoir leather in the organ mechanism. the Lord Nelson Mass; Mozart’s Trinity An estimate of the cost to make the Mass, Coronation Mass, Sparrow Mass, needed repairs was in the neighborhood and D-minor Mass; Dvorak’s Mass in of $60,000. At this particular time, St. D; Charpentier’s Messe de Minuit pour Patrick’s Church building was undergo- Noël; Rheinberger’s Mass in C; Bach’s ing an extensive and expensive renova- Cantatas #142 and #190; Saint-Saëns’ tion (1977–1990), and the funds needed Christmas Oratorio; and Schubert’s to repair the organ were not available. So Mass in G. the church purchased a small Allen or- Every time I listen to a recording of gan to substitute for the Möller until the one of these performances, I have dif- necessary repairs could be made. fi culty believing that I was able to put In 1986 someone made a $3,000 dona- Joe with Betty Noe (donor of the new St. Patrick’s organ, along with her children, in something like this together and achieve tion to the church for organ repairs. This memory of her late husband and their father James A. Noe, Jr.) and Patrick Murphy such glorious results. It humbles me was the seed money that began the res- and makes me grateful that I have been toration of the Möller. I dismantled and this time I had a piano tuning, repair, and Masses and all the instrumentalists com- blessed to be able to do this. rebuilt the 1962 Möller in the 1980s. At rebuilding business. I specialized in the plained about how diffi cult it was to tune old-time mechanical player pianos. This their instruments to the organ, I decided work on player pianos required the use that maybe it was time to bring it up to of leather, pneumatic cloth, and hot liq- A = 440 Hz. I asked Jim Hammann if he uid hide glue, many of the same materi- would undertake this task for us, but it als that are used in a pipe organ. So René was a bigger job than Jim could handle Toups, some of the choir members, and at the time because of his involvement I decided to undertake the organ repair with the university. Since Jim could not project. I purchased several books on undertake this task, he recommended organ construction and repair and the Patrick J. Murphy. I engaged Patrick to project began. tune the organ to 440. I was very im- THE LATEST RECORDINGS FROM TWO OF ENGLAND’S FINEST CHOIRS! While the ceiling plaster was being pressed with his tuning ability and his repaired, the workmen did not properly overall knowledge about organs. cover and protect the organ pipes. As a It had been over 20 years since I result, several large pieces of plaster fell had completed the re-leathering work onto the Great pipes and damaged about in 1987, and there were many indica- a dozen pipes. Since Möller was still in tions that the Möller was going to need business at this time, I sent the pipes a rebuild in a very short time. After back to Möller for repair or replacement. all these years, it was obvious that the Much of the dirt from this work was not leather I had installed was nearing the only dropped on the exposed Great and end of its usefulness. Pedal pipes, but it also found its way into Patrick Murphy was very impressed by the Swell and Choir chambers. So all the the acoustics of the church, and expressed pipes of the organ had to be removed an interest in building a new organ for St. and cleaned, and all the windchests had Patrick’s. By this time his company had to be cleaned. This was very dirty work. already constructed or completely rebuilt Our crew removed all except the bottom 52 pipe organs throughout the country. octave of three 16-foot sets of pipes and I suggested that he draw up a proposal cleaned each one individually. When the for an instrument that he thought would A YEAR AT KING’S ST JOHN’S MAGNIFICAT pipes were removed and cleaned and all serve our needs and submit it to the pas- the pipe chests vacuumed, I replaced all tor. The proposal was submitted in the A survey of the liturgical year and 600 years of The Choir of St John’s College, Cambridge, of the primary pouch leather, recovered summer of 2007, and several organists repertoire with Stephen Cleobury and the Choir of (Andrew Nethsingha, director) performs choral all the pneumatics in the relay chest with whose opinion I respect examined it. new leather, and also releathered eleven Everyone felt that the organ described King’s College, Cambridge. works of Herbert Howells, who served as acting of the thirteen reservoirs. We began this in this proposal would be a wonderful in- $15.98 for OHS Members $17.98 for others organist at the college during World War II. work in September 1987 and had the or- strument for St. Patrick’s Church. I pre- Includes two premiere recordings! gan back together roughly tuned in time sented the proposal to the Parish Council Join today! www.organsociety.org $15.98 for OHS Members $17.98 for others for Christmas Midnight Mass the same meeting in the fall of 2007, and the group year. In January I hired a professional was in favor of the new instrument. All organ technician to tune the organ prop- we needed was the funds to pay for it. IN STOCK FOR IMMEDIATE SHIPMENT! erly and do some voicing. About a month later, Mrs. Betty Noe, a longtime choir member, informed me NOW CHOOSE FROM OVER 5,000 TITLES! M.T.: Your fi nal gift to St. Patrick’s is that she would underwrite the cost of the splendid organ built by Patrick the new instrument in memory of her ORDER ANY TIME ONLINE: www.ohscatalog.org J. Murphy, Opus 53. What prompted late husband. By the end of December you choose him as the builder? And the contract was signed. In January 2009 ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we how were you able to accomplish the Möller was completely removed, 27 recommend, is $7.75 for your entire order. this? of the 29 ranks were reconditioned and P.O. Box 26811 Richmond, VA 23261 J.H.: The pitch on the old Möller was used in the new organ, along with 23 Telephone: (804) 353-9226 Media Mail shipping is $4.50 for your entire order. Shipping outside U.S. is $4.50, plus about 20 cents fl at. It had been this way new ranks, giving the new organ a total Monday-Friday 9:30am-5:00pm ET the cost of air postage, charged to your VISA for years. Any time that the organ was of 50 ranks. The week after Easter 2009, tuned, it was tuned at that pitch. Finally the new organ arrived and was installed E-mail: [email protected] SHIPPING or MasterCard. in 2007 after we began the orchestra in time to be used for the fi rst Mass of a
22 THE DIAPASON Patrick Murphy organ at St. Patrick’s Church
CHOIR PEDAL 2 8′ Geigen Diapason 32′ Diapason (1–12 independent 10 ⁄3′) 8′ Gedeckt 16′ Open Diapason 8′ Erzahler 16′ Violone (Gt) 8′ Erzahler Celeste 16′ Bourdon 4′ Geigen Octave 16′ Lieblich Gedackt (Sw) 4′ Koppelfl ote 8′ Diapason (Gt) 2 2⁄3′ Nazard 8′ Octave Diapason 2′ Blockfl ute 8′ Bourdon 3 1⁄5′ Tierce 8′ Rohrfl ute (Sw) III Mixture 4′ Harmonic Flute (Gt) 8′ Clarinet IV Mixture 8′ Trumpet 32′ Cornet Tremulant 16′ Trombone (ext, Ch) 16′ Contra Bombarde (T.C., ext) 16′ Bassoon (Sw) 8′ Bombarde 8′ Bombarde (Ch) 4′ Bombarde Clarion (ext) 8′ Trumpet (Ch) 8′ Cor de Hoppe (8′ Tuben) 4′ Clarion (Ch) Chimes
Patrick J. Murphy & Associates, Opus 53 newly ordained priest in June. Lutheran Church in Dundee, Michigan. Her The Patrick J. Murphy organ was of- two CDs, Mystics and Spirits and Wind Song, fi cially dedicated and blessed by the are available from Raven Recordings. She is pastor, Rev. Stanley P. Klores, S.T.D., a frequent presenter at medieval conferences on Sunday, September 14, 2009, dur- on the topic of the image of the pipe organ in ing the celebration of a Solemn High medieval manuscripts. Mass, celebrated in the Extraordinary Photos courtesy René Toups Form of the Roman Rite (the Tridentine Latin Mass). At this Mass the choir sang Dvorak’s Mass in D, with only organ ac- Patrick J. Murphy & Associates companiment. Dr. James Hammann was Opus 53 the organist, and I conducted. I chose St. Patrick’s Roman Catholic this Mass for the dedication of the organ Church, New Orleans because it was originally commissioned GREAT to be sung at the dedication of a chapel. ′ 16 Violone (ext, 1–12 in façade) 8′ Open Diapason M.T.: Thomas Murray, University Organ- 8′ Principal ist and Professor of Music at Yale Univer- 8′ Harmonic Flute sity, played the dedication concert of the 8′ Bourdon Patrick J. Murphy organ on December 6, 8′ Violoncello 2009 for a packed church. I was delighted 8′ Viola de Gamba (Sw) to be invited to play the second recital on 4′ Octave February 28, 2010. The instrument and 4′ Spitzfl ute 2 ′ sacred space of St. Patrick’s are perfect 2⁄3 Twelfth 2′ Fifteenth for the music of Bach, Franck, Langlais, 3 1⁄5′ Seventeenth Alain, and Hovhaness. One teenager IV Mixture commented that he thought Langlais’ 16′ Bassoon (Sw) Suite Médiévale sounded “Gothic” and 8′ Trumpet (Ch) suited the architecture of St. Patrick’s. 4′ Clarion (Ch) High praise indeed! 8′ Bombarde (Ch) You, Betty Noe and her children, Rev. Chimes (Ch) Stanley Klores, S.T.D., and the builder, SWELL Patrick J. Murphy & Associates, are to be 16′ Lieblich Gedackt thanked for this pipe organ that will bring 8′ Diapason solace, joy, and hope to those who hear it. 8′ Rohrfl ute It is a marvel, and without you, it would 8′ Viola de Gamba not exist! We thank you, Joe Hoppe, for 8′ Viola Celeste your determination, vision and legacy. 4′ Principal 4′ Traverse Flute Knowing you, you will continue to make ′ wonderful things happen. Q 2 Flautino IV Plein Jeu 16′ Bassoon Marijim Thoene received a D.M.A. in or- 8′ Trompette gan performance/church music from the Uni- 8′ Oboe versity of Michigan in 1984. She is an active 4′ Clarion recitalist and director of music at St. John Tremulant
SEPTEMBER, 2010 23 An Old Look at Schumann’s Organ Works Robert August
his is a work that has occupied of Fugue.9 Other biographers carelessly system, the so-called Bach numbers, which me for the whole of the previ- mislabel op. 60; Marcel Brion describes Bach himself had used to provide cohesion Appendix 1. Selective outline of T 19 ous year in an effort to make it worthy the Four Fugues on the name of Bach, in his contrapuntal work. Schumann’s contrapuntal excercises 10 and studies of the lofty name it bears. It is also a op. 72, while John Worthen writes: “In 1817. Piano studies with Gottfried work which, I believe, is likely to outlive April he began writing his Six Fugues With all due respect to Mr. Ostwald, Kuntsch, organist at St. Mary’s, Zwick- my other creations the longest.”1 This for Organ on B-A-C-H (op. 60), a se- his fi ndings are based on pre-existing, au. The Well-Tempered Clavier was part was Schumann’s description of the Six quence interrupted only by the arrival fl awed research. Though Schumann of these studies. Fugues on the Name of BACH, op. 60, of a rented pedal-piano which allowed indeed incorporated certain Baroque 18 February 1829. “. . . Bach preludes with in a letter to his publisher, after comple- him to write works for keyboard and principles in his organ works, Peterson’s Glok.” tion of the fi nal fugue. Schumann took pedal which did not require an organ.”11 attempt to attribute “Bach numbers” 9 June 1829. “. . . Bach à la mode.” great care and pride in the six fugues, Schumann, in fact, did not interrupt his to the fugues holds no ground. Similar 1831–32. Counterpoint studies with Heinrich Dorn. These studies resulted in several but his prediction could not have been fugal writing. Instead, a pedal attach- misguided assumptions have been ap- exercise books, dealing with harmony and more off target as the fugues are rarely ment for the piano was hired to practice plied to Bach’s music as well, claiming counterpoint.87 performed anymore. Rather, they have organ.12 Eric Jensen makes a similar mis- for example, that Bach had left clues April 1832. Studies in Marpurg’s Abhandlung become the topic of ongoing discussions take: “Schumann rented a pedal piano— in his music in regards to his own date von der Fuge, as well as the Well-Tempered about Schumann’s mental state in rela- a piano fi tted with pedals for the feet like of death.20 Despite his intrigue with Clavier. “The advantage of this [analysis] is tion to the quality of his output. an organ—in order to become familiar Bach numbers, Peterson’s opinion of great, and seems to have a strengthening The notion that the Six Fugues on the with the technique involved.”13 the fugues as a whole is less than favor- moral effect upon one’s whole system; for Name of BACH are of lesser quality than Although Schumann was by no means able: “Schumann’s fugal writing seems, Bach was a thorough man, all over, there is nothing sickly or stunted about him, and his the majority of Schumann’s oeuvre seems an accomplished organist like Mendels- in spite of his studies, to have been a works seem written for eternity.” to be based on largely subjective analy- sohn, he did have a deep understand- contrivance which he discarded when 14 May 1832. “Johann Sebastian Bach did ses. Such subjectivism is not uncommon ing of the instrument, as is evident in he felt hampered by it, even in a work everything—he was a man through and in art and music, as is evident in Albert numerous sources.14 Robert Schauffl er entitled ‘fugue’.”21 Stephen Walsh pro- through.” Schweitzer’s discussion of J.S. Bach’s claims that the fugues were mere play: vides us with a similar statement: “Even 29 May 1832. Schumann describes Bach’s in- Passacaglia in C Minor, BWV 582: “He “To Schumann at the height of his ca- in the fi nest passages of op. 60 one is fl uence in the Impromptus op. 5. [Bach] saw clearly, however, that on the reer, such exercises [contrapuntal stud- aware of a certain impersonal quality 27 July 1832. Bach’s Well-Tempered Clavier whole the incoherency of this kind of ies] were mere play. While diverting him, about the writing.”22 had become Schumann’s “grammar.” 1837. Studies in the Art of Fugue and Mar- work was not suitable to the greatest or- they used up so little of his true creative A recent biography by John Worthen purg’s “dry as dust” Abhandlung von der gan music, and he ventures upon the ex- power that, with the approach of warm reads: “This [study of counterpoint] was, Fuge. periment only with this colossal theme.”2 weather, he was able to throw himself after all, a musical cure; one that in- October 1838. Review of Marpurg’s treatise In Schweitzer’s opinion, the Passacaglia into making two of his chief masterpiec- volved creating music on the page, after on fugue. Analysis of Bach’s organ fugues. was a compositional failure that did not es: the Piano Concerto and the C Major the enforced dry period of the autumn 2 November 1838. “Fugue passion.” compare to Bach’s other organ works. Symphony.”15 Schauffl er continues: of 1844.”23 Worthen continues with some 1839–1841. Schumann published six organ Robert Schumann was of a differ- blatant assumptions: works by Bach in the Neue Zeitschrift für ent opinion: “After a pause, these [or- Schumann must have felt in his bones Musik. that fugal writing was not in his line; for Such music insisted on structure and September–October 1840. Studies in the gan compositions] were followed by the pattern, rather than on the harnessing and fugues of the Well-Tempered Clavier. Passecaille in C Minor (with 21 varia- not until 1839 did he compose his fi rst published attempt, that unsuccessful ex- expression of emotion and melody which 21 September 1840. “Robert indicates the tions, intertwined so ingeniously that one periment, the Fughette, op. 32, no. 4. He had made the work on Faust so exhausting. places where the theme enters . . . and rep- can never cease to be amazed) admirably gave out nothing more of the sort until the The fugal music could be worked out logi- rimanded me [Clara] fi rmly because I had handled in the choice of registers by Men- nervous collapse of 1845, during which he cally and tunefully, within its own very nar- doubled one passage in octaves, thereby 3 row confi nes. Its very limitations offered erroneously adding a fi fth voice to the four- delssohn.” Schweitzer’s and Schumann’s wrote works that look passing strange in a 24 remarks, published roughly sixty years catalogue of his music.16 freedom from excitement. part texture.” apart, could not be more contradictory. What Worthen exactly means by ‘tune- July 1841. “Heard the excellent Silbermann organ.” Why is it that the Passacaglia can ren- After a short description of Schumann’s fully’ remains uncertain. As an analysis Fall 1841. Clara and Robert began playing der such opposing views, especially by contrapuntal works of 1845, Schauf- of the fugues will demonstrate, his claim Bach’s organ works on the organ. Schumann two men known for their deep respect fler writes: that the fugues are confi ned or free from describes their struggles with the organ and understanding of Bach’s music?4 excitement could not be farther removed (Oct. 24): “. . . but we want to try it again With regard to Schweitzer, we cannot be The composer’s nervous collapse had from the truth. Worthen’s next statement soon; the instrument really is just too mag- sure if his comments were the result of a been aggravated by the too intense labor too, is completely false: “At any rate, the nifi cent.” somewhat subjective analysis, but he un- and excitement of his years of song, sym- ‘quiet’ neo-Baroque music that engaged March 1842. Exercises in counterpoint and phony, and chamber music. One suspects fugue. doubtedly would not have published his that when, as he wrote Mendelssohn on Schumann in the spring and early sum- fi ndings unless he believed them to be mer of 1845 may have been a rather April 1842. “. . . this royal instrument [organ].” 5 July 17th, 1845, ‘an onslaught of terrifying 8 July 1844. “First organ lesson.” correct. Schumann’s opposing remarks thoughts’ had brought him to try his hand narrowly focused sequence of works to 24 April 1845. “. . . we obtained on hire a ped- are fascinating as well. They not only at fugal writing, very much as we of today occupy the composer of the Finale zu al to be attached below the pianoforte, and provide us with his opinion of the Pas- would cajole a nervous invalid into doing Faust, but it had served the purpose of from this we received great pleasure. Our sacaglia but also unveil his often-over- crossword puzzles, to take his mind from getting him back into composing.”25 As chief object was to practice organ playing. looked understanding of the organ. his troubles. The very fact that Schumann’s we will see in the following discussion, But Robert soon found a higher interest in Tragically, Schumann’s organ works, intensely subjective nature made it almost the perception of Schumann’s contra- the instrument and composed some Stud- the Six Fugues on the Name of BACH, op. impossible for him to give of his best in this puntal studies as mere therapeutic tools ies and Sketches for it, which are sure to formal, objective style allowed him to play fi nd favor as something quite new.”88 60, have often been deemed ‘unworthy’ with these contrapuntal forms without ex- has remained a common yet fl awed as- 21 February 1845. “Fugue passion.” and are repeatedly criticized or, perhaps pending too much energy.17 sumption for over a century. 1845. Contrapuntal studies resulting in Four worse, omitted from Schumann biogra- Fugues for the Piano (op. 72); Studies for phies. Op. 60 is systematically neglected Peter Ostwald too, believes that the Schumann and Bach the Pedal Piano, fi rst part (op. 56); Six and misinterpreted, often as a result of contrapuntal works of 1845 were exer- An aversion to the organ works is Fugues on the Name of BACH, for the or- careless research. It is undoubtedly the cises to improve the composer’s men- routinely linked to Schumann’s mental gan (op. 60); Sketches for the Pedal Piano most disputed cycle Schumann ever com- tal condition: illness, while some scholars maintain (op. 58); sketch of orchestral Symphony in posed. Despite a number of favorable ar- that Schumann simply was not a real C major. Despite his physical and psychological 3 March 1846. “Revision of the BACH- ticles, a fl ow of negative writings remains contrapuntist, and that his knowledge Fugues.” 6 complaints, Schumann was beginning to do consistent. Numerous articles on the six of counterpoint was quite moderate. 20 April 1846. “Finally ended the revision of fugues are based on fl awed research and, some composing again, but it was mainly Though the number of unfavorable com- the sort of counterpoint exercises he had the BACH-Fugues.” in some cases, pre-existing articles. Bi- relied on, as a way of settling his mind, dur- mentaries seems perhaps overwhelming, Mid-1840s. Schumann wrote a brief Textbook ographers often use Schumann’s mental ing earlier depressive episodes. He rented it is interesting to make the comparison of Counterpoint for his student, Karl Rit- condition to explain the lack of quality in a special musical instrument, called a pedal with—at least as many—complimen- ter, largely based on Cherubini’s work. In the six fugues, conveniently ignoring the piano, that “has an extra set of strings and tary testimonials. Schumann’s studies in the introduction to his method, Cherubini fact that Schumann produced some of hammers, making it easier to play fugues, counterpoint commenced well before points out that “It is essential to subject the and worked on Bach for a while.”18 learner to strict rules, in order that subse- his best works during the same period, composing the six fugues. The numer- quently, when composing in free style, he including the Symphony in C Major and ous entries in the diaries and household may be aware of why his talent, if he has the Piano Concerto in A Minor.7 While Ostwald does not stand alone in books depict Schumann as a prodigious any, often compels him to break free of the his opinion of Schumann’s mental state student of Bach works and contrapuntal severity of the basic primary rules, to tran- A musical cure in relation to the compositions of the techniques (see Appendix 1). Schumann scend them, if you will.”89 A general misconception of contrapuntal year of 1845, one cannot seems to have taken a natural liking to Schumann’s organ works seems to have but wonder why they, in particular the Bach’s music, perhaps enhanced by the carried well into the 20th and 21st organ works, have methodically been Bach revival of the early 19th century. This ‘extended line’ manifests itself in centuries, as several of even the most deemed inferior. Ostwald also writes: Leon Plantinga writes: the organ fugues as Schumann reaches recent Schumann biographers merely He [Schumann] subscribed to a rather back to older forms while engaging in reference the fugues rather than open- Before the trip with Clara, in August deterministic view of history in which a a new kind of fugal writing. Though ing up a dialogue or deeper discussion. 1845, Schumann had composed several central tradition in music could be ex- Schumann was not the fi rst composer to Schumann’s organ works are neglected fugues based on the name BACH, and he pected to develop in certain orderly and incorporate the famous BACH theme, in several “comprehensive” Schumann published an impressive amount of contra- predictable ways. For him this tradition, the Six Fugues on the Name of BACH biographies. Alan Walker, e.g., speaks puntal work later that year and the next. for all practical purposes, had its beginning comprise the fi rst signifi cant cycle of or- The six BACH Fugues in particular must in Bach, the fi rst in a series of monumental favorably of the 1845/46 compositions have required enormous concentration, gan works of its kind, soon to be followed in general, but omits op. 60 altogeth- composers whose personal contributions by Liszt, Reger, and many more. For 8 since not only are they based on a musi- comprised the locus of an inevitable line of er. George Dadelsen describes the six cal relationship between Bach’s name and progress leading to his own time. This line Schumann, studies in the Art of Fugue fugues as “appallingly monotonous” the notes of each fugue subject, but they extended through Beethoven and Schubert were crucial in the genesis of the organ while trying to compete with Bach’s Art also incorporate an intricate mathematical to Schumann’s own contemporaries.26 fugues. As Gerhard Weinberger writes:
24 THE DIAPASON The overall conception, the thematic artistically transmuted form, in the book pirations, though Schumann may have compositions, for example, were simply material and the extremely high quality of of Fugengeschichten [Fugal matters] (No- chosen a slightly different path to avoid too long to be included in church ser- the writing all derive from Bach; this fugue vember 1837) which is at present held at 46 35 comparison with Mendelssohn’s com- vices. Similarly, Mendelssohn, Brahms, cycle represents the end of a developmen- the Robert Schumann Haus in Zwickau. positions; in addition to writing the Six and Schumann were not employed by tal phase which culminated in Schumann’s study of Bach’s music (the six fugues may According to the Haushaltbücher, the Fugues on the Name of BACH he wrote the church, yet their output includes a Schumanns’ studies of Cherubini’s trea- a set of canons and sketches for the pedal large quantity of sacred works.47 be viewed directly as modeled in the Art of 44 Fugue) and of the fugue per se.27 tise commenced April 6, 1845, the same piano. Schumann hoped to be among Scholars have often blamed month Robert fi nished the fi rst two or- the fi rst to publish works for this rela- Schumann’s limited knowledge of the Weinberger continues: “Nevertheless, gan fugues. Cours de Contrepoint et de tively new instrument, ensuring fi nancial organ for the so-called poor quality of the fugues are by no means derivative Fugue is largely based on Bach works and artistic gain. Including the piano as the organ works. However, Schumann stylistic copies, but effective ‘character and clearly serves as a point of departure an optional instrument for performance knew the organ well, and his under- fugues’ in the romantic vein.”28 An inter- for Schumann’s organ fugues. Two and a of the fugues, sketches, and canons aided standing of the instrument was in fact esting detail is the fact that Schumann, half weeks later, on April 24, Clara de- Schumann in several ways; it bypassed greater than most of his contempo- despite his admiration of Bach, deemed scribes the rented pedal board for their the archaic reputation of the organ while raries. Russell Stinson recently uncov- the Art of Fugue too intellectual. His piano: “. . . we obtained on hire a pedal marketing the music for the most widely ered an important document in regards view in this matter may be explained by to be attached below the pianoforte, and used keyboard instrument of that time. to Schumann’s perception of Bach, as his famous quote: from this we received great pleasure. An advertisement in the Neue Zeitschrift well as the organ. The Clara Schumann Our chief object was to practice organ für Musik states: Bach Book offers a detailed list of Bach The best fugue will always be the one that 36 the public takes for a Strauss waltz; in other playing.” Both Robert and Clara en- keyboard works from Schumann’s li- words, a fugue where the structural under- joyed the organ, but it seems that the Some Studies and Sketches for the piano- brary and contains numerous detailed pinnings are no more visible than the roots intent was to study organ rather than forte with pedal will shortly be published markings (corrections, registrations, becoming concert organists like Men- from Robert Schumann. We would like to etc.) in Schumann’s hand (see Appendi- that nourish the fl ower. Thus a reasonably remind our readers that in our opinion, knowledgeable music-lover once took a Bach delssohn. Clara by then was a renowned when once this combining of instruments ces 2 and 3 on page 26). fugue for a Chopin etude—to the credit of concert pianist, while Robert had given fi nds general acceptance, performers will The source is very specifi c and pro- both! Thus, too, one could play for many a up keyboard playing some fi fteen years have the opportunity not only to return vides us with a list of Bach’s keyboard maiden the last part of one of the Mendels- earlier, due to his numb fi nger. works that Schumann owned before sohn fugues and call it one of the Lieder ohne to the earlier art and bring classical organ Worte. The charm and tenderness of the A combination of counterpoint stud- works into private homes, but also discover the contrapuntal year of 1845. In one ies, a deep admiration for Bach, and a many different uses for the pedal piano and particular example Stinson points out: fi gures are such that she would never be re- 45 minded of churches and fugues.29 great appreciation for the organ fi nally accomplish new effects. “In the case of the Clavierübung set- resulted in the counterpoint episodes ting of ‘Vater unser, im Himmelreich,’ This last comment is fascinating. “Never of 1845. In regards to Schumann’s or- Alas, the pedal piano never became the Schumann bracketed every phrase of the be reminded of churches” is a telling gan compositions, Joachim Draheim widely used instrument Schumann was canon on the chorale melody, similar to statement that says a lot about the Zeit- writes, “The exceptional importance and hoping for, and none of the contrapuntal how he analyzed fugues from the Well- geist, since churches and fugues are so originality of these fugues were long in- studies of 1845 were a fi nancial success. Tempered Clavier.”48 The Vater unser strongly connected here, and in such a suffi ciently appreciated, although they chorale prelude is a compositional tour harsh way. belong to the very few truly distinctive Schumann and the organ de force and one of Bach’s most complex Schumann’s interest in the organ was organ compositions from the fi rst half of The rise of the Enlightenment caused organ works. Based on the many mark- steeped in a deep admiration for Bach. the 19th century, together with Mendels- a great shift in the use of instruments in ings, this work must have had a great In the April 1842 issue of the Neue sohn’s Organ Sonatas, op. 65, to which churches, the court, and at home. The impact on Schumann. Schumann also Zeitschrift für Musik he wrote: “ . . . At they owe certain impulses.”37 Besides new, galant style called for instruments corrected typographical errors and gave our next meeting, a volume of well-exe- generating an artistic legacy, Schumann capable of immediate and subtle chang- detailed descriptions about the use of cuted fugues would please us more than may have anticipated commercial suc- es in timbre and dynamics; hence, the stops, manual changes, as well as pitch another one full of sketches. At this royal cess from his contrapuntal output; works piano became the new keyboard instru- designation, all of which demonstrate instrument, the composer must have for pedal piano were hardly available, ment of choice. The organ, as Schumann more than basic knowledge of the or- learned the value of clearly defi ned artis- and Schumann made sure he was among wrote, reminded people of “churches and gan.49 As Stinson points out: tic form, such as that given to us by Bach the fi rst to write for the instrument, en- fugues,” and was considered an archaic in the largest as well as smallest works.”30 suring a ‘head start’ in any possible fi nan- and static instrument. Despite its tainted Just consider how Schumann annotated, Three years earlier Schumann wrote: cial gain. The six fugues were, like Men- status, Schumann proceeded to compose from Part 3 of the Clavierübung, the man- ualiter setting of “Aus tiefer Not schrei ich “But it is only at his organ that he [Bach] delssohn’s organ sonatas, among the very for the instrument, a decision that may zu dir,” a work in which Bach subjects each appears to be at his most sublime, most few serious organ compositions of their be partially attributed to a long tradi- phrase of the chorale tune to a complex audacious, in his own element. Here he time, and the fi rst large cycle of organ tion; many post-Renaissance compos- fugal exposition before stating the melody knows neither limits nor goal and works fugues on the name of BACH. And as ers wrote larger works to preserve their in augmentation in the soprano voice. Fol- for centuries to come.”31 Schumann’s Schumann himself points out, the organ name in history. Several of Bach’s sacred lowing Bach’s constant use of inversion and organ fugues, thus, are not a byproduct fugues can also easily be performed on of mental exercises. They are carefully piano (four hands). Schumann cleverly crafted works, based on a long tradition. published opp. 56, 58 and 60 as works Approaching fugal composition from a for pedal piano or organ, most likely to new (Romantic) perspective, Schumann enhance sales. However, the Six Fugues felt that he had created works that on the Name of BACH lacked (fi nancial) were truly unique. Like Bach himself, success, and remain Schumann’s only at- Schumann united the old and new, re- tempt at organ composition. Schumann, sulting in six spectacular character pieces. however, was very pleased with his con- After all, according to Schumann, “Most trapuntal endeavors. A letter of 8 Feb- of Bach’s fugues are character pieces of ruary 1847 to his friend Carl Ferdinand the highest kind; in part truly poetic cre- Becker illustrates Schumann’s satisfac- ations,”32 and Schumann’s fugues were no tion with the six fugues: “I have never different. In the diaries Schumann refers polished and worked so long on any com- to Bach’s compositions repeatedly. He position of mine as on this one in order seemed to be concerned with preserving to make it worthy of the illustrious name and reviving Bach’s legacy, which, accord- which it bears.”38 ing to Hans T. David, “. . . by invoking the name of Bach again and again, helped Mendelssohn gain for Bach’s work a secure place in the Like Mendelssohn, Schumann fa- minds of educated musicians.”33 In addi- vored a modern fugal type steeped in tion to the Bach legacy, Schumann was the Bach tradition, yet combined with concerned with preserving his own leg- a poetic fl avor. As Plantinga points out: acy. His preferred medium in this—the “It was the particular genius of Mendels- fugue—is easily explained by his lifelong sohn, Schumann said, to show that suc- admiration of Bach’s keyboard fugues. cessful fugues could still be written in a Charles Rosen gives a second reason for style that was fresh and yet faithful to its Schumann’s choice: “In the nineteenth Bachian and Handelian models; these century, the fugue had become a demon- fugues hold to the form of Bach, he felt, stration of conventional mastery, a proof though their melody marks them as mod- of craftsmanship. Besides competing ern.”39 Already a famous conductor, com- with Beethoven, Schumann conforms to poser and organist, Mendelssohn wrote the standard pattern of fugue laid down his Three Preludes and Fugues, op. 37 in by Cherubini.”34 1836–37. Later, in 1844–45, he wrote the In addition to Bach’s keyboard fugues, Six Sonatas, op. 65. As Klaus-Peter Rich- at least two more sources play an impor- ter points out, the motivic resemblances tant role in Schumann’s contrapuntal between Mendelssohn’s and Schumann’s output: Marpurg’s Abhandlung von der organ works are more than obvious.40 In Fuge (1753) and Cherubini’s Cours de reference to Mendelssohn’s fugues of Contrepoint et de Fugue (1835). Feder- the six sonatas,41 Schumann writes: “I do hofer and Nauhaus write: not wish to indulge in blind praise, and I know perfectly well that Bach made The composer’s concern with counter- fugues of quite a different sort. But if point began during his ‘apprenticeship’ he were to rise from the grave today, with Heinrich Dorn (1804-1892) in the he would, I am sure—having delivered years 1831/32, and bore its fi rst fruits in his himself of some opinions about the state exercise books. Schumann subsequently of music in general—rejoice to fi nd at turned his attention to F.W. Marpurg’s least fl owers where he had planted giant- Abhandlung von der Fuge [Treatise on 42 Fugue], parts of which he studied again, limbed oak forests.” albeit reluctantly, in the autumn of 1837, Mendelssohn’s organ works were along with Bach’s Well-Tempered Clavier. well received by critics43 and may have This independent study is refl ected, in an generated Schumann’s contrapuntal as-
SEPTEMBER, 2010 25 Appendix 2. Bach organ works in Schumann’s library Appendix 3. The contents of Clara Schumann’s Bach Book Title given by Schumann Contents according to BWV number Contents of print Title of print Date of print
44 kleine Choralvorspiele für die Orgel, hg. BWV 599-630, 632–44 (Orgelbüchlein) Goldberg Variations, BWV 988 Exercises pour le clavecin par 1820 Von Felix Mendelssohn-Bartholdy (Clavierübung, Part 4 J. S. Bach, Oeuv. II. 15 grosse Choral-Vorspiele für die Orgel, BWV 651–63, 667, 740 (Great Eighteen Clavierübung, Part 3 (BWV 552/1, Exercises pour le clavecin par ca. 1815 hrsg. Von Felix Mendelssohn Chorales) 669–89, 552/2) J. S. Bach, Oeuv. III. Choralvorspiele für die Orgel, 4 Hefte BWV 614, 633–34, 645–50, 664b, 675–84, Prelude in A Minor, BWV 551 Prelude et fugue pour l’orgue ou le ca. 1832 691–93, 697–701, 704–8, 710–11, 748, 759, 769a piano-forte composée par J. S. Bach. No. I. Orgelkompositionen, hrsg. Von Adolf BWV 532, 533, 539, 542, 550, 565, 566, 569 Prelude and Fugue in G Major, Prelude et fugue pour l’orgue ou le ca. 1832 Bernhard Marx, 3 Hefte BWV 541 piano-forte composée par J. S. Bach. No. II. Praeludien und Fugen für Orgel, 3 Bde. unknown Prelude and Fugue in G Minor, Prelude et fugue pour l’orgue ou le ca. 1832 BWV 535 piano-forte composée par J. S. Bach. No. III. Klavierübung Teil III Teil III contains BWV 522, 669-89, and 802-5 Chromatic Fantasy and Fugue, Chromatische Fantasie für das 1820 Toccata und Fuge für Orgel, Nr. 2 und 3 Nr. 2 = BWV 540; Nr. 3 = BWV 538 BWV 903 Pianoforte von Johann Sebastian Bach. Fantasie für Orgel BWV 562/190 Fantasy in C Minor, BWV 906 Fantaisie pour le clavecin ca. 1815 composée par J. S. Bach No. I. stretto, Schumann bracketed, in addition termed character pieces, but in the strict to each phrase of the chorale proper, every 53 Fantasy in G Major, BWV 572 Fantaisie pour l’orgue ou le 1832–33 style.” Charles Rosen was right when pianoforte composée par J. S. Bach No. II. one of the roughly forty fugal statements.50 he wrote, “Throughout his short musical life, Schumann produced his most strik- Toccata in D Minor, BWV 913 Toccata per clavecimbalo composta ca. 1815 The Clara Schumann Bach Book is an ing works not by developing and extend- dal Signore Giov. Sebast. Bach. No. [I]. invaluable source, and for once and for all ing Classical procedures and forms, but does away with the general misconcep- by subverting them, sometimes under- Toccata and Fugue in F Major, Toccata et fugue pour l’orgue ou le ca. 1832 tion of Schumann’s limited knowledge of mining their functions and even making BWV 540 piano-forte composée par J. S. Bach No. II. the organ. The evidence in Schumann’s them momentarily unintelligible.”54 Toccata and Fugue in D Minor, Toccata et fugue pour l’orgue ou le ca. 1832 personal library discloses both his inter- The six fugues remain among the (“Dorian”) BWV 538 piano-forte composée par J. S. Bach No. III.91 est and knowledge of Bach, the organ most unique works in the organ rep- and counterpoint. ertoire, and Schumann was well aware that these compositions differed from Schumann Fugue No. 1, mm. 38–43 A new approach his earlier output. Having given up his Schumann was known to compose old habit of composing at the piano, rather fast, but it took him from April Schumann felt liberated. Daverio sheds to November to write the fugues. In the more light on Schumann’s new manner Diaries, Schumann writes: of composing: “. . . it is perhaps better understood as a logical outgrowth of his I used to write most, practically all of my approach to large-scale instrumental shorter pieces in [the heat of] inspiration; composition in the earlier 1840s rather many compositions [were completed] with than as a radical break.”55 Scholars have unbelievable swiftness, for instance, my First Symphony in B-fl at Major [was writ- maintained the notion that Schumann’s ten] in four days, as was a Liederkreis of oeuvre refl ects several distinctly differ- twenty pieces [Dichterliebe]; the Peri too ent compositional periods. Daverio’s op- was composed in a relatively short time. posing view, however, “explains” the six Only from the year 1845 on, when I be- fugues in a nutshell: gan to invent and work out everything in my head, did a completely new manner of Perhaps Schumann intermingled ‘subjec- composing begin to develop.51 tive’ and ‘objective’ qualities throughout his career, but with varying degrees of empha- sis, a hypothesis implying that the passage This new manner of composing re- from a ‘subjective’ to an ‘objective’ phase sulted in works that were based on a was hardly abrupt. To insist on a hard and thorough, perhaps more intellectual ap- fast demarcation of style-periods in time is proach. Schumann’s keyboard composi- to miss the point, namely, that Schumann’s tions of 1845 are often said to be more oeuvre unfolds in a series of sometimes objective than his earlier compositions.52 parallel and sometimes overlapping phases. That in itself is a subjective statement, The products of his imagination may thus be viewed as points where divergent or and should be taken with a grain of 56 salt. Traits of the younger Schumann complementary trends intersect. can be found in any of the collections written in 1845, but they also expose a Von Wasilewski agrees with this view, maturing composer. These are indeed pointing out the combination of strict contrapuntal works based on models form and a Romantic, poetic spirit: by Bach, Marpurg, and Cherubini, but Of the two sets of fugues (ops. 72 and Schumann remained true to himself as a 60), the latter, consisting of six fugues on person and artist by combining the new the name of Bach, is of extraordinary mer- Though the Canons and Sketches dis- sic, it seems plausible that he was familiar with the old. The fugues exhibit a blend it. The fi rst fi ve fugues especially display play a more intimate, subjective side of with the concept. The use of the Golden of sentiment (third fugue), restriction so fi rm and masterly a treatment of the Schumann, the six fugues demonstrate a Ratio though, so closely related to na- (fi fth fugue), and excitement (second most diffi cult forms of art, that Schumann stronger balance between head (Eusebi- ture, seems to have prevailed through and sixth fugues). Schumann, as Wein- might from these alone lay claim to the us) and heart (Florestan). Daverio’s and the Romantic period into our time.61 A berger says, “demonstrates the highest title of a profound contrapuntist. They Von Wasilewski’s points of view are sup- close examination of the Six Fugues on show variety of plastic power with four skill in contrapuntal writing, using all notes only. The tone of feeling varies in ported by the great variety of character the Name of BACH unveils Golden Ratio sorts of complicated polyphony culmi- all six pieces, and is always poetic, which, in Schumann’s mid-1840s compositions. (G.R.) proportions (often multiple times) nating in the concluding double fugue. in connection with a command of form, is in each of the six fugues. These examples But at the same time he produced ex- the main point in composition. These are Six Fugues on the Name of BACH are often found within a measure of the pressive compositions which he himself serious character pieces.57 Schumann’s Six Fugues on the Name exact G.R. When applying the G.R. to of BACH are the product of a carefully the number of measures in each fugue planned blueprint. Modeled after Bach’s we see the following outcome: examples, one might expect various Ba- Fugue I. The fi rst fugue totals 64 mea- roque elements in these pieces. Indeed, sures. When we apply the G.R. to these the fugues were conceived as a set of six, 64 measures, we come to 64 x 0.61 = 39, similar to many of Bach’s cycles (includ- or measure 39. This measure contains two ing many of his organ works).58 Such sys- consecutive subject entries in the pedals. tematic arrangement of cycles containing A ‘reversed’ G.R. (counting 39 measures six pieces was common in the Baroque from the end) is found in m. 25, located era and, as Piet Kee points out, is rooted between two more subject entries (the in numerology that goes back as far as second being a false entry) in the pedals. Pythagoras.59 The use of number sym- NB: this fugue only contains two such bolism in music diminished substantially double-pedal entries, each clearly defi ned after the rise of the age of the Enlight- by the Golden Ratio. In addition, the apex enment, and despite Schumann’s use of (c3) is reached fi rst in m. 40 (one measure ciphers (on several occasions) there is no after G.R measure 39).62 evidence that points to the composer’s Fugue II. The second fugue is 174 AHIGHER L EVEL of E XCELLENCE knowledge or intentional use of num- measures long; 174 x 0.61 = 106. In m. ber symbolism. Schumann’s fugues, 106 new material is presented (ascend- however, do reveal a consistent obser- ing octaves/scales). A reversed G.R. leads Great musicians need extraordinary instruments vance of the Golden Ratio. This number us to m. 68, where the subject appears (0.6180339887…) is found in nature, in the pedals (in its entirety) for the fi rst to deliver magnificent performances. music and art.60 Schumann’s knowledge time. Like several Bach compositions, of the Golden Ratio is not recorded any- this fugue contains Golden Ratios within P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com where, but based on the many examples Golden Ratios. The second fugue can be found in his and his contemporaries’ mu- separated into three separate divisions:
26 THE DIAPASON Schumann Fugue No. 5, mm. 103–107 Appendix 4. Symmetry in the Six Fugues on the Name of BACH
Schumann Fugue No. 6, mm. 59–61
Schumann Fugue No. 6, mm. 95–97
At m. 74 we see a clear separation in the = 30, which appears exactly at the pedal music; there is a sudden dynamic change point in m. 104. Additionally, the original The number of Golden Ratios in ganization of larger collections.65 Notice, (from forte to piano), while the texture subject appears in retrograde. Schumann’s fugues is overwhelming, yet for example, the symmetry in time signa- changes from chordal homophony to Fugue VI. 155 x 0.61 = 95. Measure the question remains if they were in- ture, tempo, dynamics and texture (see strict polyphony with the BACH motive 95 presents a clear statement of the sub- tentionally ‘placed’ or if they are a mere Appendix 4). in stretto. An inverted G.R. within that ject in the pedals. A reversed Golden compositional byproduct. Schumann’s or- The six fugues are based on the fa- section highlights m. 29, where the ex- Ratio (95 from the end, rather than the gan compositions are an unusual blend of mous BACH theme that Bach himself position is stirred up by a repeat of the beginning) leads us to m. 60. Schumann styles, which could easily generate an over- had used in the fi nal (incomplete) fugue subject in the alto voice. This entry starts writes a clear break in the music at mea- analytical approach. Peterson’s and van of The Art of Fugue. As Daverio points on B-fl at, similar to the very fi rst entry sure 59, immediately before introducing Houten’s previously mentioned fi ndings out, “Though all the fugues incorporate (slightly modifi ed for harmonic purpos- the second subject of this double fugue; are prime examples of such “determined the BACH theme, some of them use es), but then suddenly shifts from a dux the fugue’s two sections are separated research,” and one needs to be careful not this theme merely as a starting point to a comes entity; the fi rst four notes of by a quarter note rest and a double bar to attribute music’s every single detail to a for a larger subject (see the subject of the subject appear in dux form, while line, as well as a dynamic increase (più f). genius mind. In regards to Golden Ratio, the second and fi fth fugues).”66 Stinson the remainder of the entry is presented In addition, Schumann writes lebhafter perhaps the truth lies somewhere in the discusses the many motivic similari- in comes fashion. It is the only fugue (livelier). When we apply the G.R. for- middle. Regardless of Schumann’s inten- ties between Schumann’s opp. 56 and in the cycle where Schumann applied mula to the fi rst part of the fugue (the tions, the number of G.R.s is remarkable 60 and Bach’s organ works. The second (uniform) dynamic markings to each fi rst 58 measures) we come to 58 x 0.61 and cannot be denied. fugue on BACH, for example, has occa- voice entry in the exposition, as to point = 35. One measure earlier the subject sionally been ridiculed for its elongated out the exposition’s irregularity. Feder- is fi rst introduced in the relative minor Styles subject, but is analogous to BWV 575, hofer and Nauhaus point out that “. . . key (G minor). Similar Golden Ratio di- Schumann’s organization of the cycle which was published by Schumann in Schumann probably regarded the treat- visions are found in the second part of reveals a fascinating blend of Baroque the Neue Zeitschrift für Musik in Febru- ment of the ‘comes’ (different in each the fugue (97 measures long): 97 x 0.61 and Romantic principles. Burkhard ary 1839.67 In Abhandlung von der Fuge, case) as depending on the character of = 59 (m. 117). In m. 116, just one mea- Meischein points out the cycle’s sonata- Marpurg discusses the proper treatment the subject.”63 Mm. 75–121 mark the sure earlier, Schumann clearly defi nes like layout: of fugue subjects: second division of the fugue, totaling 47 the break in the music after two (!) four- Fugue 1: Slow introduction measures; 47 x 0.61 = 29 = m. 102, which measure pedal points, when the BACH Fugue 2: Faster section I myself once heard him [Bach], when is marked marcato while presenting new motive is re-introduced—this time in Fugues 3 and 4: Cantabile, slower sec- during my stay in Leipzig I was discussing material. The fugue’s third division com- block chords. A reversed G.R. is found at tion with him certain matters concerning the prises mm. 123–174, totaling 53 mea- mm. 95/96. In m. 95, after a three-mea- Fugue 5: Scherzo fugue, pronounce the works of an old and sures. This section contains a reversed sure pedal point, the fugue’s fi rst subject Fugue 6: Exciting, intensely growing hardworking contrapuntist dry and wood- 64 en, and certain fugues by a more modern G.R. (counting 32 backwards) at m. 143. appears fi rst in the second part of the fi nale and no less great contrapuntist—that is the The score reveals a signifi cant change in (double) fugue. Other changes involve a form in which they are arranged for cla- m. 143 as the music changes from a thin, dynamic increase and the introduction of Interestingly, Schumann’s Classic out- vier—pedantic; the fi rst because the com- three-part polyphonic to a full, chordal both subjects simultaneously. line is not unlike Bach’s symmetrical or- poser stuck continuously to his principal and homophonic texture. Fugue III. The third fugue is the shortest one of the cycle, counting only 59 measures; 59 x 0.61 = 36. The G.R. is 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ found in m. 36, where the music moves to the sub-mediant, E-fl at major. A re- DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX versed G.R. points to m. 23; the end of 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV the exposition. This fi ve-voice fugue does not combine all fi ve voices until close to ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG the end, after the third (and fi nal) pedal OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV entry. Schumann uses the pedals to sin- gle out the Golden Ratio. &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK Fugue IV. The fourth fugue is 116 measures long; 116 x 0.61 = 71. M. 72 is 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ marked fortissimo, the loudest dynamic WKHLQVWDOODWLRQ marking in the fugue. Here the music also has a strong sense of forward motion (see endnote 64). The drastic change at 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX m. 72 divides the piece into two sections. The second division, totaling 45 mea- PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW sures, unveils one more reversed G.R. at 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations m. 92, where the music changes from a homophonic to a polyphonic texture. FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions Fugue V. The fi fth fugue in the cycle totals 124 measures; 124 x 0.61 = 76, the Solutions for Old Pipe Organs beginning of the pedal tone F. When looking at that fi rst section separately (mm. 1–76), we fi nd yet another striking place; 76 x 0.61 = 46; in m. 46 the sub- ject appears in the middle voice, while the BACH theme (in sustained note val- ues) are presented—in stretto—in the bass and soprano voices. NB: this is the only time the BACH theme is played in the pedals. The fugue’s second part (mm. www.rodgersinstruments.com 76–124) contains one more G.R.; 49 (number of remaining measures) x 0.61
SEPTEMBER, 2010 27 Schumann Fugue No. 2, mm. 48–51 Fugue VI. Schumann ends the cycle and decrescendos of opp. 56 and 58 with a majestic, fi ve-part double fugue. (see the beginning of the fourth sketch), Simultaneous use of duple and triple Schumann employs practical dynamic meter, combined with a gradual buildup changes, easily realized through registra- of tension and grandeur, creates a strong tion or manual changes.76 A compelling sense of completion. Stinson claims that piece of evidence lies in the treatment the fugue is based on Bach’s Fugue in E- of pedal points; Schumann frequently fl at Major, BWV 552, pointing out the employs pedal points in both the piano similarities between the two fugues.72 and organ cycles. In the piano cycles Schumann, however, once again deviates Schumann repeats the pedal points every from the Bach models and moves towards so often to ensure a continuous sounding a thinner texture before the end of the ex- of the bass note. Pedal points are never subject, without any change; and the sec- Schumann Fugue No. 4, mm. 1–2 position. In the second exposition (start- sustained longer than two measures.77 In ond because, at least in the fugues under ing at m. 59), Schumann’s approach is the organ fugues Schumann writes pedal discussion, he had not shown enough fi re 78 to reanimate the theme by interludes.68 unconventional too, but not without rea- points for as long as twelve measures. son. As the second theme is introduced, Also, unlike opp. 56 and 58, op. 60 never While some of the subjects are in- Schumann holds off on the expected exceeds the compass of the typical Ger- deed rather lengthy, Schumann seems pedal entry of m. 67. Instead, he omits man Baroque organ, which may give us to adhere to Bach’s examples, avoiding ject (its starting pitch) is modifi ed for the pedals until much later, in m. 92, an idea of Schumann’s favored organ redundant (complete) repeats of fugue harmonic purposes.70 where a three-measure pedal point adds type. Hermann J. Busch points out that subjects. Similarly, rather than following Fugue III. The third fugue appears gradual tension, leading to the fi rst pedal Mendelssohn preferred older organ conventional compositional techniques, to be a double fugue, but the second statement of the fugue’s fi rst subject. As types. For his fi rst performance of the Six Schumann used existing forms as a start- subject is never fully developed. De- the pedals introduce the fi rst subject, the Sonatas for Organ, Mendelssohn chose ing point for a more modern idiom. rived from the main subject, it might be second subject is played in the manuals, an older instrument (Franz and Johann Thus, the amalgamation of old and new conceived as a melodically and rhythmi- thus combining the fugue’s two themes. Michael II Stumm, 1779), while a mod- techniques generated compositions that cally weak countersubject. ‘Undermin- Towards the end of the fugue, starting at ern instrument (a large Walcker organ) were (and still are) anomalies in the or- ing’ the second subject may have been m. 116, the fugue shifts suddenly from was available.79 Mendelssohn’s infl uence gan repertoire, and may in part explain intentional, as Schumann’s focus seems a polyphonic to a homophonic texture. on Schumann as a composer and organist their unfortunate fate. A closer examina- to be mainly on the principal subject. Daverio points out the motivic resem- suggests that Schumann too may have fa- tion of the fugues reveals some very in- Whereas the fi rst two fugues were writ- blance in Schumann’s second symphony: vored older organ types, as is evidenced teresting patterns: ten in the key of B-fl at major, the third “Culminating in a chordal peroration on in Schumann’s comments in the diaries.80 Fugue I. The fi rst fugue initially fol- is written in G minor. Bound by the the B-A-C-H theme, the fugue’s coda at Busch also points out that the majority lows the conventional exposition pattern, initial BACH motive (centered around the same time prefi gures a climactic pas- of the organs known to Schumann were as each of the voices is introduced in the B-fl at), Schumann may have used the sage in the Final (mm. 343ff.) of the sec- from the 18th century. These instruments right order. However, when the fi fth voice countersubject as a means to establish ond symphony.”73 Just like the fi rst fugue, were generally not equipped with a swell is introduced in m.12 (in the pedals), the the fugue’s tonality. This thought also the fi nal fugue concludes with a coda. In box. Crescendos therefore were realized alto part drops out, leaving a four-part explains the countersubject’s lack of de- the fi rst fugue, at m. 34, Schumann in- by manual changes and/or adding stops. texture before fi nishing the exposition. In velopment, as Schumann’s focus is on dicated: “gradually faster and louder.” In fact, the fi ve voices never appear togeth- the principal subject. Of the six fugues, the fi nal fugue he specifi ed: “Moderate, Schumann the organist er in contrapuntal passages. Schumann, the third maintains the strictest counter- gradually faster.” While a thinning in the It is obvious that Schumann took great undoubtedly aware of this atypical ap- point throughout, and never resorts to a texture of the fi rst fugue’s coda seems to pride in the six fugues. Rooted in a long proach, applied the idiosyncrasy in fi ve homophonic texture. suggest a sudden quieting down of the tradition, stemming from his primary of the six fugues (the fi fth being the ex- Fugue IV. In the fourth fugue music, the sixth fugue’s coda undoubt- example, Bach, Schumann felt that he ception). Throughout the cycle, both the Schumann for the fi rst time deviates from edly calls for full organ, ending the cycle had contributed an important work that core subject (the BACH motive) and the the established BACH motive. Though in a grand, majestic manner. could stand the test of time. As Larry complete subjects appear in many differ- still citing the same motive, the notes are Todd points out: “Thus, Bach was me- ent forms. Klaus Jürgen Sachs points out ordered in a new manner, incorporating Schumann and the pedal piano morialized in Schumann’s penchant for the repeatedly changing order of empha- the interval of a sixth. There are a num- As discussed earlier, Schumann’s main learned counterpoint, culminating in that sized notes of the BACH motive.69 In the ber of similarities between the fourth purpose for hiring a pedalboard was to erudite fugal compendium for organ, the fi rst fugue, for example, the motive ap- fugue and Schumann’s second sympho- practice playing the organ. He found, Six Fugues on BACH, Op. 60 (1845).”81 pears straightforward in four half notes, ny, which was written 1845–1846. The however, that the pedal piano had much How ironic then, that the cycle he had with B-fl at and C being the emphasized symphony’s Adagio exhibits chromatic potential and that it might develop as worked on for so long was received with notes (B-fl at and C appear on beats one elements similar to the BACH motive an independent instrument. It seems such little approval. Perhaps Schumann and three in a 4/2 time signature). In m. used in the six fugues,71 and even incor- plausible, then, that Schumann’s output would have been more successful if he, 5 the same motive is presented in the alto porates a (semi) exposition, starting at m. of 1845 was conceived for pedal piano, like Mendelssohn, had written organ so- voice, starting on the second beat rather 62, using two subjects. The Adagio’s har- organ, or both. Though opp. 56 and 58 natas rather than fugues. Rejcha perhaps than the fi rst. This metrical displacement monic progression of m. 82 also appears are clearly written for the pedal piano explains the early 19th-century Zeitgeist is typical of Schumann and is employed in m. 100 of the fugue. Schumann must (Studies for the Pedal Piano and Sketches best, saying “Since Handel and Corelli’s throughout the cycle. have been fond of the chord progression, for the Pedal Piano, respectively), there time, everything in music has changed Fugue II. In the second fugue we repeating it several times (consecutively) seems to be a discrepancy in regards to two or three times, both in inner, as well see a continuation of metrical shifts; in both pieces. Like the fugue, the Ada- op. 60, which is labeled Six Fugues on the as outer form. Only the fugue remains starting in m. 3, the running sixteenth gio reveals a striking G.R. (130 measures Name of B-A-C-H without any further unaltered; and therefore—nobody wants notes suggest a duple (2/4) rhythm in x 0.61 = 80) at m. 82, where the music— specifi cation in regards to the instrument to hear one.”82 Schumann, who “main- a 3/4 time signature. In m. 48 the fi rst marked by a double bar line—suddenly of choice. The cover of the 1986 Henle tained with equal conviction that slavish fugue’s subject is introduced in the ped- shifts from C minor to C major. Urtext edition of opp. 56, 58 and 60 reads imitation of older models was to be avoid- als, combined with the second fugue’s Fugue V. The fi fth fugue, the scherzo Works for Organ or Pedal Piano without ed,”83 must have thought that his organ main subject in the manuals. Schumann of the cycle, maintains a strictly poly- any further specifi cation. In its preface, works were indeed a breath of fresh air, takes great liberty in the intervallic re- phonic texture. The independent voice Gerhard Weinberger explains that in the as he expected them to outlive his other lationship between the fi rst and second leading, combined with fast-moving fi rst publication op. 60 is referred to as creations the longest.84 Notwithstanding parts of the subject. The fi rst part of eighth notes, makes for some daring har- an organ work. their unfortunate fate, Schumann mas- the subject (BACH) starts on B-fl at, monies. Similar writing is found in the Interestingly, in the 2006 Schott edi- terfully combined the old with the new. while the second part (continuous six- second Duetto of Bach’s Clavierübung tion the three cycles are published as As Heinrich Reimann writes: teenth notes) follows at the sixth, on G. III, of which Schumann owned a copy. Schumann Organ Works. In the preface, This relationship remains consistent Schumann again takes some liberties in the editor, internationally renowned or- . . . the best proof of how deeply until m. 30, where Schumann separates the exposition, as the fourth entry of the ganist Jean Guillou, writes: “Schumann Schumann had penetrated, in thought and the two motives by abandoning the in- exposition starts on E-fl at rather than F. composed these masterpieces as a pianist feeling, into the spirit of the Old Master. Everywhere the fundamental contrapuntal tervallic connection. The two motives In addition, the pedal entry consists of and he wrote them for the piano, allow- principles of Sebastian Bach are recogniz- still appear together throughout the two short, repeated motives rather than ing for the possibility that they might be able. They rise up like mighty pillars; but fugue, but the second part of the sub- the entire subject. performed on the organ, but not really the luxuriant tendrils, leaves, and blossoms envisaging the precise manner in which of a romantic spirit twine about them, an organist might ‘translate’ them for partly concealing the mighty edifi ce, partly the instrument.”74 Guillou’s edition pro- enlivening it by splendour of colour and vides the performer with registration varied contrast and bringing it nearer to and tempo markings that go well beyond modern taste. The most obvious proofs of this are:—The second fugue with the char- the original. As useful as a performer’s acteristic Schumann rhythmic displace- edition may seem, one needs to keep in ment (2/4 time in triple rhythm); the fi fth, mind that such is the interpretation of with its subject on quite modern lines; and one person, and one needs to be mindful the last, with its romantically treated coun- of the composer’s intentions. Notwith- ter-subject.85 standing the usefulness of such an edi- tion, Guillou seems to have overlooked Though Schumann is perhaps remem- a most important issue; unlike the Stud- bered foremost as a composer of homo- ies and Sketches, the Six Fugues on the phonic music, it is no coincidence that, Name of BACH were written for the or- as Nauhaus and Federhofer point out, gan, not for the piano. Werner Krützfeld used two examples of In the preface of the Henle edition Schumann’s Kreisleriana in Die Musik in Weinberger explains that the fi rst edition Geschichte und Gegenwart as examples refers to the six fugues as organ works.75 of counterpoint.86 The Six Fugues on the As we will see, the fugues are stylistically Name of BACH mark an artistic high quite different than the other cycles. point in Schumann’s career, and one can They lack, for example, the very pia- only hope that these erudite composi- nistic approach, as found in the second tions will eventually become part of the and third canonic studies. Also, there is standard repertoire. A deeper under- a drastic difference in the use of dynam- standing will perhaps spark a renewed ics. Rather than the pianistic crescendos interest in these wonderful pieces. Q
28 THE DIAPASON Notes 38. Ibid. 59. Piet Kee, “Number and Symbolism in 77. In the third movement of the sketches 1. Robert Schumann, Werke für Orgel 39. Plantinga, “Schumann’s Critical Reac- the Passacaglia and Ciaconna: A Forgotten (mm. 17–19 and 125–127) a pedal point is oder Pedalklavier, with a preface by Gerhard tion,” 13. and Hidden Dimension,” Loosemore Occa- held for three measures. Schumann avoids Weinberger (Munich: Henle, 1986), viii. 40. Klaus-Peter Richter, Musik Konzepte sional Papers, vol. 2. (Cambridge: Tavistock the fading out by adding a second pedal point 2. Albert Schweitzer, J. S. Bach, vol. 1 Sonderband: Robert Schumann (München: Press, 1988), 2–4, 6. In this article Kee dis- (one octave higher) in the next measure. (Leipzig: Breitkopf & Härtel, 1911; reprint Heinz-Klaus Metzger and Rainer Riehn, cusses the importance of the number six. Ac- 78. Fugue no. 2, mm. 163–174. with English translation by Ernest Newman, 1981), 181–82. cording to the Bible, for example, the earth 79. Hermann J. Busch, “Die Orgeln Men- New York: Dover, 1966), 280. 41. Mendelssohn’s Six Sonatas for Organ do was created in six days. Kee also writes: “The delssohns, Liszts und Brahms,” in Proceedings 3. Robert Schumann, Gesammelte Schrift- not replicate the conventional sonata allegro number six is a so-called “perfect” number; a of the Göteborg International Organ Acad- en über Musik und Musiker, 5th ed., ed. Mar- form. Instead, they were conceived as sets of perfect number is equal to the sum of its fac- emy 1994, ed. Hans Davidsson and Sverker tin Kreisig, transl. by Fanny Raymond Ritter individual, stand-alone movements (volun- tors; 6=3+2+1. It is also the sum of the trin- Jullander (Göteborg: Göteborg University, (Leipzig: Breitkopf & Härtel, 1914); quoted taries), while several of the sonatas include ity. NB: There are only four perfect numbers 1995), 236–7. in Hans Theodore David, Arthur Mendel, fugues (which are fugal expositions rather under 33,000,000 (6, 28, 496, 8218).” 80. Robert Schumann, Tagebücher, Band II: Christoph Wolff, ed., The New Bach Reader: than conventional fugues). 60. For a detailed discussion of the Golden 1836–1854, ed. Gerd Nauhaus (Leipzig: VEB A Life of Johann Sebastian Bach in Life and 42. Schumann, Selection of the Writings, Ratio, I refer the reader to the numerous Deutscher Verlag für Musik, 1987), 174. Letters (New York: W. W. Norton & Compa- 124. books available on this topic, such as Richard 81. R. Larry Todd, ed., On Quotation in ny, 1998), 503. 43. August Gottfried Ritter, review of Felix A. Dunlap, The Golden Ratio and Fibonacci Schumann’s Music (Princeton: Princeton Uni- 4. In a discussion (ca. 1995) about the Pas- Mendelssohn-Bartholdy: Six Sonatas for Or- Numbers (Singapore: World Scientifi c Pub- versity Press, 1994), 96. sacaglia, a fellow organist from Germany ex- gan, Allgemeine Musikalische Zeitung (Feb- lishing, 1997) and Scott Olsen, The Golden 82. Antonín Rejcha, “Philosophisch-Prac- pressed that German organists consider this a ruary 1856); quoted in John W. Stansell, An Section: Nature’s Greatest Secret (New York: tische Anmerkungen zu den practischen holy (‘heilig’) piece. Expressive Approach to the Organ Sonatas Wooden Books, 2006). Beispielen,” Ms. Paris Bibliothèque Natio- 5. Schweitzer and Widor published the of Felix Mendelssohn-Bartholdy (Ph.D. diss., 61. Chopin, highly admired by Schumann, nale Sign. Ms 2510, [ca. 1803], 24; quoted in complete organ works of Bach in 1912–14, Juilliard School, 1983), Appendix II. frequently used the Golden Ratio in his 24 Michael Heinemann, Bach und die Nachwelt including detailed analyses and performance Henry John Gauntlett, “Mendelssohn Preludes. See Kenneth Patrick Kirk, “The vol. I (Laaber: Laaber Verlag, 1997), 143. suggestions. While Schweitzer occasionally as an Organist,” The Musical World (15 Sep- Golden Ratio in Chopin’s Preludes, Opus 28” 83. Daverio, Robert Schumann, 248. identifi ed musical qualities in the preludes tember 1837); quoted in Stansell, Expressive (Ph.D. diss., University of Cincinnati, 1987), 84. Schumann, Werke für Orgel, viii. and fugues (several of which were published Approach, Appendix II. abstract. The abstract reads: “Each of the 24 85. Heinrich Reimann, Robert Schumanns in the same volume as the Passacaglia), he Robert Schumann, “Mendelssohn’s Or- preludes, op. 28, exhibits a turning point (TP) Leben und Werke (Leipzig: Peters, 1887), never seems to have warmed up to the Pas- gan Recital,” Neue Zeitschrift für Musik (12 after which musical motion is better charac- cited in Frederick Niecks, Robert Schumann sacaglia, as is evidenced in the lack of positive August 1840); quoted in Stansell, Expressive terized as ‘toward the end’ than ‘away from (London & Toronto: J.M. Dent & Sons, Ltd., feedback in the performance suggestions. Approach, Appendix III. the beginning’. Statistical analysis shows that 1925), 242. 6. Compare, for example, articles and 44. Six Studies for the Pedal Piano, op. 56 the proportional placement of the 24 TPs 86. Die Musik in Geschichte und Gegen- biographies by Robert Schauffl er, Peter and Sketches for the Pedal Piano, op. 58. cluster around the Golden ratio (.618). The wart, s.v. “Kontrapunkt,” quoted in Robert Ostwald, John Worthen, and Georg von 45. Gustav Jensen, ed., Robert Schumanns clustering of the TPs around this point and Schumann: Sämtlicher Werke, ed. Robert Dadelsen. A lack of quality in Schumann’s Briefe (Leipzig: Breitkopf & Härtel, 1904), other approximately Golden Sections of the Schumann Gesellschaft by Akio Mayeda and 1845 output is attributed to a variety of faulty 540. preludes are important to the form and aes- Klaus Wolfgang Niemöller, series VII, group assumptions. A more detailed discussion will 46. The Clavier Übung III, for example, thetic of the pieces.” 3, vol. 5 (Mainz: Schott, 2003), 343. be offered below. contains numerous organ pieces (i.e., Vater 62. The typical compass of German Ba- 87. Cf. Matthias Wendt, “Zu Robert 7. Robert Haven Schauffl er, Florestan: The unser, im Himmelreich, BWV 682) for which roque organ keyboards is C–c3 (Helmholtz Schumanns Kompositionsstudien,” in Atti del Life and Works of Robert Schumann (New liturgical use has been questioned. Scholars notation). The pedal board typically spans Congresso della società internazionale di musi- York: Henry Holt and Company, 1945), 188. suggest that the collection, as the title page from C–c1 or C–d1. cologia, Bologna/Ferrara/Parma 1987, III Free 8. Alan Walker, ed., Robert Schumann: suggests, was written for compositional edu- 63. Schumann, Sämtlicher Werke, 342–3. Papers, 793–803; quoted in Schumann: Sämt- The Man and His Music (New York: Harper cational purposes rather than for church use. 64. Burkhard Meischein, Robert Schumanns licher Werke, series VII, group 3, vol. 5, X. & Row, 1972), 1–40. 47. At this time a signifi cant change in con- Werke für Orgel oder Pedalklavier, Studien 88. Litzmann, Clara Schumann, I:403. 9. Georg von Dadelsen, “Schumann und cert life occurred; in the age of the Enlighten- zur Orgelmusik: Zur Deutschen Orgelmusik 89. Luigi Cherubini, Theorie des Contra- die Musik Bachs,” Archiv für Musikwissen- ment sacred music was performed more and des 19. Jahrhunderts, ed. Hermann J. Busch punctes und der Fuge (Leipzig, 1835), 1; quot- schaft 14 (1957): 56. more in concert halls, rather than at houses of and Michael Heinemann (St. Augustin: Dr. J. ed in Robert Schumann: Sämtlicher Werke, 10. Marcel Brion, Schumann and the Ro- worship. Butz Musikverlag, 2006), 180. ed. Robert Schumann Gesellschaft by Akio mantic Age, trans. Geoffrey Sainsbury (New 48. Stinson, Reception, 78. 65. I.e., the Clavier Übung III. Mayeda and Klaus Wolfgang Niemöller, series York: The MacMillan Company, 1956), 146. 49. Russell Stinson, “Clara Schumann’s 66. Daverio, Robert Schumann, 309. VII, group 3, vol. 5 (Mainz: Schott, 2003), 337. 11. John Worthen, Robert Schumann: Life Bach Book: A Neglected Document of the 67. Stinson, Reception, 92–3. 90. Stinson, Reception, 99. and Death of a Musician (New Haven and Bach Revival,” Bach 39 (July 2008): 6–7. 68. Friedrich Wilhelm Marpurg, Abhan- 91. Stinson, “Clara Schumann’s Bach London: Yale university Press, 2007), 260. 50. Ibid. dlung von der Fuge nach den Grundsätzen Book,” 5. 12. Berthold Litzmann, Clara Schumann: 51. Robert Schumann, Tagebücher, Band und Exempeln der besten deutschen und aus- An Artist’s Life, translated by Grace E. Had- II: 1836–1854, ed. Gerd Nauhaus (Leipzig: ländischen Meistern (Berlin, 1753); quoted in Robert August is director of music/or- ow, 2. vols. (London: McMillan and Company, VEB Deutscher Verlag für Musik, 1987), 402; Hans T. David, Arthur Mendel, and Christoph ganist at First Presbyterian Church of Fort 1913), I:403. quoted in John Daverio, Robert Schumann: Wolff, eds., The New Bach Reader: A Life of Worth, Texas. Previously he was assistant 13. Eric Frederick Jensen, Schumann (Ox- Herald of a New Poetic Age (Oxford: Oxford Johann Sebastian Bach in Letters and Docu- university organist and choirmaster at The ford: Oxford University Press, 2001), 285. University Press, 1997), 305. ments (London: W.W. Norton & Company, Memorial Church at Harvard University, 14. See Russell Stinson, The Reception of 52. Franz Brendel, “Robert Schumann,” Inc., 1998), 363. during doctoral studies at the New England Bach’s Organ Works from Mendelssohn to Neue Zeitschrift für Musik, vol. 25 (1846), 181; 69. Klaus-Jürgen Sachs, “Robert Schumanns Conservatory of Music. A native of the Neth- Brahms (Oxford: Oxford University Press, quoted in Daverio, Robert Schumann, 12. Fugen über den Namen BACH (Op. 60)” in erlands, he has an extensive background in 2006), 76–101. 53. Gerhard Weinberger, preface to Johann Sebastian Bach und seine Ausstrah- historical performance. 15. Schauffl er, Florestan, 188. Schumann, Werke für Orgel oder Pedalkla- lung auf die nachfolgende Jahrhunderte: 55. August has served as carillonneur at 16. Ibid., 348–9. vier, viii. Bachfest der Neuen Bachgesellschaft, ed. Brigham Young University, and as organist 17. Ibid., 349–50. 54. Rosen, Romantic Generation, 655. Hellmann (Mainz, 1980), 160–1. and conductor at churches in the Netherlands 18. Peter Ostwald, Schumann: The Inner 55. Daverio, Robert Schumann, 13. 70. See for example mm. 48–49, 54–55. and the United States. In addition to collabo- Voices of a Musical Genius (Boston: North- 56. Ibid. 71. See for example mm. 36–44. ration with artists such as Yo-Yo Ma, Chris- eastern University Press, 1985), 200. 57. Joseph Wilhelm Von Wasilewski, Life of 72. Stinson, Reception, 94. topher Hogwood, and Simon Carrington, 19. Ibid. Robert Schumann, trans. A. L. Alger (Boston: 73. Daverio, Robert Schumann, 309. he has performed in Europe and the United 20. Kees van Houten and Marinus Kasber- Oliver Ditson, 1871; reprint, Detroit: Infor- 74. Jean Guillou, preface to Robert States as a solo artist and accompanist, in- gen, Bach en het Getal (Zutphen: Walburg mation Coordinators, 1976), 149. Schumann, Werke für Orgel (Mainz: Schott, cluding tours and CD recordings with the Pers, 1985), 194–209. 58. I.e., the Brandenburg Concertos, Trio 2006), i. Harvard University Choir and the Harvard 21. John David Peterson, “Schumann’s Sonatas for Organ, the Cello Suites, the Eng- 75. Weinberger, preface to Schumann, Wer- Baroque Chamber Orchestra. Robert and his Fugues on B-A-C-H: A Secret Tribute,” The lish and French Suites for Harpsichord, the ke für Orgel oder Pedalklavier, viii. wife, fl utist Dolores August, often collaborate Diapason 73 (May 1982): 12. Six Partitas for Harpsichord. 76. See fugue no. 6, mm. 59, 95, and 116. on modern and period instruments. 22. Stephen Walsh, “Schumann and the Or- gan,” Musical Times 111 (July 1970): 743. 23. Worthen, Robert Schumann, 260. 24. Ibid. Custom builder of pipe, combination 25. Ibid., 262. 26. Leon Plantinga, “Schumann’s Critical and all-digital organs Reaction to Mendelssohn” in Mendelssohn and Schumann, ed. Jon Finson and R. Larry Todd (Durham: Duke University Press: 1984), 17. 27. Gerhard Weinberger, preface to Robert Schumann, Werke für Orgel oder Pedalkla- vier, viii. 28. Ibid. 29. Robert Schumann, A Selection of the Writings, trans. and ed. Henry Pleasants (New Wicks York: Dover Publications, 1965), 124–25. 30. Robert Schumann, Neue Zeitschrift für Musik, 16, no. 28 (April 1842): 115–16; quot- Organ Company ed in Stinson, Reception, 86. 31. Robert Schumann, Neue Zeitschrift für Musik, 10, no. 39 (May 1839): 153–54; quoted in Stinson, Reception, 82. 32. Robert Schumann, Gesammelte Schrift- en über Musik und Musiker (Leipzig: Breit- kopf & Härtel, 1914), 5th ed., vol. 1, 354. 1100 5th St. 33. Hans T. David, Arthur Mendel, and Christoph Wolff, eds., The Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents (New York: W.W. Norton, 1998), Highland IL 62249 501. 34. Charles Rosen, The Romantic Gen- eration (Cambridge, Massachusetts: Harvard University Press, 1995), 665. 35. Robert Schumann: Sämtlicher Wer- 877-654-2191 ke, ed. Akio Mayeda and Klaus Wolfgang Niemöller, series VII, group 3, vol. 5 (Mainz: Schott, 2003), X. 36. Litzmann, Clara Schumann, I:403. 37. Robert Schumann, Complete Works for Pedal Piano/Organ, Andreas Rothkopf, Au- Opus 3047 www.wicks.com dite 368.411, 1988, CD, liner notes, 7. Basilica of St. Mary Minneapolis, MN
SEPTEMBER, 2010 29 Cover feature
Richards, Fowkes & Co., Ooltewah, Tennessee Opus 17, 2010 The Episcopal Church of the Transfi guration, Dallas, Texas The Episcopal Church of the Transfi g- uration was founded on Holy Cross Day, September 14, 1956, and the fi rst per- manent church building was built and dedicated in 1961. Construction of the present sanctuary that seats just over 500 was begun in March 1969, and the fi rst service was held in the church on Easter Day, 1970. Plans were made to purchase a large three-manual organ from Aeo- lian-Skinner, but due to economic issues a small two-manual mechanical action instrument was purchased when Robert Sipe was tonal director. It was intended that this interim organ would be relo- cated to a future chapel. Their dream of a three-manual organ would not be ful- fi lled for 40 years. A contract with our company was signed in January 2005 as part of a much Undulating relief of the organ front larger master plan to enhance music, ed- ucation, and worship within the church. En grisaille painting of cherubs Necessary changes in the balcony, in- cluding relocating stairwells and HVAC, dovetailed with the erection of a spacious wing adjacent to the main sanctuary. Sev- eral acoustical studies were made, and Dawn Schuette of Threshold Acoustics, LLC of Chicago, was hired as the consul- tant. Though the nave has good height, brick walls, and no carpeting, there was little reverberation or bass frequency re- sponse. The space worked best for small ensembles but failed to support congre- gational singing and organ music. Reme- dial action for these defi ciencies includ- ed adding mass to the three rear ceiling bays, providing an open railing at the front of the gallery, and the construction of new solid walls around the organ. The most dramatic improvement involved the installation of solid panels to extend Positive reeds: Schalmey 4, Vox downward the upper portion of the brick humana 8, Dulcian 8 walls, to reduce the negative effect of the severely corbelled side aisles.1 This work Small Positive wooden pipes of the Flöte doux 8 and Hohlfl öte 8 provisation in the context of services. was completed in preparation for the ar- While we are inspired by the historic rival of the new organ in July 2009. instruments, it is neither possible nor our We founded our company in 1988 on a intent to copy them. Rather, we want the stretch of highway outside of Ooltewah, organist and listener to experience the Tennessee, a suburb of Chattanooga effect of those organs—visual aesthetics, and home to Litespeed bicycles and touch, and sound. Due to the architec- McKee Foods Corporation, maker of ture and acoustics of the rooms in which Little Debbie snacks. We chose this lo- we work, we must adapt case design and cation because of the rich atmosphere voicing to achieve a similar result. The of international performers and peda- fi nal determinant is our eyes and ears—a gogy centered around the Anton Heiller result of 40 years of living and breathing Memorial Organ in nearby Collegedale, organs. We are not restrained by arbi- Tennessee. Our combined study in organ trary rules but are free to use any tool and church music has been a guiding or technique gleaned from our study to force in the evolution of our company’s achieve our goal. instruments. Ralph Richards, a native We believe that the Dutch historic of Wisconsin, studied organ and harp- models mentioned above naturally sichord at Oberlin College and then bridge time, region, and repertoire, worked for a short period with John lending themselves to convincing regis- Brombaugh before founding a company trations due to the melding of the older with Paul Fritts in Washington State. vocale style from north Germany with Bruce Fowkes grew up in Utah and the instrumental elements of central studied organ at BYU and Utah State Schnitger-style pedal Trompets 4–8–16–32 with wooden boots and blocks and southern Germany. Likewise, Opus before working as an apprentice with 17 includes an abundance of foundation Matthew Copley and Michael Bigelow, stops, each carefully voiced to maximize himself an apprentice of Brombaugh. its usefulness individually and in combi- During that time we were exposed to a nation. For example, the strings are not so resurgence of interest in historic organs keen and fl utes not so dark as to preclude and performance practice. Brombaugh’s their use together. The delicate balance organs gave Americans a personal tie to of clarity and warmth can be achieved historic organs and to such organists as only through careful on-site voicing. Be- Harald Vogel and Klaas Bolt, beginning cause variety of sound is found in color, with his seminal instrument in Lorain, not in volume contrast, one can play trios Ohio in 1970. on three individual stops, or on groups of Our previous experience served as stops from each division. a point of departure. We re-evaluated Of particular interest in the tonal re- the then-common knowledge of his- sources of Opus 17 is the 8′ Vox huma- toric organ building, including pipe na. Patterned after 18th-century Dutch construction, voicing techniques, and examples, this stop is a chameleon, its keyboard dimensions, supplementing it character changing with the addition of with our own trips to study the historic other stops. We refer to the Oboe 8′ and instruments. Our interest and research Trompet 8′ in the Swell division as Fran- expanded from organs of the Hanseatic ken-reeds. Based on extensive research coast to include those of Silbermann, of French and Central German models, Hildebrandt, and others in central Ger- they are able to assume multiple roles many, and those of Müller, Hinsz, and in the literature. The lyric Oboe works Bätz in Holland. These later Dutch or- well in French literature, but when gans are not only visually stunning but combined with the Flöte 4′ it takes on a possess a colorful palette that supports consort quality. The tapered open wood the strong emphasis to this day on im- Great mounted Cornet V Hohlfl öte, the most colorful fl ute in the
30 THE DIAPASON Positive carving detail
Cass Holly adding the fi nal red glaze on the faux bois fi nish
Zephyr keycheek
Richards, Fowkes & Co. Opus 17 The Episcopal Church of the Transfi guration, Dallas, Texas 47 stops GREAT Positive treble pipework with façade 16′ Principal tubing in background 8′ Octave 8′ Gedackt 8′ Spitzfl öte 4′ Octave 4′ Rohrfl öte 3′ Quint Key action with compensator system ′ for humidity changes 2 Octave V Cornet (mc) V Mixture 16′ Trompet 8′ Trompet POSITIVE 16′ Quintadena 8′ Principal 8′ Hohlfl öte 8′ Flöte doux 4′ Octave 4′ Spitzfl öte Bellows stack located in the rear of the 2′ Octave 1 organ base 1⁄3′ Larigot II Sesquialtera V Scharff The organ was dedicated during Sun- ′ day services on April 18, 2010. James 8 Dulcian 8′ Vox humana David Christie presented a pair of con- 4′ Schalmey certs wherein he programmed a color- ful range of works by less widely known SWELL composers. The gala reception following 8′ Rohrfl öte the evening recital was a wonderful cele- 8′ Salicional Interior photo of the painting and Great bration of the completion of the project. 8′ Celeste (tc) key action We wish to express our gratitude to 4′ Principal 4′ Flöte the organ committee and members of ′ Key action and coupler stack 3 Nasard the shades open to 90° to be aurally un- the church for their faith and support in 2′ Waldfl öte 3 obtrusive. Good lighting, built-in work- this joint effort, especially the Reverend 1⁄5′ Terz organ, is based on models at St. Ludgeri, benches, and sturdy ship ladders facili- J.D. Godwin, rector, and Joel Martinson, IV Mixture Norden and Jacobikirche in Hamburg. tate tuning and maintenance. director of music and organist. 16′ Fagott The inclusion of a lighter 8′ wooden The case is strongly patterned after Please visit our website for additional 8′ Trompet stopped fl ute in the same division is not an organ in Bolsward, Holland, built be- shop photos and sound clips of the fi n- 8′ Oboe redundant; rather, it is more useful for tween 1776–1781 by Antonius Hinsz. It ished organ (www.richardsfowkes.com). continuo and soft accompaniment than had long been our dream to recreate the —Richards, Fowkes & Co. PEDAL 16′ Principal its full-bodied cohort. As in the best his- undulating and well-proportioned façade 16′ Subbaß toric examples, we design and voice our of 18th-century Dutch organs. The case Notes 8′ Octave fl utes to yield the widest possible variety is made of soft maple and poplar and 1. For a full account of this project 8′ Spitzfl öte of sound: the Spitzfl öte 8′ is distinctive is fi nished in a bold red, faux-grained see: “Acoustics for Organbuilders,” Dawn 4′ Octave from the Hohlfl öte 8′, as is the Gedackt mahogany, chosen to complement and Schuette, Journal of American Organbuild- V Mixture 8′ from the Rohrfl öte 8′. enhance the room. Our original design ing, June 2010, vol. 25, no. 2. 32′ Posaune The design and touch of our key ac- included a single carved panel but we 16′ Posaune 8′ Trompet tion differs from the ideals of the early were concerned it would not be visually Current personnel ′ reform movement. The touch is not so cohesive and would hinder the egress of Trent Buhr 4 Trompet light as to be like playing on eggshells sound from the Positive. Late in the con- Patrick Fischer 6 couplers nor as heavy as some historic organs, and struction we realized a painting would Bruce Fowkes 2 Tremulants we prefer a more moderate spring-to- solve these issues. The concept was Karla Fowkes Cimbelstern pluck ratio that is responsive and reliable quickly refi ned, and we commissioned Brian Miscio Vogelgesang due to careful design and construction. Cass Holly to execute the en grisaille Jesse Mozzini Wind stabilizer The organist has a sense of playing what cherubs on the oval canvas. Nathan Perry one hears—a substantial organ. A core group of employees with more Patrick Spiesser Mechanical key action Electric stop action with multi-level memo- The use of a shallow case in our small- than 10 (and some closer to 20) years of Dean Wilson ry and sequencer er organs is abandoned for a broader and employment with our fi rm assures the Andy Wishart deeper case as part of the sound concept, continuity necessary to produce consis- Compass: Manuals 58 notes, Pedal 30 and to allow adequate access to all com- tent high quality. Our employees bring Richards, Fowkes & Co. notes ponents. The deeper case encourages a wide variety of previous experience in 7821 Old Lee Highway Wind pressure 71mm blend and does not inhibit projection. organ building from the U.S., France, Ooltewah, TN 37363-8400 Temperament: Neidhardt 1732 for a small The Swell division is in a separate shal- and England. It is a privilege to be able 423/899-8442 city low and wide case behind the Great and to work with incredibly talented people. [email protected]
SEPTEMBER, 2010 31 New Organs
Christ the King Lutheran Church, the organ—including galvanized pipe for Walnut, California the wind duct, organ cable, chime relay, Knight Organ Company, builder, and the metal enclosure for the blower San Diego, California that would sit outside on the east side of Manuel Rosales Organ Builders, the church—was to cost $3,500. On Sun- voicer, Los Angeles, California day morning, June 13, 1982, the dedi- The congregation received the gift of cation service of the rebuilt pipe organ its fi rst and only organ from First Lu- installed by Paul Schuricht, the organist, theran Church in Monrovia, California at took place. the end of 1968. This three-rank Möller By December 2007 when the pres- Artiste was purchased by First in 1950 ent organist, Michael Doyle, arrived, the and used in their small chapel. When the organ had many problems: the wooden large sanctuary was built in 1968, First Gedeckt pipes’ stoppers needed to be Lutheran gave Christ the King their 28- releathered as they wouldn’t stay in year-old pipe organ for their new build- tune; because the blower sat outside the ing. The Möller opus 4300-13 comprised church drawing in either hot or cold air, three ranks of pipes—8′ Diapason (76 it was diffi cult to keep the organ in tune; pipes), 8′ Viole (72 pipes), 8′ Gedeckt the leather on the reservoir and chests (97 pipes), 16′ Bourdon (12 pipes)—and needed to be replaced because it was Schulmerich electronic chimes. 57 years old; the stop tabs were break- When the small Möller arrived at ing off; and the organ had so few stops Christ the King, the console, pipes, and that it lacked tonal color. In April 2008, pipe case were placed in an open room the blower was moved into the Mother’s west of the chancel. In 1981 when Paul Room, encasing it in a new cabinet that Schuricht became organist, it was decid- helped to keep the organ in tune. fi nishing by Mr. Rosales. The prepara- ed to move both the choir and organ to Bids were submitted at the end of tions started on January 19, 2009, when the rear of the nave. The wood chamber 2008 to enlarge and rebuild the Möller Bob Knight and his crew came to dis- that contained the pipes was modifi ed organ for $36,000; Manuel Rosales’s bid mantle the Möller organ. The pipes and placed above the Mother’s Room. A to rebuild the organ and add nine ranks were packed in crates, the chests were 4′9″ by 4′3″ opening was cut in the wall of pipe was accepted. Mr. Rosales sug- removed, the wood chamber walls were over the Mother’s Room for the sound of gested that Robert Knight of Knight Or- dismantled, and the organ was taken to the organ to egress, with 15 new Princi- gan Company in San Diego do the work, San Diego to be rebuilt and enlarged pal pipes installed in the façade. and Rosales would do the fi nal voicing in the Knight Organ Company shop. Because the 8′ Viole and 8′ Diapason and tonal regulation. The specifi cation On Saturday, January 31, a crew of men were not conducive to leading the choir was designed by the church organist, Mi- from the congregation began work build- and the congregation, Paul Schuricht chael Doyle, in consultation with Robert ing the new organ chamber walls. Over purchased an 8′ Principal (73 pipes) and Knight and Manuel Rosales. the next six weeks, men and women of a 4′ Gemshorn (73 pipes) along with a The rebuilding of the console and the congregation worked during the played music of Armsdorf, Bach, Buxte- new set of 24 Gedeckt treble pipes to re- chests, and the new chests, woodwork week and on Saturdays to complete the hude, Burkhardt, Cherwien, Manz, and place damaged ones; the new pipework around the façade, new pipe tower, and chamber walls, install insulation, double Walther at the dedication hymn festival was built by A. R. Schopp’s and Sons, the new electronics were done by Mr. wallboard the interior walls, paint the at 4:00 p.m. Inc., of Alliance, Ohio. The renovation of Knight, with the tonal voicing and tonal walls with high-gloss enamel, enlarge the —Michael Doyle front opening of the chamber, and install lighting and a door to the chamber. The Christ the King Lutheran Church, organ console platform was rebuilt with Walnut, California hardwood fl ooring. GREAT—Manual I The organ has 12 ranks of pipes and 38 ′ stops. The oldest pipework in the organ 16 Lieblich Gedeckt 8′ Principal is the three-rank Mixture that was pro- 8′ Gedecktfl öte duced by W. D. B. Simmons in 1863 and 8′ Salicional voiced during Abraham Lincoln’s fi rst 4′ Octave presidential term. The 8′ Salicional and 4′ Gedecktfl öte 8′ Voix Celeste came from the 1913 Es- 2′ Octave tey organ at Our Lady of Angels Catholic III Mixture ′ 8′ Trumpet Church in San Diego, along with the 8 ′ Principal, a set of gold façade pipes that 4 Trumpet ′ Chimes never spoke. The 8 Trumpet came from Positive to Great the 1960 rebuild of the organ at First Baptist Church in San Diego, and was POSITIVE—Manual II built by Durst Organ Supply of Erie, 8′ Gedecktfl öte 3 Pennsylvania. The 1 ⁄5′ Terz was made by 8′ Salicional Estey–Aeoline. The large swell shutters 8′ Voix Celeste 4′ Principal were from a 1920 Kimball organ, and the ′ swell motor is from First Baptist Church 4 Spitzfl öte 4 Salicet in San Diego. A newer 1-hp blower 2 2⁄3′ Nasat was used to replace the old, inadequate 2′ Spitzfl öte Möller blower. The 16′ Subbass was built 2′ Octave 3 for a large college organ in Cedar Rap- 1⁄5′ Terz 1 ids, Iowa, by M. P. Möller in 1950. The 1⁄3′ Quint 16′ Trumpet 12-pipe extension is new 1′ Siffl öte and was made by Organ Supply of Erie, 8′ Trumpet Lewis & Hitchcock, Beltsville, 2′ Octave Pennsylvania. The original 8′ Principal Tremulant Maryland 2′ Gemshorn was rescaled to become the 4′ Octave, III Mixture ′ PEDAL Christus Victor Lutheran Church, ′ and the 4 Gemshorn was rescaled to be- 32′ Resultant Baltimore, Maryland 8Trumpet come the 4′ Spitzfl öte. On the back wall ′ Swell to Great 16 Subbass Christus Victor Lutheran Church has of the nave are the 8′ Principal pipes in 16′ Lieblich Gedeckt a Wicks organ. The pipe cabinet is on the SWELL the original case, along with a three-pipe 8′ Principal left side of the chancel, and the console 8′ Rohr Flute Principal tower that is new. There are a 8′ Flöte is on the right side. The console had no 8′ Gemshorn total of 787 pipes in the organ. 8′ Salicional 1 ′ 8′ Gemshorn Celeste TC 5⁄3 Quint combination action, and the only acces- The rebuilt Möller organ console has ′ sory was the crescendo shoe. The desire 4′ Flute been rewired with a new Opus-Two re- 4 Choralbass 4′ Gemshorn 4′ Flöte was to add a combination action, and to 2 lay system, new keyboard and pedal con- ′ 2⁄3′ Quint 2 Spitzfl öte reunify the fi ve ranks to make a more 2′ Block Flute tacts, and has a new tilting tablet assem- II Mixture fl exible specifi cation. Working with di- 3 bly. There are now 41 tilting stop tablets, ′ 1⁄5′ Tierce 16 Trumpet 1 ′ rector of music Dr. Joseph Birdwell, we 1⁄3′ Larigot 5 pistons on Manual I, 5 pistons on 8 Trumpet planned and installed a multiplex relay 1′ Gemshorn Manual II, 10 general combination pis- 4′ Trumpet in the organ cabinet and a combination 8′ Trumpet tons, 10 general toe studs, setter piston, Great to Pedal action with multiple layers of memory in Tremolo general cancel piston, and one toe stud Positive to Pedal the console, controlled by a full set of pis- for the 11-bell Zimbelstern. The organ PEDAL Summary of Pipes tons and toe studs. The result is a much 16′ Subbass also has a set of Maas-Rowe chimes that 16′ Subbass 44 pipes more fl exible instrument, easily able to 16′ Lieblich Bourdon were given by Trinity Lutheran Church, 16′ Lieblich Gedeckt 12 pipes provide the right sound for the music. 8′ Principal Montclair, California. A family in the 8′ Principal 61 pipes —Gerald Piercy 8′ Rohr Gedeckt congregation gave funds for the Zim- 8′ Gedecktfl öte 73 pipes 4′ Choral Bass belstern, Voix Celeste, and 16′ Trumpet 8′ Salicional 61 pipes GREAT 2′ Flute 8′ Voix Celeste 49 pipes ′ extension. With the gift of the aforemen- ′ 8Principal 8′ Trumpet tioned items, the total cost of the organ 4 Principal 61 pipes 8′ Rohr Gedeckt 4′ Clarion 4′ Spitzfl öte 73 pipes ′ was $45,050. 3 ′ 8Gemshorn Great to Pedal 1⁄5 Terz 49 pipes 8′ Gemshorn Celeste TC Swell to Pedal The organ was dedicated on Sunday, III Mixture 183 pipes 4′ Principal August 23, 2009, at the 9:00 a.m. service. 16′ Trumpet 12 pipes 4′ Copula 2 manuals, 5 registers, 5 ranks Michael Doyle, the church organist, 8′ Trumpet 73 pipes
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Hector Olivera; First United Church of Christ, Pickle Piano & Church Organs This calendar runs from the 15th of the month of Reading, PA 3 pm NEW YORK issue through the following month. The deadline is Sarah Davies; Camp Hill Presbyterian, Camp Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. Hill, PA 4 pm issue). All events are assumed to be organ recitals Singing Boys of Pennsylvania; Alsace Luther- unless otherwise indicated and are grouped within an, Reading, PA 4 pm each date north-south and east-west. •=AGO chap- Stefan Engels; First Presbyterian, West Christopher Babcock ter event, • •=RCCO centre event, +=new organ Chester, PA 4 pm dedication, ++= OHS event. Jeremy Filsell; Washington National Cathe- St. Andrew’s by the Sea, Information cannot be accepted unless it speci- dral, Washington, DC 5:15 pm fi es artist name, date, location, and hour in writ- Ronald Wise & Faye Ayers; Boone United Hyannis Port ing. Multiple listings should be in chronological order; Methodist, Boone, NC 4 pm please do not send duplicate listings. THE DIAPA- Gail Archer; Eckerd College, St. Petersburg, St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for FL 4 pm the accuracy of calendar entries. Samuel Melson Jr.; John Wesley United Methodist, Cincinnati, OH 4 pm David Higgs; First Baptist, London, KY 3 pm Music of the Baroque; First United Methodist UNITED STATES Church, Evanston, IL 7:30 pm East of the Mississippi Douglas Cleveland; Rockefeller Memorial Chapel, Chicago, IL 4 pm Alan Morrison; Cathedral of St. Joseph, Ba- 15 SEPTEMBER ton Rouge, LA 4 pm Douglas Major; Methuen Memorial Music Hall, Methuen, MA 8 pm 27 SEPTEMBER Robert Myers; Trinity Lutheran, Cleveland, Margaret Wilson; Elliott Chapel, Presbyterian OH 12:15 pm Homes, Evanston, IL 1:30 pm Alan Hommerding; Cathedral of St. John the Music of the Baroque; Harris Theater, Chi- Dean W. Billmeyer GAVIN BLACK Evangelist, Milwaukee, WI 12:15 pm cago, IL 7:30 pm Princeton Early Keyboard Center 16 SEPTEMBER 28 SEPTEMBER University of Minnesota George Bozeman; St. Kieran Community Karen Beaumont; Church of the Transfi gura- 732/599-0392 Center for the Arts, Berlin, NH 7 pm tion, New York, NY 12:30 pm Minneapolis 55455 • [email protected] www.pekc.org Steven Shaner; St. Luke Catholic Church, David Saunders; Church of St. Louis, King of McLean, VA 1 pm France, St. Paul, MN 12:35 pm David Schrader; Auer Hall, Jacobs School of Music, Indiana University, Bloomington, IN 8 pm 29 SEPTEMBER Patrick Parker; Trinity Lutheran, Cleveland, Byron L. Blackmore THOMAS BROWN 17 SEPTEMBER OH 12:15 pm UNIVERSITY Scott Dettra; First Presbyterian, Glens Falls, Crown of Life Lutheran Church NY 7:30 pm 1 OCTOBER PRESBYTERIAN CHURCH Todd Wilson; St. John’s Episcopal, Roanoke, Peter Richard Conte; Trinity Episcopal, St. Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA VA 7:30 pm Augustine, FL 7 pm 623/214-4903 ThomasBrownMusic.com Ken Cowan; Shryock Auditorium, Southern Il- Gail Archer; Holy Trinity Lutheran, Akron, OH linois University, Carbondale, IL 7:30 pm 8 pm
19 SEPTEMBER 2 OCTOBER Scott Lamlein, with trumpet; First Congrega- Christopher Houlihan, with Pennsylvania tional, Bristol, CT 11:30 am Sinfonia Orchestra; Octave Hall, Macungie, PA David Chalmers DELBERT DISSELHORST Travis Baker; Cathedral Church of St. John 7:30 pm Concert Organist the Divine, New York, NY 5:15 pm •Gail Archer, masterclass; Holy Trinity Luther- LORIÆ EI ANTORES Professor Emeritus Todd Wilson, worship service; St. John’s an, Akron, OH 10 am G D C Episcopal, Roanoke, VA 10 am Orleans, MA University of Iowa–Iowa City Olivier Latry; Christ and St. Luke’s Episcopal, 3 OCTOBER Norfolk, VA 3:30 pm Choral Evensong; All Saints, Worcester, MA David Arcus; Duke Chapel, Duke University, 5 pm Durham, NC 2:30 pm, 5 pm David Lang; Cathedral Church of St. John the Faythe Freese; Church of the Good Shep- Divine, New York, NY 5 pm STEVEN EGLER OHN ENSTERMAKER herd, Augusta, GA 4 pm Scott Dettra; Helen M. Hosmer Concert Hall, Central Michigan University J F Peter Stoltzfus Berton; Memorial Chapel, Potsdam, NY 3 pm First Presbyterian Church RINITY BY THE OVE The Culver Academies, Culver, IN 4 pm Frederick Teardo; Washington National Ca- Mt. Pleasant, Michigan 48858 T - - -C Daniel Sullivan; Wisconsin Lutheran College, thedral, Washington, DC 5:15 pm SOLO Shelly-Egler Milwaukee, WI 3 pm Durufl é, Requiem; Reinhardt College, Wales- NAPLES, FLORIDA Byron Blackmore; Our Savior’s Lutheran, La ka, GA 4 pm RECITALS Flute and Organ Duo Crosse, WI 4 pm Martin Bambauer; St. Lorenz Lutheran, Fran- Allison Boccia, Rosalie Cassiday, David Hi- kenmuth, MI 4 pm ett, Mark Kline, John Linker, Connie Withhart; Frédéric Blanc; University of Michigan, Ann Organist / Pianist Boutell Hall, Northern Illinois University, DeKalb, Arbor, MI 8 pm IL 3 pm David Lamb; St. Boniface Catholic Church, Steven Betancourt; Madonna della Strada Louisville, KY 3 pm Michael Gailit Chapel, Loyola University, Chicago, IL 3 pm David Higgs; First Baptist, London, KY 3 pm www.gailit.at Anita Werling; St. John’s Lutheran, Blooming- Marilyn Keiser; St. Christopher’s Episcopal, offi [email protected] ton, IL 3 pm Carmel, IN 4 pm Konservatorium Wien University Jane Parker-Smith; West End United Meth- University of Music, Vienna 20 SEPTEMBER odist, Nashville, TN 7 pm Peter Stoltzfus Berton, choral workshop; Choral Evensong; Cathedral Church of the Ad- Trinity Episcopal, Fort Wayne, IN 7 pm vent, Birmingham, AL 4 pm
21 SEPTEMBER 4 OCTOBER JAMES HAMMANN WILL HEADLEE James Metzler; Park Congregational, Grand Christopher Reynolds; Hill Auditorium, Uni- DMA-AAGO 1650 James Street Rapids, MI 12:15 pm versity of Michigan, Ann Arbor, MI 4 pm Clif Cason; Ransdell Chapel, Campbellsville Martin Bambauer; Hill Auditorium, University University of New Orleans Syracuse, NY 13203-2816 University, Campbellsville, KY 12:20 pm of Michigan, Ann Arbor, MI 8 pm Sarah Carlson; Church of St. Louis, King of Chapel of the Holy Comforter (315) 471-8451 France, St. Paul, MN 12:35 pm 5 OCTOBER Mark Loring; Park Congregational, Grand 22 SEPTEMBER Rapids, MI 12:15 pm Robert Myers; Trinity Lutheran, Cleveland, James Kibbie; Hill Auditorium, University of OH 12:15 pm Michigan, Ann Arbor, MI 8 pm ANDREW HENDERSON, DMA Harry H. Huber Raymond Johnston; Church of St. Louis, Madison Avenue Presbyterian Church D. Mus. 24 SEPTEMBER King of France, St. Paul, MN 12:35 pm Kansas Wesleyan University, Emeritus Christopher Houlihan; Trinity College, Hart- New York, NY University Methodist Church ford, CT 7:30 pm 6 OCTOBER www.andrewhenderson.net Marilyn Keiser; Christ Lutheran, Kokomo, IN Shirley King; Camp Hill Presbyterian, Camp SALINA, KANSAS 7:30 pm Hill, PA 12:15 pm Timothy Tuller; Cathedral Church of the Ad- Andrew Lang; Hill Auditorium, University of vent, Birmingham, AL12:30 pm Michigan, Ann Arbor, MI 12:15 pm Jozef Kotowicz; Hill Auditorium, University of LORRAINE BRUGH, Ph.D. MICHELE JOHNS 25 SEPTEMBER Michigan, Ann Arbor, MI 1:30 pm 175th Anniversary Celebration Service; All Charles Echols; Hill Auditorium, University of A.Mus.D Michigan, Ann Arbor, MI 8 pm Associate Professor Saints Church, Worcester, MA 4 pm Organ — Harpsichord Todd Wilson; Christ Church Riverdale, The University Organist Bronx, NY 7:30 pm 7 OCTOBER The University of Michigan J. Gregg Bunn; First Baptist, Nashville, TN Valparaiso University School of Music 26 SEPTEMBER 12:15 pm Thomas Mueller, works of Bach; First Con- Valparaiso, IN gregational, Camden, ME 3 pm 8 OCTOBER www.valpo.edu Donald Sutherland; Concordia Lutheran, Paul Jacobs; Octave Hall, Macungie, PA For information on Wilmington, DE 7 pm 7:30 pm professional cards, contact Christopher Wells; Cathedral Church of St. Frederick Swann, masterclass; Westminster 219-464-5084 847/391-1045 John the Divine, New York, NY 5:15 pm Presbyterian, Dayton, OH 10 am, 4 pm recital [email protected] Karen Beaumont; St. Thomas Church, New Chelsea Chen; Benson Great Hall, Bethel [email protected] York, NY 5:15 pm University, St. Paul, MN 7:30 pm
SEPTEMBER, 2010 33 9 OCTOBER David Higgs; Piedmont College Chapel, De- Cameron Carpenter; Old South Church, Bos- morest, GA 7:30 pm Brian Jones KIM R. KASLING ton, MA 3 pm Andrew Peters, silent fi lm accompaniment; D.M.A. Jane Parker-Smith; Spivey Hall, Clayton Col- Pilgrim Lutheran, Indianapolis, IN 7:30 pm Director of Music Emeritus lege and State University, Morrow, GA 3 pm Raúl Prieto Ramírez; St. James Episcopal, St. John’s University Fairhope, AL 7 pm TRINITY CHURCH 10 OCTOBER BOSTON Collegeville, MN 56321 Lawrence Molinaro; St. Vincent Ferrer 23 OCTOBER Church, New York, NY 3 pm John Rose; The Doane Stuart School, Rens- Stephen Tharp, works of Demessieux; Cathe- selaer, NY 7 pm dral Church of St. John the Divine, New York, Musica Sacra; Alice Tully Hall, Lincoln Center, NY 5 pm New York, NY 8 pm JAMES KIBBIE Scott Dettra; Washington National Cathedral, Washington, DC 5:15 pm 24 OCTOBER The University of Michigan Solemn Choral Vespers; Cathedral of Mary Jason Charneski; Center Church, Hartford, Ann Arbor, MI 48109-2085 Our Queen, Baltimore, MD 5 pm ORGAN CONSULTANT CT 4 pm 734-764-1591 FAX: 734-763-5097 Martin, Testament of Praise; Boone United The Chenaults; First United Methodist, Sche- www.gabrielkney.com Methodist, Boone, NC 4 pm nectady, NY 3 pm email: [email protected] Lynn and Hal Fryer; Basilica of the National Todd Wilson; First Presbyterian, Ilion, NY Shrine of Mary, Queen of the Universe, Orlando, 3 pm FL 3 pm John and Marianne Weaver; St. Vincent Fer- D.Mus. The Chenaults; St. Paul’s Episcopal, Augus- rer Church, New York, NY 3 pm David K. Lamb, ta, GA 3 pm Stephen Tharp, works of Demessieux; Cathe- Director of Music/Organist ARTHUR LAMIRANDE Aaron David Miller; Monroe Street United dral Church of St. John the Divine, New York, Methodist, Toledo, OH 3 pm NY 5 pm First United Methodist Church [email protected] Huw Lewis; First United Methodist, Birming- Renée Anne Louprette; St. Paul Cathedral, Columbus, Indiana ham, MI 3 pm www.youtube.com/watch?v=WTkDk-cX1X4 Pittsburgh, PA 4 pm 812/372-2851 James Brown; Boutell Memorial Concert Hall, Felix Hell; Christ Chapel, Gettysburg College, Northern Illinois University, DeKalb IL 3 pm Gettysburg, PA 8 pm +David Schrader; Crimi Auditorium, Aurora •AGO PipeSpectacular; Washington National University, Aurora, IL 2 pm Cathedral, Washington, DC 5:15 pm BETTY LOUISE LUMBY Hagerstown Choral Arts; Trinity Lutheran, David Lowry 11 OCTOBER Hagerstown, MD 4 pm Stile Antico; St. Peter in Chains Cathedral, THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Katherine Hunt; Cathedral of Mary Our DSM • FAGO Cincinnati, OH 7:30 pm 1512 BLANDING STREET, COLUMBIA, SC 29201 Queen, Baltimore, MD 5 pm Raúl Prieto Ramírez; Christ Church, Pen- UNIVERSITY OF MONTEVALLO 12 OCTOBER DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY sacola, FL 3 pm Mark Dealba; Ransdell Chapel, Campbells- ROCK HILL, SC 29733 MONTEVALLO, AL 35115 John Scott; Christ Presbyterian, Canton, OH ville University, Campbellsville, KY 12:20 pm 4 pm Phillip Kloeckner; Church of St. Louis, King David Lamb; First United Methodist, Colum- of France, St. Paul, MN 12:35 pm bus, IN 6 pm Scott Montgomery; Cathedral of the Holy An- 13 OCTOBER gels, Gary, IN 3 pm Handel, Jephtha; Church of St. Ignatius James R. Metzler Loyola, New York, NY 7:30 pm Karen Beaumont; St. Mathias Church, Waukesha, WI 3 pm PARK CONGREGATIONAL CHURCH 14 OCTOBER Douglas Bruce & Myriam Dickenson; Incar- nation Lutheran, Milwaukee, WI 3 pm GRAND RAPIDS, MICHIGAN Gail Archer; Harvard University, Cambridge, MA 12 noon Nathan Laube, Wesley M. Vos Memorial Or- Andrew Peters; DePauw University, Green- gan Recital; First Congregational, Crystal Lake, castle, IN 7:30 pm IL 4 pm David Schrader, harpsichord, with recorder, 15 OCTOBER violin, and cello; Byron Colby Barn, Grayslake, LEON NELSON Christopher Houlihan; Parish Church of St. IL 4 pm A.S.C.A.P. Helena, Beaufort, SC 12 noon FELLOW, AMERICAN GUILD OF ORGANISTS University Organist Faythe Freese; First Presbyterian, Saginaw, 25 OCTOBER North Park University MI 8 pm Felix Hell; St. Ann Catholic Church, Hager- 345 SADDLE LAKE DRIVE Raúl Prieto Ramírez; Trinity United Method- stown, MD 4 pm ROSWELL-ATLANTA, GEORGIA 30076 Chicago, Illinois Douglas Bruce; Elliott Chapel, Presbyterian (770) 594-0949 ist, Huntsville, AL 7:30 pm Homes, Evanston, IL 1:30 pm 16 OCTOBER Mark King; Zion Lutheran, Indiana, PA 7:30 26 OCTOBER pm Carolyn Diamond; Church of St. Louis, King DOUGLAS O’NEILL BEDE JAMES PARRY Raúl Prieto Ramírez; Trinity United Method- of France, St. Paul, MN 12:35 pm Cathedral of the Madeleine ist, Huntsville, AL 8 pm ALL SAINTS’ CHURCH David Schrader, masterclass; Music Building, 27 OCTOBER Salt Lake City, Utah Northern Illinois University, DeKalb, IL 10 am Dong-Ill Shin; Church of St. Ignatius Loyola, New York, NY 7:30 pm [email protected] AS EGAS EVADA 801/671-8657 L V , N 17 OCTOBER Anthony & Beard (Ryan Anthony, trumpet, Ken Cowan; St. James’ Church, New York, and Gary Beard, organ); Sunshine Cathedral, Ft. NY 3 pm Lauderdale, FL 8 pm Stephen Tharp, works of Demessieux; Cathe- MARILYN MASON dral Church of St. John the Divine, New York, 28 OCTOBER CHAIRMAN, DEPARTMENT OF ORGAN NY 5 pm Schütz, Musikalische Exequien; Church of St. UNIVERSITY OF MICHIGAN Gail Archer; St. Paul’s Lutheran, Teaneck, NJ Luke in the Fields, New York, NY 8 pm ANN ARBOR 5:30 pm Joan Lippincott; Miller Chapel, Princeton Christopher Houlihan; Grace Lutheran, Lan- “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Theological Seminary, Princeton, NJ 7:30 pm caster, PA 4 pm with awesome technique and a thrilling command of its daring writing.” Felix Hell; Bethlehem United Methodist, Bish- Nigel Potts; St. Luke’s Episcopal, Lebanon, opville, SC 7 pm The American Organist, 1980 PA 7 pm Todd Wilson; Stan Hywet Hall & Gardens, 29 OCTOBER Akron, OH 4 pm Tom Trenney, recital and silent fi lm accom- Clive Driskill-Smith; Hyde Park Community paniment; Merrill Auditorium, Portland, ME LARRY PALMER SYLVIE POIRIER United Methodist, Cincinnati, OH 4 pm 7:30 pm David Lamb; Central Presbyterian, Terre Nathan Laube; St. Paul’s Episcopal, India- Haute, IN 3 pm napolis, IN 7:30 pm Professor of PHILIP CROZIER Craig Cramer; Reith Recital Hall, Goshen Col- David Hurd; St. Paul’s Episcopal, Chattanoo- ORGAN DUO lege, Goshen, IN 7 pm ga, TN 7:30 pm Harpsichord and Organ Anita Werling; First Presbyterian, Macomb, 3355 Queen Mary Road, Apt 424 IL 3 pm 31 OCTOBER Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Stefan Engels; St. Louis Cathedral, New Or- Gail Archer; Church of the Advent, Boston, leans, LA 6 pm MA 4:30 pm SOUTHERN METHODIST UNIVERSITY Canada Andrew Henderson & Mary Huff; Madison 18 OCTOBER (514) 739-8696 Avenue Presbyterian, New York, NY 3 pm Dallas, Texas 75275 Choral concert, with orchestra; St. Luke Cath- Felix Hell; Good Shepherd Lutheran, King of Fax: (514) 739-4752 olic Church, McLean, VA 4 pm Prussia, PA 3 pm Joy Ross; The Presbyterian Church, Hager- Musical Heritage Society recordings [email protected] David Briggs, silent fi lm accompaniment; stown, MD 4 pm Duke Chapel, Duke University, Durham, NC David Lamb, with Atlanta Youth Wind Sym- 5 pm phony; Emory University, Atlanta, GA 7 pm
19 OCTOBER UNITED STATES Christopher Dekker; Park Congregational, West of the Mississippi Grand Rapids, MI 12:15 pm A four-inch Professional Card John Scott; Overture Hall, Madison, WI 7:30 pm 16 SEPTEMBER in THE DIAPASON Lawrence Archbold; Church of St. Louis, Andrew Peters; Boe Chapel, St. Olaf College, For rates and specifi cations King of France, St. Paul, MN 12:35 pm Northfi eld, MN 7 pm 21 OCTOBER 17 SEPTEMBER contact Jerome Butera Douglas Bruce; St. Luke Catholic Church, Hatsuko Imamura; Christ Episcopal, Tacoma, McLean, VA 1 pm WA 12:10 pm 847/391-1045 22 OCTOBER 18 SEPTEMBER [email protected] Paul Jacobs; Methuen Memorial Music Hall, •Gail Archer, masterclass: St. Mark’s Luther- Methuen, MA 8 pm an, Spokane, WA 10 am Nigel Potts; St. Petersburg College, St. Pe- John Karl Hirten; California Palace of the Le- tersburg, FL 7:30 pm gion of Honor, San Francisco, CA 4 pm
34 THE DIAPASON
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 19 SEPTEMBER +Don Pearson; St. Ignatius of Antioch Church, Tom Trenney; First United Methodist, Shreve- Antioch, CA 7:30 pm Stephen G. Schaeffer port, LA 7 pm ROBERT L. Bruce Power; Christ Church Cathedral, Hous- 10 OCTOBER Recitals – Consultations ton, TX 3 pm Andrew Sheranian; Cathedral of the Mad- SIMPSON •Gail Archer; St. Mark’s Lutheran, Spokane, eleine, Salt Lake City, UT 8 pm Cathedral Church of the Advent Christ Church Cathedral WA 4 pm Christian Teeuwsen; Lagerquist Hall, Pacifi c Birmingham, Alabama 1117 Texas Avenue John Karl Hirten; California Palace of the Le- Lutheran University, Tacoma, WA 3 pm www.AdventBirmingham.org Houston, Texas 77002 gion of Honor, San Francisco, CA 4 pm David Gell; Trinity Episcopal, Santa Barbara, Carol Williams; Spreckels Organ Pavilion, CA 3:30 pm Balboa Park, San Diego, CA 2 pm Ken Cowan, with Lisa Shihoten, violin; Cov- enant Presbyterian, Long Beach, CA 3 pm Stephen Tappe 24 SEPTEMBER Olivier Latry; St. James Episcopal, Los An- Beal Thomas Charles Rus; Spanaway Lutheran, Span- geles, CA 6 pm Organist and Director of Music away, WA 12 noon Saint John's Cathedral Mount Calvary Church Christoph Bull; Irvine Valley College, Irvine, 11 OCTOBER Baltimore CA 8 pm Olivier Latry; Benaroya Concert Hall, Seattle, Denver, Colorado WA 7:30 pm www.sjcathedral.org [email protected] 25 SEPTEMBER Keith Thompson; California Palace of the Le- 14 OCTOBER gion of Honor, San Francisco, CA 4 pm John & Marianne Weaver; First United Meth- Timothy Howard ; Christ Episcopal, Eureka, odist, Wichita Falls, TX 7 pm ORGAN MUSIC OF THE SPANISH BAROQUE CA 7:30 pm 16 OCTOBER 26 SEPTEMBER David Troiano Joe Utterback Carole Terry, masterclass; Organ Studio, Uni- DMA MAPM Alan Morrison; Cathedral of St. Joseph, Ba- versity of Texas, Austin, TX 2 pm COMMISSIONS & CONCERTS ton Rouge, LA 4 pm Gerre Hancock, improvisation master- 586.778.8035 732 . 747 . 5227 Olivier Latry; Christ United Methodist, Plano, class; Chapel, St. Mary’s College, Moraga, CA [email protected] TX 7 pm 10 am Craig Cramer; Cathedral of the Madeleine, Marilyn Keiser, workshop; All Saints Episco- Salt Lake City, UT 8 pm pal, Sacramento, CA 10 am Naomi Shiga & Jonathan Wohlers; Thomsen Chapel, St. Mark’s Cathedral, Seattle, WA 2 pm 17 OCTOBER David Wagner Jonathan Dimmock; St. John’s Presbyterian, Barbara Raedeke; St. Mark’s Episcopal, St. DMA Kevin Walters Berkeley, CA 4 pm Louis, MO 4 pm Keith Thompson; California Palace of the Le- Madonna University Apollo’s Fire; Cathedral Basilica of St. Louis, M.A., F.A.G.O. gion of Honor, San Francisco, CA 4 pm Livonia, Michigan St. Louis, MO 7:30 pm Christoph Bull; Ascension Lutheran, Thou- Carole Terry; Bates Recital Hall, University of [email protected] Rye, New York sand Oaks, CA 5:15 pm Texas, Austin, TX 4 pm Carol Williams; Spreckels Organ Pavilion, Martin Neary, Choral Festival; Christ Church Balboa Park, San Diego, CA 2 pm Cathedral, Houston, TX 6 pm Douglas Cleveland; Bethlehem Lutheran, Ka- 1 OCTOBER lispell, MT 2 pm Choral Evensong; All Saints’ Church, Beverly KARL WATSON Cherie Wescott Gerre Hancock Hills, CA 7:30 pm ; Chapel, St. Mary’s College, Concerts • Masterclasses • Coaching Moraga, CA 3 pm SAINT LUKE’S 2 OCTOBER Marilyn Keiser; All Saints Episcopal, Sacra- 405/942-3958 mento, CA 4 pm David Hegarty; California Palace of the Le- METUCHEN e-mail: [email protected] gion of Honor, San Francisco, CA 4 pm 19 OCTOBER 3 OCTOBER Raúl Prieto Ramírez; St. Paul’s Cathedral, Gerre Hancock; Grace and Holy Trinity Ca- Oklahoma City, OK 7:30 pm thedral, Kansas City, MO 2 pm Davis Wortman David Hurd; Holy Trinity Episcopal, Lincoln, 22 OCTOBER RONALD WYATT NE 3 pm John Scott; St. Barnabas on the Desert Epis- Ken Cowan; Broadway Baptist, Fort Worth, copal, Scottsdale, AZ 7 pm St. James’ Church Trinity Church TX 7 pm Olivier Latry; Augustana Lutheran, Denver, 23 OCTOBER New York Galveston CO 4 pm Hector Olivera; Grace United Methodist, Christoph Bull; San Gabriel Mission Play- Oklahoma City, OK 7 pm house, San Gabriel, CA 2:30 pm Carol Williams; Spreckels Organ Pavilion, 24 OCTOBER Charles Dodsley Walker, FAGO Balboa Park, San Diego, CA 2 pm Douglas Cleveland; Center for Faith and Life, Luther College, Decorah, IA 2 pm Artist-in-Residence Founder/Conductor 8 OCTOBER Clive Driskill-Smith; Cathedral of the Mad- Saint Luke’s Parish Canterbury Choral Society VocalEssence; Ted Mann Concert Hall, Min- eleine, Salt Lake City, UT 8 pm 1864 Post Road 2 East 90th Street neapolis, MN 8 pm Faythe Freese; Trinity Lutheran, Lynnwood, Darien, CT 06820 New York, NY 10128 David Higgs; Co-Cathedral of the Sacred WA 4 pm (917) 628-7650 (212) 222-9458 Heart, Houston, TX 8 pm Christoph Bull; Segerstrom Concert Hall, Orange County Performing Arts Center, Costa 9 OCTOBER Mesa, CA 7 pm VocalEssence; Ted Mann Concert Hall, Min- neapolis, MN 8 pm 28 OCTOBER William Webber, C.A.G.O. David Higgs, masterclass; Co-Cathedral of Bradley Hunter Welch; Tarrytown United Organist/Director, First Christian Church, Danville, KY the Sacred Heart, Houston, TX 9 am Methodist, Austin, TX 7:30 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: http://webspace.setel.com/~wmwebbiv DAVID SPICER First Church of Christ www.organconsulting.ca Wethersfi eld, Connecticut
RUDOLF ZUIDERVELD Illinois College, Jacksonville House Organist First Presbyterian Church, The Bushnell Memorial Hartford Springfi eld
Cathedral of St. John Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581, ext. 106
Maxine Thévenot Director of Cathedral Music & Organist
SEPTEMBER, 2010 35 29 OCTOBER Michael Smith; Bridlington Priory, Bridlington, Ensemble Mala Punica; Eglise des Jacobins, 15 OCTOBER J. Melvin Butler, silent fi lm accompaniment; UK 6 pm Toulouse, France 8:30 pm Christian Bacheley; Cathedral, Lausanne, St. Mark’s Cathedral, Seattle, WA 7:30 pm Adrian Gunning; St. John the Evangelist, Switzerland 7 pm London, UK 7:30 pm 8 OCTOBER Heinz Peter Kortmann; Cathedral, Lausanne, 31 OCTOBER Isabelle Demers; Église Saint-Jean-Baptiste, Anne-Caroline Prénat; Cathedral, Lausanne, Switzerland 8 pm Clive Driskill-Smith; Our Lady of Lourdes, Montréal, QC, Canada 8 pm Switzerland 8 pm Alex Flierl; Cathedral, Lausanne, Switzerland Sun City West, AZ 3 pm Gerben Mourik, with Boudewijn Zwart, car- 9 pm Clark Wilson, silent fi lm accompaniment; Walt 26 SEPTEMBER illon; Basilique Saint-Sernin, Toulouse, France Pierre Barthez; Cathédrale Saint-Etienne, Disney Concert Hall, Los Angeles, CA 7:30 pm Giampaolo Di Rosa; Chiesa di S. Michele Ar- 8:30 pm Toulouse, France 12:30 pm Carol Williams; Spreckels Organ Pavilion, cangelo, Cavaglià, Italy 9 pm Christine Laugie, carillon; Place du Capitole, Jan Willem Jansen, harpsichord, with ensem- Balboa Park, San Diego, CA 2 pm Stephen Tharp; St. Sulpice, Paris, France Toulouse, France 7:55 pm ble; Basilique Saint-Sernin, Toulouse, France 4 pm Lucie Sakova, with narrator; Cathédrale 8:30 pm Gerard Brooks; Westminster Abbey, London, d’Evreux, Evreux, France 8:30 pm INTERNATIONAL UK 5:45 pm 16 OCTOBER 9 OCTOBER Mendelssohn, Elias; Ev. Stadtkirche, Be- 29 SEPTEMBER François Guerrier, harpsichord, with fl ute sigheim, Germany 7 pm 16 SEPTEMBER Margaret Phillips; Rozsa Centre, University and violin; Chapelle des Carmélites, Toulouse, Felix Hell; St. Mary’s Imperial Cathedral, Daniel Moult; St. Matthew’s Westminster, of Calgary, Calgary, AB, Canada 8 pm France 11 am Speyer, Germany 8 pm London, UK 1:05 pm Jan Willem Jansen, organ and harpsi- Yves Rechsteiner; Eglise Notre-Dame La 30 SEPTEMBER chord; Musée des Augustins, Toulouse, France Dalbade, Toulouse, France 4 pm 17 SEPTEMBER Christina Hutten; Eckhardt-Gramatté Hall, 8:30 pm James David Christie & John Finney; Eg- Mario Cifferi; Cathedral, Lausanne, Switzer- University of Calgary, Calgary, AB, Canada 8 pm Vierne, Messe solennelle; Cathédrale lise-musée des Augustins, Toulouse, France land 8 pm d’Evreux, Evreux, France 8:30 pm 8:30 pm 1 OCTOBER Oliver Brett; Victoria Hall, Hanley, Stoke-on- Carol Williams; The Crossing Church, Work- 18 SEPTEMBER Jerzi Dziubinski; Cathedral, Lausanne, Swit- Trent, UK 12 noon sop, Notts, UK 7:30 pm Stefano Pellini, with saxophone; Abbazia di zerland 8 pm Robert Poyser; Beverley Minster, Beverley, S. Silano, Romagnano Sesia, Italy 9 pm Jean-Willy Kunz; Knox United Church, Cal- UK 6 pm 17 OCTOBER Matthew Martin; St. John the Evangelist, Up- gary, AB, Canada 12:10 pm Jan Willem Jansen, with chorus; Cathédrale per Norwood, UK 6:30 pm David Briggs; Cathedral Church of the Re- 10 OCTOBER Saint-Etienne, Toulouse, France 8:30 pm deemer, Calgary, AB, Canada 8 pm Holger Gehring; Laurenskerk, Rotterdam, Matthew Brown; St. Paul’s Cathedral, Lon- 19 SEPTEMBER Thomas Murray; Metropolitan United Church, Netherlands 3 pm don, UK 4:45 pm Silvano Rodi; Chiesa di S. Maria della Pace, Toronto, ON, Canada 7:30 pm Felix Hell; Evangelical-Lutheran Brotherhood Pralungo, Italy 9 pm 20 OCTOBER Tom Bell; Westminster Abbey, London, UK “Kecharismai” (EBK), Christ-König-Kirche, Det- 2 OCTOBER tingen, Germany 5 pm David Hill; Westminster Cathedral, London, 5:45 pm Gillian Russell; St. Alphage, Burnt Oak, Edg- Monteverdi, Vespers; Cathédrale d’Evreux, UK 7:30 pm ware, UK 7:30 pm Evreux, France 5 pm 21 SEPTEMBER Thomas Murray, masterclass; Metropolitan Boudewijn Zwart, with Ensemble Trio Sona- 21 OCTOBER Geraint Bowen; Hereford Cathedral, Her- United Church, Toronto, ON, Canada 10 am ta; Basilique Notre Dame La Daurade, Toulouse, Cristina García Banegas; Oaxaca Cathedral, eford, UK 7:30 pm John Morabito; Grace Presbyterian, Calgary, France 4 pm Oaxaca, Mexico 8 pm AB, Canada 4 pm Alessandro Bianchi 22 SEPTEMBER Frédéric Champion, with Calgary Philhar- ; St. Paul’s Cathedral, London, UK 4:45 pm 23 OCTOBER William McVicker & David Pether; Reading monic, Saint-Saëns, Organ Symphony; Jack Carol Williams; Musical Museum, Brentford, Town Hall, Reading, UK 1 pm Singer Concert Hall, Calgary, AB, Canada 8 pm 11 OCTOBER Middlesex, UK 7:30 pm Matthew Martin; Westminster Cathedral, Lon- Cristina García Banegas, with Capilla Virre- don, UK 7:30 pm 3 OCTOBER Jean-Paul Caubère; Temple, Castres, France 9:30 am inal de la Nueva España, Santo Domingo Yan- Henk van Putten; Maria van Jessekerk, Delft, huitlán, Mexico 1:30 pm 24 SEPTEMBER Netherlands 3 pm Stéphane Bois; Eglise Notre Dame des Grâces, Revel, France 11:45 am Ignacio Teléns; Cathedral, Lausanne, Swit- Tobias Horn, with narrator; Ev. Stadtkirche, 24 OCTOBER zerland 8 pm Besigheim, Germany 2 pm Boudewijn Zwart, carillon; Eglise Saint-Mi- chel, Castelnaudary, France 3:15 pm Sebastian Thomson; St. Paul’s Cathedral, Elena Sartori; Santuario di Sant’Euseo, Ser- Daniel Clark; St. Paul’s Cathedral, London, London, UK 4:45 pm Babette Mondry; Musée des Augustins, Tou- ravalle Sesia, Italy 9 pm UK 4:45 pm Guy Bovet; San Jerónimo Tlacochahuaya, louse, France 12:30 pm Alan Morrison; Knox United Church, Calgary, Oaxaca, Mexico 6 pm 25 SEPTEMBER AB, Canada 7:30 pm Babette Mondry; Saint-Félix, Lauragais, France 5:30 pm Mario Duella; Chiesa di S. Sebastiano, Trive- 25 OCTOBER ro, Italy 4:30 pm 7 OCTOBER José Francisco Álvarez, with trombone; La 12 OCTOBER Giampaolo Di Rosa; Chiesa di SS. Giulio ed Christine Laugie, carillon; Place du Capitole, Basílica de la Soledad, Oaxaca, Mexico 8 pm Amatore, Cressa, Italy 9 pm Toulouse, France 7:55 pm Jean-Baptiste Dupont, with percussion; Mu- sée des Augustins, Toulouse, France 12:30 pm 26 OCTOBER Carol Williams; St. Lawrence Parish Church, Guy Bovet; Santa María Tlaxiaco, Tlaxiaco, Alton, Hants, UK 8 pm ORGAN BUILDERS Mexico 7 pm
13 OCTOBER 31 OCTOBER Christine Laugie, carillon; Eglise Notre-Dame Dominic Severin; St. Paul’s Cathedral, Lon- L. W. BLACKINTON THE NOACK ORGAN CO., INC. de la Visition, Montech, France 6 pm don, UK 4:45 pm and associates, inc. MAIN AND SCHOOL STREETS Marc Chiron; Temle du Salin, Toulouse, GEORGETOWN, MA 01833 www.noackorgan.com France 12:30 pm 380 FRONT ST. Michel Bouvard; Basilique Saint-Sernin, Tou- Send organ recital programs to Member: Associated Pipe Organ Builders of America EL CAJON, CA 92020 louse, France 9 pm The Diapason. Mail printed pro- grams to Joyce Robinson, The Diapa- 14 OCTOBER martin ott pipe Maïko Kato; Eglise Saint-Pierre des Char- son, 3030 W. Salt Creek Lane, Suite organ 201, Arlington Heights, IL 60005- company treux, Toulouse, France 12:30 pm inc. Yoann Taardivel & Thomas Ospital; Eg- 5025; e-mail fi les (Word or PDF) to 7408 Somerset Ave. lise Notre-Dame la Dalbade, Toulouse, France [email protected]. St. Louis, MO 63105 8:30 pm 314-504-0366 Phone 314-569-3879 Fax Martin Ott [email protected] Orgelbaumeister www.ottpipeorgan.com
NEW INSTRUMENTS MAINTENANCE RESTORATIONS Parkey 974 AUTUMN DRIVE OrganBuilders ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs ABR 847-395-1919 ATOS F INCY 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 ExperienceAmerican Theatre Organ Society Suite 150-285 Fax 770-368-3209 www.fabryinc.com Duluth, Georgia 30096 www.parkeyorgans.com Preserving a unique art form. Concerts, education, silent film, preservation, Pipe Organ Craftsmen & Builders fellowship and more. www.atos.org Hupalo GF Jim Merry, Executive Secretary, [email protected] 1785 Timothy Drive, Unit 4 & San Leandro, CA 94577 P.O. Box 5327, Fullerton, CA 92838 Repasky Tel: 510 483 6905 www.hupalorepasky.com
sound INSPIRATION
Acoustical Design & Testing • Organ Consultation & Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training
www.riedelassociates.com • (414) 771-8966 email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202
Advertise in A. David Moore, Inc. _ The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected]
36 THE DIAPASON FRANCESCO CERA, Arizona State Uni- Allegro vivace (Symphony No. 5, op. 42, no. Hindemith; Passacaglia from ‘Nobilissima Vi- Organ Recitals versity, Tempe, AZ, April 11: Fantasia sexti 1), Widor; Intermezzo, Lamento, Litanies, sione’, Hindemith, transcr. Rakich; Fugue on toni, G. Gabrieli; Ricercar arioso terzo, A. Alain; Suite, Durufl é; improvisation. ‘Wachet Auf’, Reger. Gabrieli; Toccata avanti la Messa della Ma- donna, Kyrie, Christe, Kyrie, Canzon dopo THOMAS MURRAY, St. Norbert Abbey, MARIJIM THOENE, Tulane University, WILLIAM AYLESWORTH, with Paul l’Epistola, Recercar dopo il Credo, Toccata per DePere, WI, March 20: Toccata in F, BWV New Orleans, LA, March 3: Pièce d’Orgue, Vanderwerf, violin, St. John’s Evangelical l’Elevatione, Canzon post il Comune (Messa 540, Bach; Mater dolorosa, Regina Pacis BWV 572, Bach; Habakkuk, op. 434, Hovha- Lutheran Church, Wilmette, IL, April 11: della Domenica), Toccata avanti il Recercar, (Symphony I on Gregorian Themes), Weitz; ness; Suite Médiévale, Langlais; Luttes (Trois O Lamm Gottes, unschüldig, Bach; Prelude Recercar con obligo di cantare la quinta parte Glory and Peace, Locklair; Rhapsody on a Dances), Alain. and Fugue in G, op. 37, no. 2, Mendelssohn; senza toccarla, Bergamasca, Frescobaldi; Ky- Breton Theme, op. 7, no. 1, Saint-Saëns; Prae- Invocation, op. 55, Beach; Sketch in D-fl at, rie, Gott heiliger Geist, BWV 671, Concerto in ludium Circulare, Pastorale, Andante, Final DAME GILLIAN WEIR, Covenant Pres- Sketch in f, Schumann; Suite in c, op. 166, C after Antonio Vivaldi (op.3, no. 12), BWV (Symphony II), Widor. byterian Church, Charlotte, NC, March 14: Rheinberger; Andante sostenuto (Symphonie 976, Bach. Etude de Concert, Bonnet; Variations on Gothique, op. 70), Widor; Carillon de West- MASSIMO NOSETTI, Sacred Heart Est-ce Mars?, Sweelinck; Fantasia in d, Stan- minster, op. 54, no. 6, Vierne. ROBERT DELCAMP, St. Anne Episcopal Cathedral, Newark, NJ, April 14: Imperial ford; Psalm Prelude (Set 1, No. 1), Howells; Church, West Chester, OH, March 12: March March, op. 32, Elgar, transcr. Martin; Canto Chorale Prelude on Croft’s 136th, Parry; Toc- TIMOTHY LEE BAKER, St. Mark’s Unit- on a Theme by Handel, op. 15, no. 2, Alle- nostalgico, Matthey; Improvisation on Victi- cata, Fugue and Hymn on Ave Maris Stella, ed Church of Christ, New Albany, IN, March gretto in b, op. 19, no. 1, Grand Choeur in g, mae Paschali, Tournemire, transcr. Durufl é. Peeters; Cortège et Litanie, Dupré; Le Jardin 12: Prelude and Fugue in D, BWV 532, Bach; op. 84, Guilmant; Recollection (Soliloquy No. suspendu, Fantasmagorie, Alain; Salamanca, What Wondrous Love Is This?, Jesus, the 2), Conte; Suite on the First Tone, Bédard; JANE PARKER-SMITH, East Liberty Bovet; Moto ostinato (Sunday Music), Eben; Very Thought of Thee, Farrell; Fantasy in f, Sarabande on Land of Rest, Prelude and four Presbyterian Church, Pittsburgh, PA, March Toccata, Mushel. K. 594, Mozart; Refl ection on Passion Cho- variations on Adoro te devote, Near; Cruci- 21: Lobet den Herren mit Pauken und Zimbeln rale, Ratcliffe; Sonata No. 3 in A, Mendels- fi xion, Resurrection (Symphonie-Passion, op. schön, Karg-Elert, transcr. Hellmers; Chro- ANITA EGGERT WERLING, Emmanuel sohn; In Paradisum (Requiem), Fauré/Dupré; 23), Dupré. matic Fantasie and Fugue, BWV 903, Bach, Episcopal Church, Rockford, IL, March 21: Toccata, Weaver. transcr. Reger; Choral No. 2 in b, Franck; Répons pour le Temps de Pâques, Demes- STEFAN ENGELS, First Presbyterian Mephisto Waltz No. 1, Liszt, transcr. Parker- sieux; Wondrous Love: Variations on a Shape- Church, New York, NY, February 14: Varia- Note Hymn, op. 34, Barber; Sheep May Safely ROBERT BATES, First Presbyterian Smith; Concertante Study, Vrána; Cantabile, tionen über ein geistliches Volkslied, op. op. 37, no. 1, Jongen; Rhapsody in c-sharp, Graze, Bach, arr. Biggs; O Lamm Gottes, un- Church, Yakima, WA, March 5: Praeludium 33, Hoyer; Concerto in C, BWV 594, Bach; op. 17, no. 3, Howells; Miroir, Wammes; Fi- schuldig, BWV 619, Prelude and Fugue in G, in g, BuxWV 148, Buxtehude; Segundo tiento Dankpsalm, op. 145, no. 2, Reger; Fugue in nal (Sonata No. 1 in d, op. 42), Guilmant. BWV 541, Bach; Fantaisie in A, Franck; Vari- de quarto tono a modo de canción, Tiento B-fl at, Andante sostenuto in f, Allegro in d, ations on ‘Shades Mountain’, Eggert; Prélude de medio registro de tiple de segundo tono Andante in D, Mendelssohn; Symphonisch- WILLIAM PETERSON, Pomona College, et Danse fuguée, Litaize. (Facultad Orgánica), de Arauxo; Prelude in er Choral ‘Jesu, meine Freude,’ op. 87, no. Claremont, CA, March 28: Prelude and Fugue E-fl at, BWV 552/I, Kyrie, Gott Vater in Ewig- 2, Karg-Elert. in e, BWV 548, Nun danket alle Gott, BWV THOMAS WIKMAN, Lutheran School keit, BWV 669, Allein Gott in der Höh’ sei 657, Wenn wir in höchsten Nöten sein, BWV of Theology, Chicago, IL, March 2: Toccata Ehr’, BWV 676, Fugue in E-fl at, BWV 552/ STEPHEN HAMILTON, The First 668a, Aus tiefer Not schrei ich zu dir, BWV 686, Undici, Muffat; An Wasserfl üssen Babylon, II, Bach; Annum per annum, Pärt; Charon’s Church of Deerfi eld, MA, March 14: Partite Duetto I, BWV 802, Herr Christ, der ein’ge Pachelbel; O Mensch, bewein dein Sünde Oar, Bates; Final (Hommage à Igor Stravin- Sopra la Aria della Folia de Espagne, Pas- Gottessohn, BWV 601, Christ wir sollen loben gross, BWV 622, Passacaglia and Fugue in c, sky), Hakim. quini; La Romanesca con Cingue Mutanze, schon, BWV 611, Liebster Jesu, wir sind hier, BWV 582, Bach. Valente; Concerto in b, Walther; O Mensch, BWV 633, Vater unser im Himmelreich, BWV BYRON L. BLACKMORE, American bewein’ dein’ Sünde gross, O Gott, du from- 636, Es ist das Heil uns kommen her, BWV 638, CATHRYN WILKINSON, Presbyterian Lutheran Church of Sun City, Sun City, AZ, mer Gott, Bach; Andante in F, K. 616, Mozart; Prelude and Fugue in b, BWV 544, Bach. Homes, Evanston, IL, March 29: Les Rameaux March 16: Pièce d’Orgue, BWV 572, Bach; Aria (Six Pieces), A. Alain; Le jardin suspendu, (Poèmes évangéliques, op. 2), Langlais; The Holy Passion Chorale, op. 122, nos. 9 and 10, JA 71, Alain; Passacaglia, BWV 582, Bach. CHRISTA RAKICH, Harvard Univer- City, Maybrick; Ach bleib bei uns, Herr Jesu Brahms; Voluntary in C, Travers; Jesus Com- sity, Cambridge, MA, March 2: Prelude and Christ, BWV 649, Bach; Fugue in a-fl at, Wo08, forts the Women of Jerusalem (The Stations of CHRISTOPHE MANTOUX, Grace Epis- Fugue in e, Mendelssohn, transcr. Best; Five Herzliebster Jesu (Eleven Chorale Preludes, op. the Cross, op. 29), Dupré; Toccata (Sympho- copal Church, Alexandria, VA, February 26: Chorale Preludes, Fantasie and Fugue on ‘Wie 122), Brahms; Andantino in g, Franck; Swing nie, op. 42, no. 5), Widor. Choral III in a, Franck; Méditation, Dupont; schön leuchtet’, Senfter; Two Early Pieces, Low, Sweet Chariot, arr. Harbach.
Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045,
Visit The Diapason website: www.TheDiapason.com
CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected]
Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ .98 Regular Classifi ed minimum 20.00 ______Display Classifi ed, per word 1.30 Display Classifi ed minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 15.00 ______($25 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.
SEPTEMBER, 2010 37 Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ AVAILABLE RECORDINGS RECORDINGS RECORDINGS
All Saints Episcopal Church, 10 Irving Street, Harpsichord Technique: A Guide to Expres- Refl ections: 1947–1997, The Organ Depart- Historic Organs of Seattle: A Young Yet Vi- Worcester, MA 01609; tel. 508/752-3766; fax sivity, Second Edition, by Nancy Metzger. ment, School of Music, The University of Michi- brant History, the latest release from OHS, is a 508/752-0665; e-mail: [email protected]; Book, organ, harpsichord CDs at author’s gan, edited by Marilyn Mason & Margarete Thom- four-disc set recorded at the 2008 OHS national web: www.allsaintsw.org. Full-time Director of website, best prices. www.rcip.com/ sen; dedicated to the memory of Albert Stanley, convention, held in the Seattle, Washington Music (Organist-Choir Director). Please send musicadulce. Earl V. Moore, and Palmer Christian. Includes an area. Nearly fi ve hours of music feature historic contact information, website of present posi- informal history-memoir of the organ department organs by Aeolian-Skinner, Casavant, Hook & tion and résumé via the above e-mail address with papers by 12 current and former faculty and Hastings, and Hutchings-Votey, Kilgen, Tallman, with subject line: Director of Music Search. PRO ORGANO’s 2010 2-disc release (DVD + students; 11 scholarly articles; reminiscences and Woodberry, Hinners, Cole & Woodberry, plus in- Only applications received by November 1, CD, Pro Organo CD 7234, $20 plus postage) testimonials by graduates of the department; 12 struments by Flentrop, C. B. Fisk, and Rosales, 2010 will be considered. All Saints is an equal is entitled Methuen Century. This elegant and appendices, and a CD recording, “Marilyn Mason and Pacifi c Northwest organbuilders Paul Fritts, opportunity employer. comprehensive introduction to the Great Organ in Recital,” recorded at the National Shrine of the Martin Pasi, John Brombaugh, Richard Bond, of Methuen Memorial Music Hall features an in- Immaculate Conception in Washington, DC. $50 and many more! Renowned organists Douglas depth organ tour of the entire organ by Matthew from The University of Michigan, Prof. Marilyn Ma- Cleveland, Julia Brown, J. Melvin Butler, Carol Part-time Interim Organist—Can become Bellocchio, as well as 27 minutes of organ music son, School of Music, Ann Arbor, MI 48109-2085. Terry, Bruce Stevens, and others are featured permanent, wanted to support well-established by Bach, Vierne, Grieg and Widor as recorded by in live performances on 24 pipe organs built be- and diverse music ministry. Visit our website, organ virtuoso Frederick Hohman in September tween 1871 and 2000. Includes a 36-page book- www.covenantpcusa.org (Organist Search). 2008. Several “extras” are found on the DVD as The OHS Catalog is online at www.ohscatalog. let with photographs and stoplists. $34.95, OHS Send résumé to Charlotte Sharpe (rcsharpe@ well. The release coincides with the 100th anni- org. More than 5,000 organ and theatre organ members: $31.95. For more info or to order: columbus.rr.com). versary of Methuen Memorial Music Hall. Com- CDs, books, sheet music, DVDs and VHS vid- http://OHSCatalog.com/hiorofse.html. plete details can be found at ProOrgano.com. eos are listed for browsing and easy ordering. Use a link for adding your address to the OHS Church Organ Sales—Major classical/church Catalog mailing list. Organ Historical Soci- PIPE ORGANS organ manufacturer seeks sales/service person- It’s time to check your company’s listing for ety, Box 26811, Richmond, VA 23261. E-mail: nel or dealership principals in select US loca- THE DIAPASON 2011 Resource Directory—or to [email protected]. FOR SALE tions. Contact Rick Anderson 503/681-0483 or create one if you haven’t done so! Visit www. [email protected]. TheDiapason.com, and from the left column A 1966 classic design, electro-pneumatic select Supplier Login. For information, contact Historic Organ Surveys on CD: recorded during Moller Pipe Organ in Madison, Wisconsin, Joyce Robinson, 847/391-1044; jrobinson@ national conventions of the Organ Historical Soci- with three manuals, 18 stops, and 21 ranks. PUBLICATIONS/ sgcmail.com. ety. Each set includes photographs, stoplists, and Call 608/238-5656 or e-mail lkrueger@ histories. As many organists as organs and reper- molconline.org. RECORDINGS toire from the usual to the unknown, Arne to Zun- The Organ Historical Society has released del, often in exceptional performances on beautiful Larghetto from Serenade for Strings is Historic Organs of Indiana, 4 CDs recorded at organs. Each set includes many hymns sung by 1974 Moeller, III/31, Rock Island, IL. Contact: stunningly beautiful Elgar in a high qual- the OHS National Convention in Central Indiana 200–400 musicians. Historic Organs of Indiana, 31 Vern Soeken; (C) 309/781-8153; (H) 309/786- ity transcription. Highly recommended. in July, 2007. Nearly 5 hours of music features organs on 4 CDs, $34.95. Historic Organs of Louis- 3667. E-mail: [email protected]. michaelsmusicservice.com; 704/567-1066. 31 pipe organs built between 1851–2004, by ville (western Kentucky/eastern Indiana), 32 organs Aeolian-Skinner, Skinner, Henry Erben, Felge- on 4 CDs, $29.95. Historic Organs of Maine, 39 maker, Hook & Hastings, Kilgen, Kimball, and organs on 4 CDs, $29.95. Historic Organs of Balti- Portative organ: Designed for small choral or CD Recording, “In memoriam Mark Buxton many more builders. Performers include Ken more, 30 organs on 4 CDs, $29.95. Historic Organs baroque ensembles. Four stops: 8′, 4′, 2′, and (1961–1996).” Recorded at Église Notre-Dame Cowan, Thomas Murray, Bruce Stevens, Carol of Milwaukee, 25 organs in Wisconsin on 2 CDs, 1-1/3′, with the last two divided into bass and de France in Leicester Square, London, between Williams, Christopher Young, and others. A 40- $19.98. Historic Organs of New Orleans, 17 organs treble registers and an adjustable point of di- 1987 and 1996. Works of Callahan, Widor, page booklet with photos and stoplists is includ- in the Bayous to Natchez on 2 CDs, $19.98. Histor- vision (b24/c25 or c25/c#26). Adjustable pitch Grunewald, Salome, Ropartz, and Boëllmann, ed. OHS-07 4-CD set is priced at $34.95 (OHS ic Organs of San Francisco, 20 organs on 2 CDs, between A=440 Hz and A=415 Hz. Quarter- along with Buxton’s improvisations. $15 post- members, $31.95) plus shipping. Visit the OHS $19.98. Add $4.50 shipping in U.S. per entire order sawn white oak case. Available immediately. paid: Sandy Buxton, 10 Beachview Crescent, To- Online Catalog for this and over 5,000 other or- from OHS, Box 26811, Richmond, VA 23261, by For more information, contact Létourneau Pipe ronto ON M4E 2L3 Canada. 416/699-5387, FAX gan-related books, recordings, and sheet music: telephone with Visa or MasterCard 804/353-9226; Organs at [email protected] or 416/964-2492; e-mail [email protected]. www.ohscatalog.org. FAX 804/353-9266. 888/774-5105.
TOTAL PIPE ORGAN RESOURCES
2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.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
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
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
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Pipe organ house for sale—Chalet-style Morel Assoc. inventory reduction sale: 16′ Austin actions recovered. Over 40 years ex- Releathering all types of pipe organ actions home, 1200 square feet, designed around eight- Bourdon—32/73, 8′ Vox, 16′ Open Wood, 8′ perience. Units thoroughly tested and fully guar- and mechanisms. Highest quality materials and rank, 1932 Moeller Pipe Organ, Opus 6240, Principal, 3-manual console, 8′ Doppelfl öte, anteed. Please call or e-mail for quotes. Tech- workmanship. Reasonable rates. Columbia recently rebuilt with solid-state relay and com- and more. Reasonable pricing. 303/671-6708 nical assistance available. Foley-Baker, Inc., 42 Organ Leathers 800/423-7003. www.columbia bination action including playback system. Great (Colorado). N. River Road, Tolland, CT 06084. Phone 1- organ.com/col. division on lower living level; Swell, upper living 800/621-2624. FAX 860/870-7571. foleybaker@ level, under separate expression. Home has full sbcglobal.net. 1 kitchen, 1 ⁄2 baths, loft-style bedroom area. Full Consoles, pipes and numerous miscellaneous Arnold Player & Organ, Pneumatic Specialist. living room with 28-foot cathedral ceiling, base- parts. Let us know what you are looking for. Since 1974. Re-leathering, repairs, restora- ment, two garages, a deck, balcony. Located on E-mail [email protected] (not comcast), Aeolian/Robert Morton-style maroon leather tions. Pipe and reed organs, harmoniums, 3 1 ⁄4 acres in the Pocono Mountains of Pennsyl- phone 215/353-0286 or 215/788-3423. is now available from Columbia Organ player and reproducing pianos, orchestrations, vania; price $199,000. For more information, call Leathers! Highest quality. 800/423-7003, mechanical players. Long Beach, California. 570/646-4566. www.columbiaorgan.com. www.arnoldplayerandorgan.com. 562/354-6005. Atlantic City Pipe Organ Company—Breaking up Tellers/Kent #328: Gottfried reeds: 16′ Fag- Beautiful Dobson tracker organ: Excellent ′ ′ ′ Tours of the World’s Largest Pipe Organ in At- ′ ′ ″ otto, 8 Oboe, 8 French Horn, 16 Viol. 1963 4- Highest quality organ control systems since sound! 12 stops with 8 Principal. 13 19 tall. rank Tellers #969 complete. Historic 1901 1901 1989. Whether just a pipe relay, combination lantic City’s Boardwalk Hall are now available by $236,000. Richard Wanner, Berkeley, California. C.S. Haskell: 16′ strings, reeds, principals, and action or complete control system, all parts reservation. The two-hour docent tours include 510/841-4382. See www.dobsonorgan.com/html/ the ballroom Kimball organ and the 33,000+ pipe more. 609/641-9422; http://mywebpages.com- are compatible. Intelligent design, competitive instruments/op62_berkeley.html or www.organ- pricing, custom software to meet all of your re- Midmer-Losh organ, with its 7-manual console clearinghouse.com/instr/detail.php?instr=2396. cast.net/acorgan. and 5-manual portable console. Tourgoers will quirements. For more information call Westa- ′ ′ cott Organ Systems, 215/353-0286, or e-mail see the 64 pedal stop, the immense 32 Diapa- sons, and areas of the organs not open to the ca- Martin Pasi pipe organ—Two manuals, 4-manual 1989 M.P. Moller organ console in [email protected]. sual visitor. Tours cost $20, which goes directly 24 stops, suspended-tracker action. Web: oak. MIDI on 3 manuals + pedals. Single memory, to support the restoration of these instruments; http://martin-pasi-pipe-organ-sale.com; phone: 10 generals, 6 divisionals, 18 rocker tabs. Match- children under 12 are admitted free. For reserva- 425/471-0826. ing bench and pedal board. Also has a Yamaha Visit TheDiapason.com—click on “Subscribe to tions: [email protected]. For information: recording and play back device. 407/222-1231; our newsletter” to receive The Diapason E-news. www.acchos.org. [email protected]. 8-rank Wangerin near Detroit is seeking a good home. I am in good condition and will bring joy Need help with your re-leathering Postal regulations require that mail to my new owner. Owner is asking $3,500 and project? All pneumatics including to THE DIAPASON include a suite num- buyer to remove. For information please contact Austin. Over 45 years experience ber to assure delivery. Please send 248/356-0896 or [email protected]. The Diapason (on the job assistance available). all correspondence to: THE DIAPASON, 2011 Resource Directory 615/274-6400. 3030 W. Salt Creek Lane, Suite 201, 1964 M.P. Möller pipe organ. 36-rank American Arlington Heights, IL 60005. Classic specifi cation including two célestes, two ′ The only comprehensive directory enclosed divisions and 32 reed. Three-manual and buyer’s guide for the organ ALL REPLIES console. No casework or façades; instrument THE DIAPASON’s classified ads are is in good condition but will need releathering. and church music fi elds TO BOX NUMBERS Asking $50,000 “as is” or can be rebuilt with now available on THE DIAPASON some modifi cations. Available immediately. that appear website—including photographs and For more information, contact Létourneau Pipe Advertising deadline: convenient e-mail links directly to the Organs at [email protected] or November 1, 2010 without an address sellers! Visit www.TheDiapason.com 888/774-5105. should be sent to: and in the left-hand column, look for SPOTLIGHTS, then click on Classified Contact editor Jerome Butera THE DIAPASON Advertisements. Follow the links to the Rescued from Katrina—1887 Hook & Hast- 847/391-1045 3030 W. Salt Creek Lane, Suite 201 classifieds that interest you, and click ings Op. 1366, 12 stops, all original, re-
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
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 ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-qual- organbuilders ity plaque has a marbleized black fi nish; a slot on the back makes it 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 easy to hang for wall display. Made 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com in the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens W. Zimmer & Sons, inc. in USA included. $10 discount for Organpipes - since 1914 pipe organ builders members of the 50-Year Subscrib- 429 Marvin Road Fort Mill, SC 29707 ers Club. Order yours today: Flues - Reeds Phone/Fax: 803-547-2073 [email protected] Bedrijvenpark "Seyst" wzimmerandsons.com E-1 Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
SEPTEMBER, 2010 39 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Stephen Cleobury* Douglas Cleveland Michael Unger AGO National Competition Winner Available 2008-2010
Ken Cowan Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director March 2011 Jane Parker-Smith* Peter Planyavsky* Simon Preston* Daniel Roth* Ann Elise Smoot Donald Sutherland The Choir of St. John’s College Cambridge, UK Andrew Nethsingha, Director March, 2011
Westminster Cathedral Choir London, UK Martin Baker, Director Fall 2011 *=European artists available Tom Trenney Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young 2009-2010 and 2010-2011